Podcasts about The Hit Factory

They didn't just make hits, they mass-produced them!In this episode, we dive into the unstoppable pop machine that was Stock Aitken Waterman. From Kylie Minogue and Rick Astley to Bananarama and Dead or Alive, the Hit Factory churned out banger after banger, dominating the '80s charts with glittering synths, pounding drum machines, and hooks you still can't escape!Were they chart manipulators or pure pop geniuses? We break down the sound, the strategy and the cultural impact of the trio who turned Hi-NRG into a global empire and rewrote the rules of hitmaking.Turn it up. This is where pop became a production line and a dynasty was born!

Michiel, Wibo en Anne gaan in New York City op zoek naar plekken waar voetstappen van The Beatles en solo-Beatles liggen. Ze bezoeken bekende locaties als het Dakota-gebouw en Carnegie Hall, maar ook meer verborgen pareltjes als The Hit Factory en het appartement van John en May Pang. Wil je ons financieel ondersteunen? Word dan Vriend Van Fab4Cast en luister naar exclusieve afleveringen die je alleen als donateur kunt beluisteren! Kijk op https://petjeaf.com/fab4cast voor de mogelijkheden. We zouden je heel dankbaar zijn voor je steun.

Steven Spielberg: whiz kid of New Hollywood, maestro of cinematic spectacle, Lord Emperor of eighties kids nostalgia, and chief architect of the modern blockbuster as we know it . A spectral presence over this podcast, but first and foremost, he's our preeminent child-of-divorce auteur. We're joined by Aaron from Hit Factory to talk The Fabelmans, Spielberg's stunningly revealing work of autofiction mistaken for another navel-gazing piece of Oscar bait.  Listen and subscribe to Hit Factory on Patreon An extra special thanks to our $10 Executive Producers: JetChiclete, Isaac, squishward, Walt Lewellyn of The Black Casebook, Tropical Doves, jprestonpoole, Lohik, bernventers, and Owen2. If you can, please lend some support to these organizations: Gaza Funds PCRF (Palestinian Children's Relief Fund) MAP (Medical Aid for Palestinians) National Networks of Abortion Funds Immigrant Law Center of Minnesota If you enjoy the show please consider: Subscribing to our Patreon, where you can enjoy exclusive subscriber only episodes. Joining our Discord. Checking out our Credits page where you can view a complete list of Patrons. Leaving a rating and review on your podcast provider of choice.  Production by Miguel Tahni. Art by Zoe Woolley and Jo Hermeer. Follow @MarvelousDeath for updates. 

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Something new for our faithful Patrons - A conversation about all the movies, new and old, that we've been enjoying this month not covered elsewhere on the show. We hope you enjoy!....Our Theme Song is "Mirror" by Chris Fish.

Thanks to a record-breaking Netflix film, K-pop has had a breakout year, and it’s creating some unusual investing opportunities. Michael Thompson speaks with Stefan von Imhof, co-founder of alternative investing community fund Alts.co, about how K-pop is manufactured for global success - from government-backed cultural strategy to “idol incubators” that scout and train teenagers for years. Stefan explains just how big the business has become, why even a fictional K-pop group can top the Billboard charts, and how investing in music publishing rights works. This is Fear & Greed's summer series - all-new short episodes every day, with regular news back from January 12. All information is general in nature. If you want to invest, we recommend you visit a financial advisor who can tailor investments to your needsFind out more: https://fearandgreed.com.au/See omnystudio.com/listener for privacy information.

Thanks to a record-breaking Netflix film, K-pop has had a breakout year, and it’s creating some unusual investing opportunities. Michael Thompson speaks with Stefan von Imhof, co-founder of alternative investing community fund Alts.co, about how K-pop is manufactured for global success - from government-backed cultural strategy to “idol incubators” that scout and train teenagers for years. Stefan explains just how big the business has become, why even a fictional K-pop group can top the Billboard charts, and how investing in music publishing rights works. This is Fear & Greed's summer series - all-new short episodes every day, with regular news back from January 12. All information is general in nature. If you want to invest, we recommend you visit a financial advisor who can tailor investments to your needsSupport the show: http://fearandgreed.com.au/See omnystudio.com/listener for privacy information.

