Podcasts about Giorgio Moroder

Matt Gray is an audio engineer and a musician with a great story to tell! Many years ago, he was the Drummer for the band, "Leo Nine," formerly known as "Battered Fish." He's worked as a commercial radio producer for Austereo and has been active in recording and mastering bands including the like Travis, Jet, Eskimo Joe, Evermore, Superjesus, Sarah Blasko and Killing Heidi. He has seen thousands of projects come through the doors attracting a wide range of high profile international and local artists including: Giorgio Moroder featuring Sia, Kylie Minogue and Britney Spears whose singles saw number 1 chart success in the Billboard Dance charts. In this conversation, Matt shares about his faith journey, and his heart to see Christian artists have a platform in Australia. Listen in to his story!

Send us Fan Mail  - FOLGE 105Was macht das unkonventionelle Traumpaar der 80er MOLLY RINGWALD und JUDD NELSON?Hat Christian EISI GULP dessen Breakdance-Ausflüge in den 80ern inzwischen verziehen?Wie kam es zur Trennung von KAJAGOOGOO von LIMAHL schon nach der ersten Platte?Wie ging es mit RADOST BOKEL nach MOMO weiter? -       Fun facts, hard facts & Nerd FactsJUDD NELSON wurde zweimal für die Goldene Himbeere als schlechtester Schauspieler nominiert, 1987 für Blue City und 1988 für Karriere mit links.MOLLY RINGWALD spielte in der sehr erfolgreichen Netflix Serie MONSTER-DAHMER die Mutter von Serienmörder JEFFREY DAHMER.Wer sich es antun will, hier die Single von RADOST BOKEL: https://tinyurl.com/2nb4ekp6Und hier gibt's Tickets und Termine für die Dauertour von EISI GULP: https://www.eisigulp.deUnd wer noch mal in seine Breakdance-Eskapaden von 1984 reinschauen will, kann dies hier tun (Vorsicht auf eigene Gefahr) 1984: BREAKDANCE – MACH MIT, BLEIB FIT https://tinyurl.com/r8u568ktUnd hier die DDR-Entsprechung MEDIZIN NACH NOTEN: https://tinyurl.com/48fkx9tjHier LIMAHLS Single mit SARA NOXX: https://tinyurl.com/y7ua6cf2Und hier sein Cover von A HORSE WITH NO NAME: https://tinyurl.com/3xdj2xf5  -       Ganz unverschämte Werbung in eigener Sache:Hier findet ihr unsere neue Facebook Seite: https://tinyurl.com/36btmena, Instagram hier https://tinyurl.com/5c4rt7wnund ganz neu sogar TIKTOK: https://tinyurl.com/3mcw9tzpOder wenn es unbedingt sein muss, hier unsere brandneue Band HELDAUTOMAT: https://tinyurl.com/33hf2hzj.Das tolle Video von CONCORDE findet ihr hier: https://tinyurl.com/mrrnzkasJenes nicht ganz so tolle von HELDAUTOMAT: AM ERSTEN TAG hier: https://tinyurl.com/3pjrxn8sUnd die Songs hier: https://tinyurl.com/2wbx524w und hier https://tinyurl.com/vv8z57xc -       Unser Buchtipp:MICHAEL ENDE: DIE UNENDLICHE GESCHICHTE. https://tinyurl.com/3tnzmj74-              Unser Filmtipp:DIE UNGLAUBLICHE REISE IN EINEM VERRÜCKTEN FLUGZEUG von 1980, von JIM ABRAHAMS und den ZUCKER BROTHERS, eine Persiflage auf die unsägliche AIRPORT-Reihe.https://tinyurl.com/bdrrtb2s-              Unser Konzerttipp ZYX ITALO DISCO im KRAFTVERKEHR CHEMNITZ am 28.11. Tickets und Infos gibt es hier: https://tinyurl.com/hwjtpt77 -       LinksPodcast Disko 80: https://DISKO.DERSS-Feed: https://feeds.buzzsprout.com/1754816.rssHomepage P&K: http://www.purwienundkowa.comHomepage Heldautomat: https://heldautomat.comMusik von Purwien & Kowa: https://purwienkowa.bandcamp.comBücher von Purwien & Kowa: https://amzn.to/2W9Ftj8Videos von Purwien & Kowa: https://bit.ly/3QVfTbRFollow us on Facebook: https://tinyurl.com/36btmena 

Club 107 - Giorgio Moroder by Radiotelevisión de Veracruz

In the second episode of Tech Film Noir, hosts Lianne Potter, Jeff Watkins, and Simon Painter travel back to 1984 to watch Clippy gone wild in Electric Dreams!*** Regular Compromising Positions Resume on 28th May***This week on Tech Film Noir, we plug ourselves into the strange, synth-soaked world of Electric Dreams — the gloriously weird 1984 cult sci-fi movie where a socially awkward architect, a spilled bottle of champagne on his brand new PC, and an overenthusiastic home computer accidentally create one of cinema's earliest AI love triangles.What starts as a light PG comedy quickly mutates into something far stranger: part rom-com, part techno-thriller, part MTV fever dream. We unpack why the film was massively mismarketed, why Edgar the computer has more chemistry than the actual romance, and why its depiction of AI learning feels surprisingly relevant in the age of generative AI and smart homes.Expect retro tech nostalgia, Commodore 64s, Casio calculator watches, suspiciously British “San Francisco” locations, exploding smart appliances, and plenty of discussion about the iconic Together in Electric Dreams soundtrack from Philip Oakey and Giorgio Moroder.As the song says, “we'll always be together, however far it seems” - which becomes slightly more sinister once your house develops emotional attachment issues.Listen now if you love cult sci-fi, retro tech, AI chaos, and weird 80s cinema.When movies guess the future, we check their work.Ps. Big up the Tech Time Traveller for their great video on the tech in this film

⚡️ Hot To The Touch 308 rolls out with underground disco pressure, soulful house swing and groove-heavy late-night energy. Featuring music from Kiko Navarro, Serge Funk, Giorgio Moroder, Bonetti, Madji'k and more.

This is a dark wave or cold wave mix - inspired by post-punk and early 80s electronic music, mostly European. If you know the Dark Entries label you'll know exactly what you're getting into.It opens gently with Pye Corner Audio & Faten Kanaan and Ghost Culture before getting into the meat of it. The Chromatics' Stroke of Midnight Remix is a good bridge - they're one of the more accessible acts in this world.The centrepiece is DAF's Der Mussolini, remixed here by Giorgio Moroder and Denis Naidanow. The original from 1981 is a landmark record - German industrial disco. This version holds up. Section 25's Looking from a Hilltop and Cabaret Voltaire's Yashar are from the same era and in the same territory - Factory and Rough Trade regulars.Boy Harsher are the most contemporary act on the mix and one of the best working in this style right now. Depeche Mode's Bergsonist remix shows there's still mileage in their catalogue when the right people get hold of it.Bauhaus close it out - which is fitting. They more or less invented this sound.1. Pye Corner Audio & Faten Kanaan — Mirror Lake2. Ghost Culture — Mouth (Dub)3. Chromatics — Tick of the Clock (Visione's The Stroke of Midnight Remix)4. Nommo Ogo — Behold5. Section 25 — Looking from a Hilltop6. DAF — Der Mussolini (Giorgio Moroder & Denis Naidanow Remix)7. Black Asteroid — Sun Explodes feat. Cold Cave (Headless Horseman Remix)8. Depeche Mode — Ghosts Again (Bergsonist's Shadow Mix)9. Boy Harsher — Pain (Radio Edit)10. Black Meteoric Star — 5am Open Air Sunrise (Borusiade Remix)11. Cabaret Voltaire — Yashar (Insurgent Mix)12. Severed Heads — Dead Eyes Opened (Reopened)13. Bauhaus — Here's The Dub

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In Part 2 of this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In Part 2 of this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In Part 2 of this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

Prisiminsime keletą 8-ajame dešimtmetyje įrašytų garso takelių. Kai kurie jų – itin sėkmingi, kino klasika tapę meniniai filmai, kiti – primiršti, tačiau juose skambanti muzika, svarbi ir roko istorijai, iki šiol išlieka vertinama bei įspūdinga.Grojaraštyje – Pink Floyd, Elton John, Isaac Hayes, Curtis Mayfield, Giorgio Moroder.Ved. Lukas Devita

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

Donna Summer was a hit-maker for two decades and a dance floor deity for more than three. Her collaborations with Giorgio Moroder and Pete Bellotte were formative in dance, electronic, and rock music, influencing everyone from David Bowie and Blondie to Madonna and Moby. But the rock establishment was stinting in its appreciation—whether at Comiskey Park in Chicago in 1979 or the Rock and Roll Hall of Fame in the 2000s. In this encore episode from 2017, Chris Molanphy examines how Summer became the queen of disco … and then transcended that role altogether.Get more Hit Parade with Slate Plus! Join for monthly early-access episodes, bonus episodes of "The Bridge," and ad-free listening across all your favorite Slate podcasts. Subscribe directly from the Hit Parade show page on Apple Podcasts or Spotify. Or, visit slate.com/hitparadeplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

With tracks from Ronin, Ozone Park, Kabinett, Coflo, Session Victim, Signal St, Silicon Boogie Feat. G-Ten, Thee Church Ov Acid House, Faze Action, Glenn Davis, Spiller, Giorgio Moroder, Dave Lee Zr & Bluey & Lakeshore Commission, The Revenge, DJ Garth & Markie Mark, The Mekanism Feat Jorge Bezerra, Manuel Sahagun, Jovonn, Razoof, Christophe Salin, T.C.O.A.H.. Contact: dj@ribeaud.ch.