The party is nearing its end, the food has been consumed, and now it's time to pour yourself a rich, spicy, herbaceous(?) after-dinner drink to aid in the digestion of all your elsewhere and elsewhile 2025 year-end content... It's the Hit Factory 2025 Digestif: A rundown of some of our favorite un-discussed films of the past year as well as some brilliant new-to-us discoveries...A low-stakes sporting event becomes a metaphor for the cinematic experience. A high school becomes a microcosm of our technofascist panopticon. A mother at the end of her rope. An artist at the end of his prime. These and more are explored within. So pull up a stool, grab yourself a glass, and kick back one more before we call it a night. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish.

True Crime was the 94th-highest grossing movie of 1999, grossing just $17 million on a $50 million budget with a fairly limited release. Starring and directed by Clint Eastwood, True Crime was largely forgotten and remains overlooked most likely due to its release at what can be described as Eastwood's most prolonged artistic lull in the mid 1990s, starting with 1997's Absolute Power and Midnight in the Garden of Eden, 2000's Space Cowboys, and 2002's Blood Work. That lull would end with 2003's acclaimed Mystic River, which earned Oscars for both Sean Penn and Tim Robbins as well as Best Director and Best Picture nominations for Eastwood. But True Crime is still an interesting entry on Eastwood's resume, exploring many of the themes of injustice and moral ambiguity that he frequently explores in his work. So does the similarly-themed 2024 film Juror #2, which Eastwood directed in his mid-90s. So this week we're talking about them both, and joining is us is Aaron from the podcast Hit Factory.

The Great Commission is found in Matthew 28:19-20, which says to, “Go therefore, and make disciples of all the nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit.” Are we doing what God has asked of us? Tune into this message from Ps. Leanne as she encourages us to see the best in people, and to make disciples! 

We're back with Season 2 of The Abbie Knights Show! Kicking things off in a big way, host Abbie Knights sits down with none other than super producer Amadeus — the musical genius behind hits for Chris Brown, Trey Songz, Jennifer Lopez, 50 Cent, and so many more. In this episode, Amadeus opens up about his journey in the music industry, what it takes to create timeless records, and the lessons he's learned working with some of the biggest names in entertainment. Don't miss this exclusive conversation filled with insight, inspiration, and behind-the-scenes stories from one of the industry's most respected producers. Subscribe to never miss an episode of The Abbie Knights Show and stay tuned for more incredible guests this season! "Empowering Voices, Inspiring Change" Follow Abbie Knights: Instagram: AbbieKnights | TaksRadio TikTok: TAKSRadio Follow Amadeus: Instagram: AmadeusPBM

This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. Friend of the show Aaron from Hit Factory joins us to assemble the definitive Tier List of characters played by Clint Eastwood. Along the way, we answer important questions like: What is a Tier List for? What makes a good character? Has Ian developed any insane theoretical frameworks lately? What happens in Joe Kidd, again? Plus, a Pine Cone Crime Zone about Tarzan. See our final tier list here (SPOILERS!!!): https://imgur.com/a/K3oBYpS As always, thank you to Jetski for our theme music and to Jeremy Allison for our artwork. Follow Aaron: https://x.com/HitFactoryPod https://www.patreon.com/c/hitfactorypod/ Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Happy Woo Wednesdays!This week on the podcast, I'm joined by Dare To Love Music — a married duo who have been creating unforgettable events through music for over a decade. From weddings and baby showers to intimate celebrations, they specialize in tailoring each performance so it resonates with your story and your guests.With Derrick's mesmerizing saxophone and Lovisa's captivating vocals, they bring energy, emotion, and connection to every event. Whether it's the soulful notes of a ceremony or the lively energy of a reception, they make sure the soundtrack to your special day feels like you.