Welcome to episode eighty-five. Today we celebrate the architects of the trance sound: the legendary duo Jam & Spoon. This is my personal favorite episode of Noisetalgia to date. We are diving deep into their incredible discography, from the hypnotic underground journeys to the high-energy anthems of Storm. A true tribute to the genius of Rolf Ellmer and the late Markus Löffel. SUPPORT THE SHOW & HEAR NEXT EPISODE NOW: Episode 086 (Best of Tiesto's In Search of Sunrise 4-6) is already live for my Patreon community!

Clairement, quand en 1969 Serge Gainsbourg explose les séries de slows en boîte sur sonJe t'aime … moi non plus, on pense que jamais personne n'osera aller plus loin. C'est justement le genre de prédiction qu'il ne faut pas faire, surtout dans la pop musique, un domaine où la création et les résultats financiers font bon ménage. En fait, il suffit d'y aller franco, au premier degré.Et justement, une musique alors naissante va s'y prêter particulièrement. Au milieu des années 70, à Munich, deux producteurs d'origine anglo-italienne, Giorgio Moroder et Pete Bellotte, s'intéressent au succès gigantesque de titres comme Rock the Boat et Rock you Baby. Qu'est-ce qui peut bien plaire au public là-dedans ?Ils identifient dans le rythme un quatre temps joué par la grosse caisse et le charleston de la batterie. C'est ça ! Il n'y a plus qu'à faire pareil.Et justement, ils ont sous la main une artiste américaine vivant en Allemagne, une certaine Donna Summer, dont ils viennent de produire un premier album mais qui, mis à part en Belgique et en Hollande, n'a pas trouvé son public. Et comme le Je t'aime moi non plus de Gainsbourg et Birkin vient de ressortir avec succès chez Warner, Moroder dit à Donna Summer pourquoi on ferait pas un truc dans le genre ? Pourquoi pas, répond la chanteuse. Et pour éviter une comparaison en leur défaveur, ils décident de ne pas y aller avec le dos d'une cuillère.Mais voilà, une fois la chanson écrite et qu'il faut l'enregistrer, Donna éprouve beaucoup de mal à se lâcher : elle est horriblement gênée, ça ne donne rien !Alors Moroder et Bellotte virent du studio tout le personnel qui n'est pas nécessaire et font baisser les lumières au maximum. Donna, pour la prochaine prise, tu vas pousser tes gémissements couchée sur le dos, on va t'installer le micro.M'enfin, Giorgio, tu ne veux quand même pas …Mais nooon ! juste que comme ça, personne ne te verra et tu seras seule.L'enregistrement sulfureux terminé, Donna Summer a du mal à croire que c'est elle qu'elle entend en cabine de son. Moroder, par contre, n'a aucun mal à trouver des distributeurs. Aux Etats-Unis, c'est Neil Bogaert, l'éditeur du groupe Kiss qui est à la manœuvre. Comme il organise fréquemment des fêtes démentes dans sa propriété de Los Angeles, il passe le disque pour le tester. Sur la piste, c'est de la folie, les invités viennent sans arrêt lui demander de le rejouer.A 3 heures du matin, un téléphone sonne à Munich : Pete, c'est Neil ! Il faut que tu me fasses une version longue, mon vieux. Les gens adorent, c'est dingue.Avec ses 16 minutes 50, Love to Love You sort en version maxi qui, vendu à des millions d'exemplaires, va populariser définitivement ce format auprès des DJ.Gigantesque succès, Donna Summer arrêtera toutefois de le chanter sur scène, le jour où en Italie, elle devra quitter la scène en courant, poursuivie par des hommes survoltés. Se réfugiant dans la caravane qui lui sert de loge, elle est terrorisée par les coups que ceux-ci donnent dans la porte et les vitres jusqu'à ce que le service d'ordre vienne la libérer. Et oui, c'était une époque de dingues mais c'était tout simplement la nôtre.

Kirk heaps on a second helping of TWO previous Strong Songs artists: Queen and David Bowie, whose 1981 collaboration "Under Pressure" topped the charts while showing how a mid-song transformation is done.Written by: David Bowie, Freddie Mercury, Brian May, John Deacon, Roger TaylorAlbum: Hot Space, 1981Listen/Buy via Album.LinkALSO REFERENCED/DISCUSSED:Previous Strong Songs episodes on Queen's "Bohemian Rhapsody" and David Bowie's "Space Oddity" and "Starman"“Killer Queen” by Queen from Sheer Heart Attack, 1974“Bohemian Rhapsody” by Queen from A Night At The Opera, 1975“Somebody To Love” by Freddie Mercury from A Day at the Races, 1976“We Are The Champions” by Freddie Mercury from Jazz, 1977“Flash Gordon Theme” from Flash Gordon Original Soundtrack, 1980“Another One Bites The Dust” by John Deacon from The Game, 1980“Back Chat” by John Deacon from Hot Space, 1981“Cat People” by Giorgio Moroder and David Bowie from Cat People OST (1982) and Just Dance, 1983Brian May in Total Guitar, March 2024Freddie Mercury TV interview with Lisa Robinson, 1984--------------------FEBRUARY 2026 WHOLE NOTE PATRONSDave Florey - AccessViolation - Jeremy Dawson - Sami Samhuri - Paul Delaney - Nathaniel Bauernfeind - Jenness Gardner - Melanie Andrich - Ken Hirsh - Joe Laska - David Mascetti - Christopher McConnell - Jamie White - Christopher Miller - Daniel Hannon-Barry - Rush - Jay Swartz - Damon White - Catherine Warner - Ben Barron - Corpus Frisky - Cesar - Robyn Metcalfe - Scott Lystig Fritchie - Lisa Crotty - Andy - Thomas McIlheran - Melissa Lucas - Greg - Julie Rowe - Rich Fish - Greer BevelFEBRUARY 2026 HALF-NOTE PATRONSColin Hodo - Paul De Surra - James Johnson - Arjun Sharma - Justin McElroy - Alexander Polson - Richard Toller - Melanie Stivers - Matt Betzel - Jeffrey Olson - Brett Douville - Brian Amoebas - Bill Thornton - Andrew Fair - Andrew Baker - Amanda Furlotti - Brad Callahan - Jennifer Bush - AJ Schuster - Tanner Morton - Gavin Doig - Chris K - Alexander - David - Naomi - Dave Sharpe - Caro Field - Jonathan Daniels - Eric Helm - Melmaniac - Dhu Wik - Tom Coleman - Diane Turner - Clare Holberton - Randy Souza - Pascal Rueger - Joshua Hill - Stephen Tsoneff - Michael Casner - Diane Hughes - Angela Livingstone - cbalmain - Eric Prestemon - Lauren Reay - Nathan Gouwens - Nell Morse - Karma Jay - Dallas Hockley - M Shane Borders - Kevin Potter - Eoin de Burca - Bonnie Prinsen - Linda Duffy - Ryan Rairigh - Achint Srivastava - Doug Belew - Abbie Berg - Jason Pratt - Geraldine Butler - David Noah - Bernard Khoo - David Joske - Donald Mackie - Steve Paquin - Mino Capossela - Kelli Brockington - Adam W - Josh Singer - Rob Tsuk - Ailie Fraser - JRRJ - Jeffrey Bean - Rishi Sahay - Zak Remer - Adam Stofsky - Kenneth Jung - Bruno Gaeta - Paul Wayper - Lisa Turner - Wendy Gilchrist - Doreen Carlson - Janice Berry - Christian Hessmann - Richard Sneddon - Portland Eye Care - Deebs - Jamie - David Futter - Jeff Ulm - Aaron Wade - KenIsWearingAHat - Ethan Bauman - Catherine Clause - Charles McGee - Tim Sheehan - E Margaret Warton - Matt Baxter - Gary Pierce - Dr Arthur A Gray - Steve Martino - Stu Baker - Martín Salías - Dubmarine - Peter Harding - John Halpin - Douglas H Frazer - Heather J - Alan Maass - Dave Malloy - Robert Granat - Kaya Woodall - Kellen Steffen - Sean Murphy - Jim Sellers - Ben Stein - Bla Blupp - Dick Morgan - Lee R. - Abraham Benrubi - Misty Haisfield - Carlos Lerner - Dent Earl - Aaron Wilson - Chris Remo - Brian Johan Peter - Ethan Laser - James McMurry - Anthony Mentz - Thomas - Matthew Jones - Eric Sp - Max - Rand LeShay - Stephen Wolkwitz - Paul Bigelman - Monica St. Angelo - Henry Mindlin - Dave Kolas - Lauren Knotts - Joe Gallo - Merv Adrian - Michael Singer - Inmar Givoni - Mordok's Vape Pen - Clint McElroy - John Berry - Ol Parker - Joseph Romero - Dan Cutter - Jeff - Michael - James - Kevin Marcelo - Seattle Trans And Nonbinary Choral Ensemble - Ashley - Melissa Kuhns - Jordan Gatenby - Andrew Hofer - Ian Pidd - Irritable - Meryl Allison - Sy Jacobs - Lawrence - Praline - Kevin Stafford - Daniel Nervo - Philip Kelly - Bea - Julie Kellman - Daniel Kaberon - TB - Aruni Jayatilleke - Rachel - Kym Griffith - PhantomMare - Suzanne Crawford - Dave Douglass - Alison Dugan - Margaret McReynolds - Betsy Barre - HiddenJester - Brian Rinckenberger - RsP - Lottie Aron - Alex Miller - Jez - Steve B - Ian Karmel - Zach Putnam - Edward Steen - Adam Clark - Freddy Freeman - Erik - Mathias Schmidt - Cheryl Wilke - Tucker Ped - Sarah Vetters - Aaron Cain - Daniel Markoff - LG - Alex - Eric Stone - Alan Kress - R J Helow - Max Barnes - Michael Martin - John Domina - James - Andrew Knutson - Doug - Sam Grogan - EwokEater42 - MT - Linda Lange - James Hicks - Michael Adamski - Mark MacIntosh - Jeff Stormer - Michael Sumner --------------------

Oudot sedät ovat keränneet itsensä joulutauon jäljiltä ja piiskaavat itsensä verrattomaan vauhtiin tässä jaksossa. Ketä seurata Instassa, mitä tehdä inspiraation herättämiseksi, miksi Ari ei mene talvella speedoissa Prismaan ja saako Mikko pimiön rakennettua? Näihinkään kysymyksiin ei saada vastausta!

FEVERBALL 317 by Ladies On Mars FIRST HOUR: FEVERBALL MIX LADIES ON MARS 01. Macchianera - Gotta Dance (De Gama Re-Groove) [Samosa] 02. Russell Small & DNO P - Strawberry Letter 23 (Dr Packer Extended Remix) 03. Bruno Mars - I Just Might (Tommy Glasses Funky Remix) 04. Cosmo Klein - Nothing But Love (Art of Tones Remix - Extended Version) 05. Jamie Vice - On Fire [Midnight Riot] 06. Husky, Ido - Go Don't Stop (Extended Mix) 07. Ladies On Mars - Midnight Operator (Extended Mix) [Feverball] 08. Fran Deeper - Funky Moment (Ladies On Mars “Edit” Remix) [Spa In Disco] 09. Fran Deeper - Davidson 88 (Ladies On Mars Extended Remix) [SPA Club] 10. Patch Safari - Que Rico (Ladies On Mars “Edit” Mix) [Feverball] 11. Mark Brickman feat Vanessa Jackson - Dancer (LOM Edit) [Midnight Riot] 12. Ladies On Mars - Heart (Club Mix) [Feverball] 13. Colour Castle - Wasted Funk [Blacksoul Music] 14. Tobi Mack, Tobias Maack, Tobias Maack, Sugarstarr, Sugarstarr - Disco Take (Sugarstarr 12inch Mix) [Sugarstarr Traxx] 15. HP Vince - Not On Earth [ReDisco] 16. Giorgio Moroder - From Here to Eternity (Cambis & Wenzel & Oliver Deuerling Tribute Mix) [Milk & Sugar] SECOND HOUR: FEVERBALL MIX Ladies On Mars 01. Michael Gray, Tatiana Owens - Season High (Extended Mix) (LOM Edit) [Sultra Records] 02. Charly Angelz - Pick Up The Pieces (LOM Edit) [Tropical Disco] 03. Harvey Ross - Another Day (Daz Paget Remix) (LOM Edit) [The Discography Lessons] 04. Audiowhores - You Look Fantastic (LOM Edit) [Midnight Riot] 05. Jose Uceda - Searchin (Ladies On Mars “Edit” Remix) [Feverball] 06. Martin Eigenberg, Aaron Pfeiffer, Ryan Shade - I'm So Over You (LOM Edit) 07. Ladies On Mars - Samba De Janeiro (Extended Mix) [Feverball] (NEW Exclusive)) 08. One Trick Pony, DE SOFFER - 9PM (Till I Come) (Extended Mix) [Soave] 09. Ladies On Mars - Body Phenomena (LOM Edit) 10. Ladies On Mars - Discoland (LOM Edit) [Feverball] 11. Luca Guerrieri - Feeling (Radio-Edit) [Double Vision Studio Records] 12. D.C. LaRue - Hot Jungle Drums And Voodoo Rhythm (Ladies On Mars Extended Remix) [Only Good Vibes] 13. Ladies On Mars - Galactica [Feverball] 14. Babert & Rion S - Fame and Fashion [Disco Revenge] 15. Luca Guerrieri - Don't Go (Discoslap Remix) (LOM Edit) [Double Vision Studio Records] 16. Wanda Nara - Bad Bitch (Ladies On Mars Extended Remix) (NEW Exclusive) 17. Purple Disco Machine - Every Body dance Now (DANROS Edit) 18. Superchungo, Victoria Wilson-James - La Revolucion (Ladies On Mars Extended Remix) (Exclusive) 19. Crazibiza, Chris Willis - Lonely One (Dj Boutique Remix) [PornoStar Records] 20. Diskobar - So Mad (LOM Edit) [Soulful Evolution] FOLLOW TO LADIES ON MARS HERE: Website: https://www.ladiesonmars.com Official Music Store: https://www.ladiesonmars.com/musicstore/ Bandcamp: https://ladiesonmars.bandcamp.com Instagram: https://www.instagram.com/ladiesonmars Facebook: https://www.facebook.com/ladiesonmars Twitter: https://www.twitter.com/ladiesonmars Soundcloud: https://www.soundcloud.com/ladiesonmars YouTube: https://www.youtube.com/ladiesonmars FOLLOW TO FEVERBALL HERE: Facebook: https://www.facebook.com/feverball Instagram: https://www.instagram.com/feverball Soundcloud: https://www.soundcloud.com/feverball Mixcloud: https://www.mixcloud.com/feverball Website: https://www.ladiesonmars.com/feverball

https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 The first season of the American science fiction horror drama television series Stranger Things premiered worldwide on the streaming service Netflix on July 15, 2016. The series was created by the Duffer Brothers, who also serve as executive producers along with Shawn Levy and Dan Cohen. This season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, and Matthew Modine, with Noah Schnapp, Joe Keery, and Shannon Purser in recurring roles. The first season of Stranger Things received critical acclaim, in particular for its originality, homages to the 1980s, characterization, tone, visuals, and performances (particularly those of Ryder, Harbour, Wolfhard, Brown, Heaton and Modine). Premise The first season begins on November 6, 1983, in a small town called Hawkins. Researchers at Hawkins National Laboratory open a rift to the "Upside Down," an alternate dimension that reflects the real world. A monstrous humanoid creature escapes and abducts a boy named Will Byers and a teenage girl. Will's mother, Joyce, and the town's police chief, Jim Hopper, search for Will. At the same time, a young psychokinetic girl who goes by the name "Eleven" escapes from the laboratory and assists Will's friends, Mike Wheeler, Dustin Henderson, and Lucas Sinclair, in their efforts to find Will.[1] Cast and characters See also: List of Stranger Things characters Main cast Winona Ryder as Joyce Byers[2] David Harbour as Jim Hopper[2] Finn Wolfhard as Mike Wheeler[3] Millie Bobby Brown[3] as Eleven ("El") Gaten Matarazzo as Dustin Henderson[3] Caleb McLaughlin as Lucas Sinclair[3] Natalia Dyer as Nancy Wheeler[3] Charlie Heaton as Jonathan Byers[3][4][5] Cara Buono as Karen Wheeler[6] Matthew Modine as Martin Brenner[7] Recurring Noah Schnapp as Will Byers Joe Keery as Steve Harrington Shannon Purser as Barbara "Barb" Holland[8] Joe Chrest as Ted Wheeler Ross Partridge as Lonnie Byers[9] Rob Morgan as Officer Powell John Paul Reynolds as Officer Callahan Randy Havens as Scott Clarke Catherine Dyer as Connie Frazier Aimee Mullins as Terry Ives[10] Amy Seimetz as Becky Ives Peyton Wich as Troy[11] Tony Vaughn as Principal Coleman Charles Lawlor as Mr. Melvald Tinsley and Anniston Price as Holly Wheeler Cade Jones as James Chester Rushing as Tommy H. Chelsea Talmadge as Carol Glennellen Anderson as Nicole Cynthia Barrett as Marsha Holland Jerri Tubbs as Diane Hopper Elle Graham as Sara Hopper Chris Sullivan as Benny Hammond Tobias Jelinek as lead agent Robert Walker-Branchaud as repairman agent Susan Shalhoub Larkin as Florence ("Flo") Episodes See also: List of Stranger Things episodes No. overall No. in season Title Directed by Written by Original release date 1 1 "Chapter One: The Vanishing of Will Byers" The Duffer Brothers The Duffer Brothers July 15, 2016 On November 6, 1983, in Hawkins, Indiana, a scientist is attacked by an unseen creature at a U.S. government laboratory. 12-year-old Will Byers encounters the creature and mysteriously vanishes while cycling home from a Dungeons & Dragons session with his friends Mike Wheeler, Dustin Henderson and Lucas Sinclair. The following day, Will's single mother Joyce Byers reports his disappearance to the police chief Jim Hopper, who starts a search but assures Joyce that almost all missing children are quickly found. The lab's director, Dr. Martin Brenner, investigates an organic substance oozing from the lab's basement, claiming that "the girl" cannot have gone far. A nervous young girl wearing a hospital gown wanders into a local diner. The owner, Benny, finds a tattoo of "011" on her arm and learns that her name is Eleven. Brenner, monitoring the phone lines, sends agents to the diner after Benny calls social services. The agents kill Benny, but Eleven manages to escape using telekinetic abilities. Joyce's phone short circuits after receiving a mysterious phone call that she believes is from Will. While searching for Will in the woods, Mike, Dustin, and Lucas come across Eleven. 2 2 "Chapter Two: The Weirdo on Maple Street" The Duffer Brothers The Duffer Brothers July 15, 2016 The boys bring Eleven to Mike's house, where they disagree on what to do. Mike formulates a plan for Eleven to pretend to be a runaway and seek help from his mother, Karen. Eleven refuses, however, revealing that "bad men" are after her. Will's brother Jonathan visits his estranged father Lonnie in Indianapolis to search for Will, but Lonnie rebuffs him. Hopper's search party discovers a scrap of hospital gown near the lab. After recognizing Will in a photograph and demonstrating her telekinesis, Eleven convinces the boys to trust her, as they believe she can find Will. Using the Dungeons & Dragons board, Eleven indicates that Will is on the "Upside Down" side of the board and is being hunted by the "Demogorgon" (the creature). Mike's sister Nancy and her friend Barbara 'Barb' Holland go to a party with Nancy's boyfriend Steve Harrington. Searching for Will near Steve's house, Jonathan secretly photographs the party. Joyce receives another call from Will, hears music playing from his stereo, and sees a creature coming through the wall. Left alone by the swimming pool, Barb is attacked by the Demogorgon and vanishes. 3 3 "Chapter Three: Holly, Jolly" Shawn Levy Jessica Mecklenburg July 15, 2016 Barb awakens in the Upside Down: a decaying, overgrown alternate dimension. She attempts to escape but is attacked by the Demogorgon. Joyce believes Will is communicating through pulses in light bulbs. Hopper visits Hawkins Lab, and the staff permits him to view doctored security footage from the night Will vanished, leading Hopper to investigate Brenner and discover his involvement with Project MKUltra and that a woman named Terry Ives alleged years earlier that Brenner took her daughter. Eleven recalls Brenner, whom she calls "Papa," punishing her for refusing to hurt a cat telekinetically. Steve destroys Jonathan's camera after discovering the photos from the party. Nancy later recovers a photo of Barb, simultaneously realizing that Barb is missing. Returning to Steve's house to investigate, Nancy finds Barb's untouched Volkswagen and encounters the Demogorgon but manages to escape. Joyce paints an alphabetic board on her wall with Christmas lights, allowing Will to sign to her that he is "RIGHT HERE" and that she needs to "RUN" as the Demogorgon comes through the wall. Believing Eleven knows where Will is, the boys ask her to lead them to him. Eleven leads them, to their frustration, to Will's house. From there they follow emergency vehicles to a nearby quarry just as Will's body is recovered from the water. 4 4 "Chapter Four: The Body" Shawn Levy Justin Doble July 15, 2016 Joyce refuses to believe that the body found at the quarry is Will's. Mike feels betrayed by Eleven until she proves that Will is still alive, channeling his voice through Mike's walkie-talkie. The boys theorize that Eleven could use a ham radio at their school to communicate with Will. Nancy notices a figure behind Barb in Jonathan's photo, which Jonathan realizes matches his mother's description of the Demogorgon. Nancy tells the police about Barb's disappearance. She later fights with Steve, who only cares about not getting in trouble with his father. Hopper has suspicions regarding the authenticity of the body found in the quarry when he learns that the usual coroner was sent home. Hopper confronts the state trooper who found it and beats him until he admits he was ordered to lie. The boys sneak Eleven into their school to use the radio, while Joyce hears Will's voice through her living room wall. Tearing away the wallpaper, she sees him. Eleven uses the radio to channel Will talking to his mother. Hopper goes to the morgue and finds that the body is a fake, and, suspecting that Brenner is responsible, breaks into the lab. 5 5 "Chapter Five: The Flea and the Acrobat" The Duffer Brothers Alison Tatlock July 15, 2016 Hopper searches the lab before being knocked out by the lab's guards. The boys ask their science teacher, Mr. Clarke, if it would be possible to travel between alternate dimensions, to which he answers that there could be a theoretical "gate" between dimensions. Hopper awakens at his house and finds a hidden microphone, realizing that Joyce was right the whole time. The boys follow their compasses, searching for a gate that could disrupt the Earth's electromagnetic field. Eleven recalls memories of being placed in a sensory-deprivation tank to telepathically eavesdrop on a man speaking Russian; while listening, she came across the Demogorgon. Fearing another encounter with the Demogorgon, Eleven redirects the compasses. Lucas misinterprets this as an act of betrayal, leading Mike and Lucas to fight and Eleven to telekinetically fling Lucas away from Mike. While Dustin and Mike tend to the unconscious Lucas, Eleven runs off. Nancy and Jonathan formulate a plan to kill the Demogorgon. While searching in the woods, they come across a small gate to the Upside Down. Nancy crawls through it but inadvertently draws the Demogorgon's attention. Jonathan unsuccessfully tries to look for Nancy, as the gate to the Upside Down begins to close. 6 6 "Chapter Six: The Monster" The Duffer Brothers Jessie Nickson-Lopez July 15, 2016 Jonathan pulls Nancy back through the gate. That night, Nancy is afraid to be alone and asks Jonathan to stay in her bedroom. Steve, attempting to reconcile with Nancy, sees them together through her bedroom window and assumes they are dating. Joyce and Hopper track down Terry Ives, who is catatonic and tended by her sister Becky. Becky explains that Terry was a Project MKUltra participant while unknowingly pregnant and that Terry believes Brenner kidnapped her daughter Jane at birth due to her supposed telekinetic and telepathic abilities. Nancy and Jonathan stockpile weapons to kill the Demogorgon, theorizing that it is attracted by blood. Steve is brutally beaten up in a fistfight with Jonathan after he insults Will and calls Nancy a slut. Jonathan is arrested and held at the police station for beating up Steve and inadvertently punching one of the responding officers in the face. Eleven walks into a grocery store and shoplifts several boxes of Eggo waffles. Searching for Eleven, Mike and Dustin are ambushed by two bullies but are rescued by her, as she uses her powers to break one bully's arm after he attempts to kill Mike. Eleven collapses and recalls being asked by Brenner to contact the Demogorgon and, in her terror, inadvertently opening the gate. She tearfully admits to Mike that she is responsible for allowing the Demogorgon to enter this dimension. Lucas sees agents, who have tracked down Eleven, preparing to ambush Mike's house. 7 7 "Chapter Seven: The Bathtub" The Duffer Brothers Justin Doble July 15, 2016 Lucas warns Mike that agents are searching for Eleven. Mike, Dustin, and Eleven flee the house. Eleven telekinetically flips one of the vans that block their path as the kids escape. Lucas reconciles with Mike and Eleven, and the kids hide in the junkyard. Nancy and Jonathan reveal their knowledge of the Demogorgon to Joyce and Hopper. Hopper also learns that Eleven is with the kids. The group contacts the kids, and everyone meets at the Byers' house. Joyce and Hopper realize that Eleven is Jane Ives. The group asks Eleven to search for Will and Barb telepathically, but her earlier feats have weakened her. They break into the middle school and build a makeshift sensory deprivation tank to amplify Eleven's powers. After telepathically entering the Upside Down again, Eleven finds Barb dead and Will alive, hiding in the Upside Down version of his backyard fort. Realizing that the gate is in the basement of the lab, Hopper and Joyce break into the lab and are apprehended by security guards. Nancy and Jonathan sneak into the police station to retrieve the weapons they purchased previously, planning to lure and kill the Demogorgon. In the Upside Down, the Demogorgon breaks into Will's fort. 8 8 "Chapter Eight: The Upside Down" The Duffer Brothers Story by : Paul Dichter Teleplay by : The Duffer Brothers July 15, 2016 Hopper, haunted by the death of his daughter Sara from cancer years earlier, gives up Eleven's location to Brenner, who in exchange allows Hopper and Joyce to enter the Upside Down to rescue Will. Nancy and Jonathan cut their hands to attract the Demogorgon at the Byers' house. Steve, intending to apologize to Jonathan about their fight, arrives just as the Demogorgon appears. Steve, Nancy, and Jonathan fight the Demogorgon and light it on fire, forcing it to retreat to the Upside Down. Meanwhile, Eleven and the boys hide in the middle school when Brenner and his agents arrive to kidnap Eleven; she kills most of them before collapsing from exhaustion. As Brenner and his remaining agents pin Eleven and the boys down, the Demogorgon appears, attracted by the dead agents' blood, and attacks Brenner and the remaining agents as the boys escape with Eleven. Hopper and Joyce enter the Upside Down's version of the Hawkins library, where they encounter several corpses of the Demogorgon's victims, including Barb, and find Will unconscious with a tendril down his throat. Hopper revives him using CPR after removing the tendril. The Demogorgon corners the kids, but Eleven recovers from her exhaustion and disintegrates it, causing them both to disappear. Will recovers in the hospital, reuniting with his family and friends. One month later, it is Christmas and Nancy is back together with Steve, and both are friends with Jonathan. Will coughs up a slug-like creature and has a vision of the Upside Down, but hides this from his family. Production Development Ross (left) and Matt Duffer, the creators of the series Stranger Things was created by Matt and Ross Duffer, known professionally as the Duffer Brothers.[12] The two had completed writing and producing their 2015 film Hidden, which they had tried to emulate the style of M. Night Shyamalan, however, due to changes at Warner Bros., its distributor, the film did not see a wide release and the Duffers were unsure of their future.[13] To their surprise, television producer Donald De Line approached them, impressed with Hidden's script, and offered them the opportunity to work on episodes of Wayward Pines alongside Shyamalan. The brothers were mentored by Shyamalan during the episode's production so that when they finished, they felt they were ready to produce their own television series.[14] The Duffer Brothers prepared a script that would essentially be similar to the series' actual pilot episode, along with a 20-page pitch book to help shop the series around for a network.[15] They pitched the story to a number of cable networks, all of which rejected the script on the basis that they felt a plot centered around children as leading characters would not work, asking them to make it a children's show or to drop the children and focus on Hopper's investigation in the paranormal.[14] In early 2015, Dan Cohen, the VP of 21 Laps Entertainment, brought the script to his colleague Shawn Levy. They subsequently invited The Duffer Brothers to their office and purchased the rights for the series, giving full authorship of it to the brothers. After reading the pilot, the streaming service Netflix purchased the whole season for an undisclosed amount;[16] the show was subsequently announced for a planned 2016 release by Netflix in early April 2015.[17] The Duffer Brothers stated that at the time they had pitched to Netflix, the service had already been recognized for its original programming, such as House of Cards and Orange Is the New Black, with well-recognized producers behind them, and were ready to start giving upcoming producers like them a chance.[15] The brothers started to write out the series and brought Levy and Cohen in as executive producers to start casting and filming.[18] The series was originally known as Montauk, as the setting of the script was in Montauk, New York and nearby Long Beach locations.[17][19] The brothers had chosen Montauk as it had further Spielberg ties with the film Jaws, where Montauk was used for the fictional setting of Amity Island.[20] After deciding to change the narrative of the series to take place in the fictional town of Hawkins instead, the brothers felt they could now do things to the town, such as placing it under quarantine, that they really could not envision with a real location.[20] With the change in location, they had to come up with a new title for the series under the direction from Netflix's Ted Sarandos so that they could start marketing it to the public. The brothers started by using a copy of Stephen King's Firestarter novel to consider the title's font and appearance and came up with a long list of potential alternatives. Stranger Things came about as it sounded similar to another King novel, Needful Things, though Matt noted they still had a "lot of heated arguments" over this final title.[21] Writing The idea of Stranger Things started with how the brothers felt they could take the concept of the 2013 film Prisoners, detailing the moral struggles a father goes through when his daughter is kidnapped, and expand it out over eight or so hours in a serialized television approach. As they focused on the missing child aspect of the story, they wanted to introduce the idea of "childlike sensibilities" they could offer and toyed around with the idea of a monster that could consume humans. The brothers thought the combination of these things "was the best thing ever". To introduce this monster into the narrative, they considered "bizarre experiments we had read about taking place in the Cold War" such as Project MKUltra, which gave a way to ground the monster's existence in science rather than something spiritual. This also helped them to decide on using 1983 as the time period, as it was a year before the film Red Dawn came out, which focused on Cold War paranoia.[14] Subsequently, they were able to use all their own personal inspirations from the 1980s, the decade they were born, as elements of the series,[14][22] crafting it in the realm of science fiction and horror.[23] The Duffer Brothers have cited as influence for the show (among others): Stephen King novels; films produced by Steven Spielberg, John Carpenter, Wes Craven, Robert Zemeckis, George Lucas and Guillermo del Toro; films such as Alien and Stand by Me; Japanese anime such as Akira and Elfen Lied; and video games such as Silent Hill and The Last of Us.[21][24][25][26][27][28][29][30][31] With Netflix as the platform, The Duffer Brothers were not limited to a typical 22-episode format, opting for the eight-episode approach. They had been concerned that a 22-episode season on broadcast television would be difficult to "tell a cinematic story" with that many episodes. Eight episodes allowed them to give time to characterization in addition to narrative development; if they had less time available, they would have had to remain committed to telling a horror film as soon as the monster was introduced and abandon the characterization.[15] Within the eight episodes, the brothers aimed to make the first season "feel like a big movie" with all the major plot lines completed so that "the audience feels satisfied", but left enough unresolved to indicate "there's a bigger mythology, and there's a lot of dangling threads at the end", something that could be explored in further seasons if Netflix opted to create more.[32] While explaining their intentions for the show, the Duffers adamantly stated their intentions to not explain the mythology in the show so they could leave a mystery and lot for the audience to speculate over their lack of understanding by the season finale, which they accepted but asked to be explained about at the very least, which they found like a really good exercise as they spent quite a bit of time with their writers' room figuring out exactly what the Upside Down would actually consist for, writing a 20-page mythology document whose details wouldn't be clarified for the audience until the show's fifth and final season.[33] Regarding writing for the children characters of the series, The Duffer Brothers considered themselves as outcasts from other students while in high school and thus found it easy to write for Mike Wheeler and his friends, and particularly for Barbara "Barb" Holland.[21] Joyce Byers was fashioned after Richard Dreyfuss's character Roy Neary in Close Encounters of the Third Kind, as she appears "absolutely bonkers" to everyone else as she tries to find her son Will Byers.[34] Other characters, such as Billy in the second season, have more villainous attributes that are not necessarily obvious from the onset; Matt explained that they took further inspiration from Stephen King for these characters, as King "always has really great human villains" that may be more malicious than the supernatural evil.[35] Casting The Duffers cast David Harbour as Sheriff Hopper believing this was his opportunity to play a lead character in a work. In June 2015, it was announced that Winona Ryder and David Harbour had joined the series as Joyce and as the unnamed chief of police, respectively.[2] The brothers' casting director Carmen Cuba had suggested Ryder for the role of Joyce, which the two were immediately drawn to because of her prominence in 1980s films.[14] Levy believed Ryder could "wretch up the emotional urgency and yet find layers and nuance and different sides of [Joyce]". Ryder praised that the show's multiple storylines required her to act for Joyce as "she's out of her mind, but she's actually kind of onto something", and that the producers had faith she could pull off the difficult role.[36] Upon being offered the role, Ryder felt intrigued at being given the pilot's script due to know knowing what streaming was and finding it "terrifying", with her sole condition to the Duffers for accepting the role being that, if a Beetlejuice sequel ever materialized as she and Tim Burton had been discussing since 2000, they had to let her take a break to shoot it, a condition the Duffers agreed and ultimately proved to work out when Beetlejuice Beetlejuice was greenlighted years later.[37] The Duffer Brothers had been interested in Harbour before, who until Stranger Things primarily had smaller roles as villainous characters, and they felt that he had been "waiting too long for this opportunity" to play a lead, while Harbour himself was thrilled by the script and the chance to play "a broken, flawed, anti-hero character".[21][38] Additional casting followed two months later with Finn Wolfhard as Mike, Millie Bobby Brown in an undisclosed role, Gaten Matarazzo as Dustin Henderson, Caleb McLaughlin as Lucas Sinclair, Natalia Dyer as Nancy Wheeler, and Charlie Heaton as Jonathan Byers]].[3] In September 2015, Cara Buono joined the cast as Karen Wheeler,[6] followed by Matthew Modine as Martin Brenner a month later.[7] Additional cast who recur for the first season include Noah Schnapp as Will,[3][5] Shannon Purser as Barbara "Barb" Holland,[8] Joe Keery as Steve Harrington,[39][5] and Ross Partridge as Lonnie Byers,[9] among others. Actors auditioning for the children's roles read lines from Stand By Me.[14] The Duffer Brothers estimated they went through about a thousand different child actors for the roles. They noted that Wolfhard was already "a movie buff" of the films from the 1980s period and easily filled the role, while they found Matarazzo's audition to be much more authentic than most of the other audition tapes, and selected him after a single viewing of his audition tape.[15] As casting was started immediately after Netflix greenlit the show, and prior to the scripts being fully completed, this allowed some of the actors' takes on the roles to reflect into the script. The casting of the young actors for Will and his friends had been done just after the first script was completed, and subsequent scripts incorporated aspects from these actors.[32] The brothers said Modine provided significant input on the character of Dr. Brenner, whom they had not really fleshed out before as they considered him the hardest character to write for given his limited appearances within the narrative.[34] Filming The brothers had desired to film the series around the Long Island area to match the initial Montauk concept. However, with filming scheduled to take place in November 2015, it was difficult to shoot in Long Island in the cold weather, and the production started scouting locations in and around the Atlanta, Georgia area. The brothers, who grew up in North Carolina, found many places that reminded them of their own childhoods in that area, and felt the area would work well with the narrative shift to the fictional town of Hawkins, Indiana.[20] The filming of the first season began on September 25, 2015, and was extensively done in Atlanta, Georgia, with The Duffer Brothers and Levy handling the direction of individual episodes.[40] Jackson served as the basis of the fictional town of Hawkins, Indiana.[41][42] Other shooting locations included the Georgia Mental Health Institute as the Hawkins National Laboratory site, Bellwood Quarry, Patrick Henry High School in Stockbridge, Georgia, for the middle and high school scenes,[43] Emory University's Continuing Education Department, the former city hall in Douglasville, Georgia, Georgia International Horse Park, the probate court in Butts County, Georgia, Old East Point Library and East Point First Baptist Church in East Point, Georgia, Fayetteville, Georgia, Stone Mountain Park, Palmetto, Georgia, and Winston, Georgia.[44] Set work was done at Screen Gem Studios in Atlanta.[44] The series was filmed with a Red Dragon digital camera.[34] Filming for the first season concluded in early 2016.[41] While filming, the brothers tried to capture shots that could be seen as homages to many of the 1980s references they recalled. Their goal was not necessarily to fill the work with these references, but instead to make the series seem to the viewer like a 1980s film.[21] They spent little time reviewing those works and instead went by memory. Matt further recognized that some of their filming homages were not purposely done but were found to be very comparable, as highlighted by a fan-made video comparing the show to several 1980s works side by side.[14][45] Matt commented on the video that "Some were deliberate and some were subconscious."[14] The brothers recognized that many of the iconic scenes from these 1980s films, such as with Poltergeist, was about "taking a very ordinary object that people deal with every day, their television set, and imbuing it with something otherworldly", leading to the idea of using the Christmas light strings for Will to communicate with Joyce.[21] The brothers attributed much of the 1980s feel to set and costume designers and the soundtrack composers that helped to recreate the era for them.[14] Lynda Reiss, the head of props, had about a $220,000 budget, similar to most films, to acquire artifacts of the 1980s, using eBay and searching through flea markets and estate sales around the Atlanta area. The bulk of the props were original items from the 1980s with only a few pieces, such as the Dungeons & Dragons books made as replicas.[46] Visual effects To create the aged effect for the series, a film grain was added over the footage, which was captured by scanning in film stock from the 1980s.[34] The Duffers wanted to scare the audience, but not to necessarily make the show violent or gory, following in line with how the 1980s Amblin Entertainment films drove the creation of the PG-13 movie rating. It was "much more about mood and atmosphere and suspense and dread than they are about gore", though they were not afraid to push into more scary elements, particularly towards the end of the first season.[34] The brothers had wanted to avoid any computer-generated effects for the monster and other parts of the series and stay with practical effects. However, the six-month filming time left them little time to plan out and test practical effects rigs for some of the shots. They went with a middle ground of using constructed props including one for the monster whenever they could, but for other shots, such as when the monster bursts through a wall, they opted to use digital effects. Post-production on the first season was completed the week before it was released on Netflix.[14] The title sequence uses closeups of the letters in the Stranger Things title with a red tint against a black background as they slide into place within the title. The sequence was created by the studio Imaginary Forces, formerly part of R/GA, led by creative director Michelle Doughtey.[47] Levy introduced the studio to The Duffer Brothers, who explained their vision of the 1980s-inspired show, which helped the studio to fix the concept the producers wanted. Later, but prior to filming, the producers sent Imaginary Forces the pilot script, the synth-heavy background music for the titles, as well as the various book covers from King and other authors that they had used to establish the title and imagery, and were looking for a similar approach for the show's titles, primarily using a typographical sequence. They took inspiration from several title sequences of works from the 1980s that were previously designed by Richard Greenberg under R/GA, such as Altered States and The Dead Zone. They also got input from Dan Perri, who worked on the title credits of several 1980s films. Various iterations included having letters vanish, to reflect the "missing" theme of the show, and having letters cast shadows on others, alluding to the mysteries, before settling into the sliding letters. The studio began working on the title sequence before filming and took about a month off during the filming process to let the producers get immersed in the show and come back with more input. Initially, they had been working with various fonts for the title and used close-ups of the best features of these fonts, but near the end the producers wanted to work with ITC Benguiat, requiring them to rework those shots. The final sequence is fully computer-generated, but they took inspiration from testing some practical effects, such as using Kodalith masks as would have been done in the 1980s, to develop the appropriate filters for the rendering software. The individual episode title cards used a "fly-through" approach, similar to the film Bullitt, which the producers had suggested to the studio.[48] Music Main articles: Music of Stranger Things and Stranger Things (soundtrack) The Stranger Things original soundtrack was composed by Michael Stein and Kyle Dixon of the electronic band Survive.[49] It makes extensive use of synthesizers in homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi.[50] According to Stein and Dixon, The Duffer Brothers had been fans of Survive's music, and used their song "Dirge" for the mock trailer that was used to sell the show to Netflix.[49][51] Once the show was green-lit, the Duffers contacted Survive around July 2015 to ask if they were still doing music; the two provided the production team with dozens of songs from their band's past to gain their interest, helping to land them the role.[49] Once aboard, the two worked with producers to select some of their older music to rework for the show, while developing new music, principally with character motifs.[51] The two had been hired before the casting process, so their motif demos were used and played over the actors' audition tapes, aiding in the casting selection.[51][52] The show's theme is based on an unused work Stein composed much earlier that ended up in the library of work they shared with the production staff, who thought that with some reworking would be good for the opening credits.[49] The first season's original soundtrack, consisting of 75 songs from Dixon and Stein split across two volumes, was released by Lakeshore Records. Digital release and streaming options were released on August 10 and 19, 2016 for the two volumes, respectively, while retail versions were available on September 16 and 23, 2016.[53][54] In addition to original music, Stranger Things features period music from artists including The Clash, Toto, New Order, The Bangles, Foreigner, Echo and the Bunnymen, Peter Gabriel and Corey Hart, as well as excerpts from Tangerine Dream, John Carpenter and Vangelis.[54][55] In particular, The Clash's "Should I Stay or Should I Go" was specifically picked to play at pivotal moments of the story, such as when Will is trying to communicate with Joyce from the Upside Down.[54] Music supervisor Nora Felder felt the song "furthered the story" and called it an additional, unseen, main character of the season.[56]

This very special episode of Synthetic Dreams, features a conversation with legendary songwriter and producer Pete Bellotte. Pete's extraordinary journey began in the basement of Munich's Arabella Sheraton Hotel, home to Giorgio Moroder's groundbreaking Musicland Studios. There, as Moroder's right-hand man and a visionary in his own right, Pete helped shape a sound that would change music forever. Over the course of his career, he has co-written and produced more than 500 songs, earning two Grammy nominations for Donna Summer's Bad Girls album and single.From his early days touring with R&B band Linda Laine & The Sinners to his first major hit, Son of My Father, Pete quickly emerged as a hitmaker. Yet it was his pioneering work with Donna Summer that solidified his legacy—blending electronic innovation with bold, conceptual storytelling inspired by his lifelong love of literature. It's safe to say that I Feel Love stands as one of the greatest dance tracks ever—a legendary song whose influence on pop and dance music still resonates today. 'I Feel Love' Donna Summer Synthetic Dreams is presented and produced by Scott ZverblisFollow Synthetic Dreams on ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠Also, check out my monthly show Synthetic Sundays on Louder Than War Radio : ⁠⁠⁠⁠https://www.mixcloud.com/louderthanwar/synthetic-sundays-july-2025/⁠⁠

To round out the year, we’re going with the brainchild of esteemed podcast co-host Paul Bindig, to interview the guy responsible for The Keyboard Chronicles, David Holloway. As an alleged keyboard player himself, David talks about his lifetime in adjacency to keyboards, bands, music projects and a whole lot more. There’s also a deep dive / behind the scenes discussion on how the podcast is put together and discussion on some favourite guests. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   David’s past 12 months, including gigging with Gloss David’s electronic music outfit –  Civil Sector David’s musical upbringing Sliprock The JVC KB-500 keyboard Yamaha DSR-1000 Discussion on musicals and orchestra pits Res Rocket Surfer  The poet Philip Larkin David’s ambient music project – Stainless Fields Stainless Fields on Spotify  Midnight Fields David’s go-to keyboards over the years Check out David’s 2024 rig in detail Narf Sounds A detailed chat / behind the scenes expose of the podcast Some of David’s favourite guests of all time How rig tours are organised (and apologies to Adam Holzman for calling him Andy!) Desert Island Discs: Self-Titles – Philip Oakey & Giorgio Moroder, Under the Sun – Paul Kelly & The Coloured Girls, Born Sandy Devotional – The Triffids, Songs of Distant Earth – Mike Oldfield, Darkness On The Edge of Town – Bruce Springsteen, Oxygene – Jean Michel Jarre. Band T-shirt shout-outs: Daniel Martin and The Infamous and Chrome Key links: Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our listener survey to help us improve the show, it only takes 90 seconds. Support us on Patreon and receive bonus content Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post David Holloway, Stainless Fields / Gloss / Civil Sector / Podcast Host appeared first on The Keyboard Chronicles.

Antes de que el mundo supiera siquiera pronunciar la palabra “sintetizador”, ya existían diseños circulando en laboratorios que jamás aparecieron en catálogos públicos. Prototipos que investigaban cómo crear sonidos capaces de activar respuestas emocionales precisas. Frecuencias que no respondían a la lógica musical… sino a la lógica del control. En este terreno clandestino aparece un hombre salido de la nada, el italiano Giorgio Moroder.

Tracklist 13:30 Ohio Players - Funk-O-Nots 18:30 Bridge - Baby Don't Hold Your Love Back 28:30 Hot Chocolate - Heaven Is In the Back Seat of My Cadillac (The Revenge Edit) 38:00 Alexander O'Neal - What Is This Thing Called Love 47:30 Aquadeep/Veesoul - Sweet Love 48:30 Aquadeep - Sweet Love 51:30 Thabang Baloyi - Black Box 58:00 D.C. LaRue - Do You Want the Real Thing 1:07:30 LaMay - Turnin' My Heart 1:11:00 Mark E. Quark - Doin It Right (Slo Mo Edit) 1:21:30 Eden Shalev - Papi 1:25:00 Kathy Brown - Just Hold On 1:33:00 Ahmed Spins - Waves & Wavs 1:44:00 Giorgio Moroder - From Here to Eternity 1:49:30 Jo Paciello - Platform N9 1:53:00 L.A Cerate - Your Dreams (Original Mix) - Original Mix 2:00:30 Eaze - What You Need (Bon Remix) 2:06:00 Pete Whiteley - Love Has A Way (Latouche Finale Remix) 2:13:30 Charlie - Switch The Sound (Darren Studholme Soul Funkadelic Mix) 2:17:00 Giorgio Moroder - E=mc2 2:20:00 Bonetti - My My My (Original Mix) 2:23:30 D.C. LaRue - Hot Jungle Drums and Voodoo Rhythm 2:29:30 Sylvester - You Make Me Feel (Mighty Real) (Michael Gray Remix) 2:38:30 Rashaan Houston - 30 Days 2:44:00 Raul Sanchez (Chile) - In The Disco (Original Mix) 2:46:00 Sphunk - Hypnotizing 2:53:30 The Realm - Time 2:57:00 Clemens Rumpf - House Muzik - Stereo Mutants Mix 3:08:30 Chemars - Get Up (Original Mix) 3:12:30 Distant People - If We All Can 3:18:30 Groove Junkies - Born To Flow 3:22:00 Groove Junkies - Dr Feelgood 3:28:30 GT Nuance - I'm Free (GT Club Lounge Mix) 3:35:30 Incognito - Feel the Pressure 3:40:00 Jon Cutler - Dawn 3:45:30 Marco Navarro - House President 3:50:00 Roberto De Carlo - Believe 3:54:30 Steven Stone - Identity - Mustafa's Soul Do Brasil Remix 4:05:30 Manu Fuentes - Lovers 4:08:30 Stephanie Mills - Free 4:12:00 Eric Roberson - Change for Me 4:15:30 Jimmy "Bo" Horne - Dance Across The Floor (Mike Mucci Remix) Deep House, Funky House, Disco House, Djsets Type: DJ-Set125 bpm Key: AmSan Francisco Bay, Californie, États-Unis

Sobe o som que hoje vamos falar do compositor e produtor musical Giorgio Moroder, o pai da disco music que assinou trilhas e canções icônicas para filmes dos anos 1970 e 1980. Corram para as discotecas!

Happy Guy Fawkes Day I guess! Covers by: The Dickies, Elkie Brooks, Giorgio Moroder and Joe "Bean" Esposito, Sandra, Oceans of Slumber, Annett Louisan Tidal playlist here

In the seventh installment of Sekret Machine Music, Dimitri and Khalid explore the origins and colossal impact of West German electro-pop pioneers Kraftwerk, including: the looming influence of Karlheinz Stockhausen, the Cologne-based Studio for Electronic Music and its murky entanglements with Cultural Cold War operations, the late 60s rise of ‘krautrock' and attempts to forge a new organic post-Nazi German identity, the ambiguities around cultural symbolism on 1974's “Autobahn” and nuclear power on 1975's “Radioactivity”, the US/UK success of their seminal 1977 album “Trans-Europe Express”, Kraftwerk blowing up on African-American radio stations in the northeast and midwest, leaning into the “robotic” German stereotypes, the gradual introduction of Kraftwerk's music onto the discotheque dancefloors of the late 1970s, the birth of disco in gay bathhouses, Giorgio Moroder and Donna Summer forever marrying synthesizers and disco together with “I Feel Love”, and the strange proto-MAGA rockist culture war that culminated in Chicago's “Disco Demolition Night” riot of 1979… For access to premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, subscribe at https://patreon.com/subliminaljihad.

Label: Casablanca 884Year: 1977Condition: MPrice: $12.00From a warehouse find, this is a new, unplayed stock copy, in its original Casablanca factory sleeve. Listening to this, it's easy to see how Summer became the queen of the disco/tech in the late 1970s, helped enormously by great material and by Giorgio Moroder and Pete Bellotte's distinctive techno arrangements. The mp3 snippet is an edit from the middle of the track, trying to capture in 2 minutes or less the essence of the music; it's a compromise, though. If you don't have the full 5:53 music, be sure to get it! This is the second pressing, which shows "Side A" for "I Feel Love;" the single was originally released plugging "Can't We Just..." and showing "I Feel Love" as "Side B." The B side is edited from a 4:25 album track. Note: This copy has light storage wear that lowers the Label grade to Near Mint. The wax and audio are pristine.

Richie Zito checks a lot of boxes for the Hustle. For one, he was a noted session guitarist in the 70s for artists like Neil Sedaka, Hellen Reddy, Leif Garrett, and Elton John. Then he eventually became one of the most successful producers of the next decade working with people like Eddie Money ("Take Me Home Tonight"), Cheap Trick ("The Flame"), Bad English ("When I See You Smile"), the Cult, Heart, and Poison. In between, he hooked up with Giorgio Moroder and played on everything he did for a while including "Danger Zone", Berlin, Donna Summer and tons more. There is a mountain of gold to cover in this one and I have a feeling we just scratched the surface. Enjoy!  The Hustle Podcast | creating podcasts | Patreon

From the Lock Tavern via The Gun to spoons… Family Silver are Mr Nick ‘The Gun' Stephens and Casper ‘Volte Face' Clark. Nick was the publican at The Gun, a much-loved Hackney institution that recently closed its doors – more on that here for those who have been living under a rock. Nick's excellent Netil radio show can also be found here. Casper, is based in Clapton and was the music programmer for Camden institution The Lock Tavern where our paths originally crossed – most of the time being kicked out whilst DJing. Casper's shared stages with Justice, Jeff Mills, Helena Hauff, Daniel Avery and many more and is also known for his long-running BleeD events via which he collaborated with labels like Blackest Ever Black, PAN and Downwards. Both share a love for “v lo-fi early eighties sound, kosmische, post-punk and scuzzy electronics,” with Nick's influences ranging from 80s TV themes and Giorgio Moroder to The KLF, while Casper was shaped in his youth by electronic acts like Leftfield, Underworld, and William Orbit with DJ Hell's International Deejay Gigolo Records becoming a huge influence later on. Their sound sits between post-punk and the electronic… so with that in mind let's give it a listen shall we? Handily via the wonder of a recording from this year's Field Maneuvers where they opened The Gun's stage. Listen and read the interview here: https://www.theransomnote.com/music/mixes/line-out-family-silver-live-sputnik-field-manuevers-2025/ @volte_face_bleed @fieldmaneuvers

Celebrating the 'Father of Disco' on his birthday, what a feeling! Fully available for Supporter Club members only. Credits : “Never Ending Story” by Giorgio Moroder and Keith Forsey (1984)Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/pillole-di-italiano--4214375/support.

EPISODE 132: A soulful and distinctive singer, talented keyboardist and songwriter, T Bear (Richard T Bear) made his mark as a solo artist and collaborator with many iconic artists—Crosby, Stills and Nash, The Blues Brothers, Richie Havens, Cher, Paul Shaffer, to name a few. In 1978, T Bear signed with RCA Records and released Red, Hot & Blue that featured Les Dudek, Billy Squier, and the Brecker Brothers. He has shared the stage with Richie Havens, Odetta, The Doobie Brothers and Jeff Beck. Domestic responsibilities and a struggle to regain his sobriety, which he did in 1983, forced him to put his music career on hold. He became instrumental in developing the Musicians Picnic, serving on its board of directors, which led to the creation of Musicians Assistance Program, now part of MusiCares Foundation. T Bear credits his late wife for encouraging his comeback.After a self-imposed hiatus from the music industry that lasted nearly three decades, T Bear, aka Richard T Bear, keyboardist, vocalist, songwriter, returns with a new album, Fresh Bear Tracks, released on Quarto Valley Records. A blend of blues, soul and rock with a who's who of special guests including Stephen Stills, Robby Krieger, Edgar Winter, Tom Scott, Walter Trout, Hutch Hutchinson, Laurence Juber, and more. Produced by Grammy Award winner Tony Braunagel, Fresh Bear Tracks was recorded at Robby Krieger's studio in Los Angeles. instagram.com/richard_tbearContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

We'd love to hear from you! Click here to send us a text. In this episode, Steve sits down with Limahl, the iconic frontman of Kajagoogoo and solo artist behind the timeless hit “Never Ending Story.” Limahl shares the story behind his unique stage name, reflects on his breakout days with Kajagoogoo, and about collaborating with legendary producer Giorgio Moroder. He also discusses the story behind his atmospheric cover of “A Horse With No Name,” and much more. It's a deep dive into New Wave history with one of its most recognizable voices. Limahlhttp://www.limahl.com/Support the show

Today's episode features American musician, writer and acivist Alex Maiolo.Alex composes for modular synthesizer under the monikers Action Group, and TRIPLE X SNAXXX. Both projects are equally influenced by Motorik, aka Krautrock music, Suzanne Ciani, Psychedelia, Detroit techno, ambient music, and Giorgio Moroder.He also is a regular contributor to Louder Than War and The Quietus.Ladies and gentlemen, meet the erudite Alex Maiolo...If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

EPISODE 129: Winning the hearts of millions of fans in the 80s as the lead singer of British band Kajagoogoo, Limahl enjoyed the instant celebrity of hitting the top of the charts with his debut single ‘Too Shy' which was followed by two more Top 20 hits ‘Ooh to Be Ah' & ‘Hang on Now' (all of which he co-wrote). After being unceremoniously (and infamously) kicked out of the band, Limahl struck out on his own and soon re-emerged in the charts again with his first solo single ‘Only For Love'. That was quickly followed by the Giorgio Moroder– produced worldwide smash ‘Neverending Story', theme song from the hit film of the same name. 2019 saw Limahl re-enter mass collective consciousness when his music was highlighted by three major US television shows. Too Shy was featured in the standalone, interactive Black Mirror episode Bandersnatch on Netflix and also in AMC's hit anthology American Horror Story: 1984, while Neverending Story played a pivotal role in the third season of Netflix's Stranger Things. His new single and remake of the America classic "Horse With No Name" is out now. limahl.com Contact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

Limahl is best know as the lead singer of 80s band Kajagoogoo, who enjoyed the instant fame of hitting the top of the charts with their debut single "Too Shy”. This was followed by two more Top 20 hits "Ooh To Be Ah" and "Hang On Now" (all of which he co-wrote). Limahl then struck out on his own and hit the charts again with his first solo single ‘Only For Love,' quickly followed with the Giorgio Moroder–produced worldwide smash ‘Neverending Story', the theme song from the hit film of the same name. In addition, ‘Neverending Story' and ‘Too Shy' were featured on hit TV shows Black Mirror, American Horror Story and Stranger Things. Limahl has returned with his first single release in over 5 years, a reimagining of the 70's classic ‘A Horse With No Name' that's out now. The track, originally recorded by America, reaching No 3 in the UK charts, is Limahl's first ever cover.Limahl is our guest in episode 487 of My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Watch the video for Horse With No Name - https://www.youtube.com/watch?v=Adf8pxpJBHM .Stream Horse With No Name on Spotify - https://open.spotify.com/track/4dc4Amn6RUBg735mlm8j9R?si=Shcck8W4Q3m3zyOi2SGyTw&context=spotify%3Aartist%3A7LTzUnZaptYfAFmvqW5M6D .Follow Limahl on Twitter/X & Instagram @limahl_official .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

The Cizeta-Moroder V16T was the world's first sixteen-cylinder supercar, beating Bugatti by more than a decade. From its Gandini-designed Lamborghini origins, to disco-backed financing via Giorgio Moroder, a star-studded launch party with MC Jay Leno, and a cavalcade of lawsuits that continued up until the death of company founder and creator Claudio Zampolli in 2021. Brian Wiklem's "16" book is available here: https://www.cizeta-v16t.com/ This is the true story of the Cizeta-Moroder V16T.  The Cizeta's mysterious engine has left many guessing when it comes to its origins. Turns out, it has 2 cross-plane crankshafts from a Lamborghini Urraco P300 V8, a block design taken right from Ferrari's 308 V8, and heads dissimilar to each — looking more like Cosworth's contemporary DOHC designs. We even learn – thanks to Iain Tyrrell's Classic Workshop – that there appears to have been a flat-plane crank version in the works too!  Lots of nerdy engineering talk in this one: the torsional forces acting on crankshafts that make V16s (and straight-8s) not work so well, and how Claudio solved for them with a central power takeoff unit in his transverse V16 with a longitudinal transaxle – as opposed to the McLaren F1 (which debuted not long after) which did the inverse with a longitudinal engine (albeit with 4 fewer cylinders) and transverse transaxle. There were only a handful of V16 engines in the early 1900s, early examples fitted to Cadillacs and Marmons, with the Cizeta and other esoteric oddballs filling the gaps until present day, but now we're getting a new one in the form of the Bugatti Tourbillon – whose predecessors used a much shorter “W” layout for their 16-cylinder powerplants. In any case, the cross-plane crank in the V16T elicits a raucous, lopey idle, and a Ford Mustang Shelby GT350R Chewbacca-grade WOT bellow accompanied by a cacophony of gear and induction noises. Build quality is exceptional throughout, and puts the Bugatti EB110 and Countach to shame.  Claudio would find himself in very public spats with Jay Leno, the author of the V16T book itself, Brian Wiklem, and countless others at car shows, on Ferrari forums, on Facebook – just about everywhere. He may have been paranoid and a little delusional, but he was an incredible engineer and mechanic, and we're grateful to have been able to experience the Cizeta-Moroder V16T! Huge shout-outs to owner Brendan Gallaher, Jay Leno, and Brian Wiklem. At the start of this episode, we'll also talk Golfs! Specifically MK7s, and the one Jason just bought for his niece. Believe it or not, despite decades of VW-dom, Jason has never owned a real GTI until this car. Now he's turning the youth into car people one relative at a time, starting with the purchase of a 2006 Infiniti G35 Coupe 6-speed for his nephew a few years ago, and then sending him to driving school with it. His niece got to attend the same driving school in Jason's E30, Beatrice. And, if Jason leaves the surprise 034Motorsport tune on this new GTI, his niece will inherit a car much quicker than her older brother's (and Derek may have to buy one too). But should we trust 18-year-olds (or Dereks) with 300 hp cars? Learn more about your ad choices. Visit megaphone.fm/adchoices

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut. The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Linktree: https://linktr.ee/AnalyticIn this segment of Notorious Mass Effect, Analytic Dreamz delves deep into The Weeknd's latest and potentially final album under his iconic stage name, 'Hurry Up Tomorrow.' Released on January 31, 2025, through XO and Republic Records, the album was initially planned for an earlier release but postponed due to the LA wildfires, with The Weeknd contributing $1 million to aid relief efforts. This album concludes a trilogy that began with 'After Hours' in 2020 and continued with 'Dawn FM' in 2022. 'Hurry Up Tomorrow' features collaborations with artists like Justice, Anitta, Florence + The Machine, Travis Scott, Future, Playboi Carti, Lana Del Rey, and Giorgio Moroder on tracks that explore new musical territories. Notably, the much-anticipated "Dancing in the Flames" did not make it to the final cut.The Weeknd has described this project as his farewell to the persona he's mastered, signaling a shift towards new creative ventures. Alongside the album, a psychological thriller film of the same name, starring The Weeknd, Jenna Ortega, and Barry Keoghan, is set for release on May 16. The segment also covers promotional events including a NYC Pop-Up Experience with Spotify and a Hot Topic Takeover in Las Vegas with exclusive merch. Additionally, proceeds from the track "Take Me Back to LA" are being donated to the LA Regional Food Bank. Analytic Dreamz explores whether 'Hurry Up Tomorrow' truly marks the end of The Weeknd or just a transformation into something new, reflecting on his legacy of blending music, film, and immersive storytelling.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Happy New Year to you all, and wishing you the best in health and happiness throughout 2025. To commence a new year on Global DJ Broadcast, Markus Schulz provides another special themed mix for the listeners, and helps ease the journey back to the daily grind with the New Year's Rehab edition.   This mix represents the latest evolution in Markus' open to close solo sets, the next step beyond the stages of deep grooves, peak melodies and driving techno, the sounds of sexiness and even a bit of sleaze rings through the speakers, delving into his love of all things indie dance and Italian disco inspired sounds.   Hope you enjoy the set, and will be another to keep in your collection.   Tracklist:   01. Causeway - Dancing with Shadows (Marshall's Club Mix) 02. Jerome Isma-Ae - Encounter 03. No Hopes & Andrey K - Membrane 04. Talee - Tomorrow (Sentre Remix) 05. Damon Jee & Darlyn Vlys - Leaving Earth 06. Bronski Beat & The Knocks featuring Perfume Genius - Smalltown Boy 07. Rodriguez Jr. & Jan Blomqvist - Destination Lost (Andrea Oliva Remix) 08. TERR & Shubostar - Brave New World 09. Renato Cohen - Lemon Key 10. Visage - Fade to Grey (Hellmuth Remix) 11. Cherry - Gama 12. Ucros - Eyes Starry 13. Alex Dolby - Psiko Garden (Hellmuth Edit) 14. Helsloot featuring Rangleklods - Beautiful Losers 15. Ed Lopes - Indie Boy 16. Daniel Watts - Lost 17. Purple Disco Machine & Friedrich Liechtenstein - Die Maschine (Club Dub) 18. Gregor Tresher featuring Sven Väth - Flashback (Pavel Petrov Remix) 19. Giorgio Moroder - From Here to Eternity (Danny Tenaglia Remix / Hellmuth Reconstruction) 20. Miss Melera - Sage 21. Deer Jade - Don't Need to Know 22. Gui Boratto featuring Lhana Marlet - Drink In Paris (Dubfire Remix) 23. Eelke Kleijn & Leo Wood - Beg You (DC Club Mix) 24. Röyksopp featuring Susanne Sundfør - Stay Awhile (Hellmuth Reconstruction)