Martin Porter and David Goggin are the authors of “Buzz Me In: Inside The Record Plant Studios”, which chronicles the history of the famous Record Plant recording studios. This studio was the hit factory of the 1970s, where Jimi Hendrix, John Lennon, Bruce Springsteen, the Eagles, Prince and many others recorded. In 1976 alone the studio recorded three #1 albums.At the same time the studio was also known for the extreme debauchery which took place there - sex, drugs and rock ‘n roll. They provided all the necessary accoutrements to ensure that the artists stayed there as long as possible, with the studio reaping the hourly fees.My featured song is “Get Out!” from the album PGS 7 by my band Project Grand Slam. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH MARTIN:www.martinporter.com____________________ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

This is a re-upload for Spotify of a conversation originally held in November of 2023. Hit Factory wishes to extend our deepest gratitude and reverence to the National Music Publishers' Association - tireless defenders of intellectual property, guardians of taste, and brave crusaders against independent podcasts that allegedly included a brief clip of copyrighted music within a previous version of this episode.  Journalist and writer Séamus Malekafzali returns to the program for a lengthy conversation about Martin Scorsese's 1995 crime epic 'Casino'. Initially viewed by critics and audiences as a retread of Scorsese's masterful crime saga 'Goodfellas', the film has since been reevaluated as a masterpiece in its own right - one enriched by the director's late period films and preoccupations.We discuss the film's dizzying construction, effectively evoking the glitz and glam of the Vegas strip through extended montages and voiceover (an effect masterfully rendered by Scorsese's deft hands as a director, a firecracker script with co-writer Nicholas Pileggi, and the brilliant editing of longtime Scorsese collaborator Thelma Schoonmaker). Then, we examine the brilliant, career-defining performance of Sharon Stone as Ginger McKenna. It's a role that deserves every possible accolade, and strikes a note that no one but Stone could conceivably achieve. Finally, we discuss the film as capitalist allegory, and how Scorsese thoughtfully weaves commentary on the corporate centralization of the American economy and its steady collapsing of the middle class.We also offer some thoughts on Scorsese's latest, 'Killers of the Flower Moon', and the evolution of the director's views on capitalism, corruption, and consequence. Follow Séamus on Twitter.Read Séamus's Substack on Middle East politics.Read & Listen to Burnt Nitrate, Séamus's explorations of lesser-known and lesser-discussed films.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Soderbergh finally hit a box-office home run in 2000 with ERIN BROCKOVICH, a Julia Roberts-starring biopic about a paralegal with a big personality and a nose for corporate environmental malfeasance, and the one-two punch of BROCKOVICH and TRAFFIC in a single year cemented him as a truly major filmmaker. This is one of the big ones, so we brought in our friend Carlee from Hit Factory to talk about basically everything: capitalism, the climate, gender, fashion, interpassivity, Todd Haynes, and Sheryl Crow. Great ep! Don't use ChatGPT even as a joke! Further Reading: Superman's Not Coming by Erin Brockovich "Digging For The Truth" by Robert B. Welkos "Ordinary Heroes vs. Failed Lawyers: Public Interest Litigation in 'Erin Brockovich' and Other Contemporary Films" by Michael McCann and William Haltom "Erin Brockovich, 20 Years Later: 'I See So Many of Us Finding That Courage to Stand Up'" by Susan King Further Viewing: A CIVIL ACTION (Zaillian, 1998) LEGALLY BLONDE (Luketic, 2001) FIRST REFORMED (Schrader, 2017) DARK WATERS (Haynes, 2019) EVIL DOES NOT EXIST (Hamaguchi, 2023)   Follow Carlee: https://x.com/deepimpactcrier https://x.com/HitFactoryPod Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart    

We finally bring the brilliant, indelible work of Claire Denis to the pod with a discussion of her 1994 TV movie U.S. Go Home. Produced as part of the anthology series Tous les garcons et les filles de leur age… alongside work from other French visionaries like Chantal Akerman, Olivier Assayas and André Téchiné, Denis' film is an elliptical, compassionate coming-of-age story that regularly subverts expectations and never succumbs to the potentially regressive tendencies of its narrative milieu. We begin with some chatter about recent Hit Factory-featured filmmaker Edward Yang and a recent watch of his final work, Yi Yi. Then, we explore Denis' film - its lyrical formalism, its exquisite soundtrack - and how she crafts a work of simultaneously keen observation and hypnotic ambiguity. Watch U.S. Go Home on YouTubeThe Roxie theater in San Francisco is still seeking funds to help buy their building! Be sure to listen to our recent conversation with producer and Roxie board member Henry S. Rosenthal and visit the Roxie website to donate today!Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish

Phil Harding had his hands in as many hits in the 80s/90s as anyone you care to mention. We will only concern ourselves with the better decade as we look into his career as producer/engineer and mixer.1. THE EARLY YEARS (Pre-1980-83)How Phil got into the business in the 70s, working with the likes of Gerry Rafferty (Baker Street!), The Walker Brothers (No Regrets!) and The Clash (White Man in Hammersmith Palais!), etc.Phil moves into the 80s with KIlling Joke and a very unique contribution to Sign of The Times by The Belle Stars. There is discussion on the differences (and similarities) between mixing pop and rock.2. MATT BIANCO/BASIA (1984-88)Working with Peter Collins leads to engineering Matt Bianco's first album which leads to Phil producing the follow up and mixing Basia's first solo LP. Through Peter connections are made with Pete Waterman.General chat on Phil's approach to mixing a track.3. STOCK AITKEN AND WATERMAN (PT 1) (1983-87)Phil enters the world of SAW. Talk of who did what within the team and experiences with Lamont Dozier, Princess, Mel & Kim and early Rick Astley.Further talk on who had "Woolworth's ears" and why SAW didn't produce Pet Shop Boys.4. DEAD OR ALIVE (1986-88)Let's face it, this section is almost exclusively about You Spin Me Round, the first SAW number one and an iconic 80s hit.5. BANANARAMA (1986-88)Working on Venus, Bananarama wanted the Spin-Me-Round hi NRG treatment, leading to a number of massive pop hits.  Also discussed is the Bananarama vocal approach and how it was decided who at the Hit Factory worked on what.EITHER/OR | Does Phil have the Terminator listen to Prince on his ghettoblaster or Robocop listen to MJ on his walkman?Phil can be found Website: philhardingmusic.comTwitter: @phardingmusicFacebook: Phil Harding80sography@gmail.comSend us a text

Our guest today is Chris Gehringer - a mastering engineer from Edgewater, New Jersey. Chris has worked with Dua Lipa, Drake, Ed Sheeran, The 1975, Rihanna, Harry Styles, and Selena Gomez, and is part-owner of Sterling Sound.We talk about getting started at Greene Street Recording, Trutone Records, and the Hit Factory, changes and evolutions in the music industry, teaching newer clients what mastering is and isn't, caring about your sound and individuality, being cognizant about balancing work and family life, listening to music passively and actively seeking out new music, credits for records, meeting new people and networking, NAMM, struggles in your career, respecting the mix, and your favorite limiters.This episode's music is brought to you by Plant Dad from Baltimore, Maryland. For more information on Plant Dad, head to instagram: @plantdad_musicFor more information about Chris:Check out: https://sterling-sound.com/engineer/chris-gehringer/And Instagram: @chrisgehringer

The Roxie Theater, a San Francisco landmark in the Mission District, is one of the oldest continuously operated cinemas in the United States, with its history tracing back to the early 1900s. Recently, The Roxie kicked off the public phase of their fundraising campaing, Forever Roxie, in order to purchase their buidling, invest in technology upgrades, and expand their programming. As the premier theater destination for both hosts of Hit Factory, we want to get the word out to listeners and ask for your support in ensuring that The Roxie remains a cherised and thriving institution in San Francisco for the long haul. We sat down for a breif conversation with film producer, former punk drummer, and Roxie board member Henry S. Rosenthal to learn more about the Forever Roxie campaign, to talk movies and the state of cinema more broadly, and cast light on why The Roxie's efforts to guide their own future as the owners of their building extends beyond San Francisco's film community and could become a roadmap for independent film exhibition all over the country. The Roxie is more than a theater. It is a home alive with engagement and inspiration where filmmakers, artists, and audiences forge a creative community through workshops, conversations, collaborative projects and fierce programming that place The Roxie at the forefront of independent film. Please donate what you can to help bring this quintessential SF film instituion into the future! Donate to Forever Roxie & Find More Ways to Support HERE.Help spread the word on your own with the Forever Roxie Social Media Toolkit.Follow The Roxie on Instagram for more updates. 

On today's all new episode of Struggle Session Leslie is joined by Aaron Casias & Carlee Gomes, the hosts of the hit podcast Hit Factory. We discussed the best and worst films of the year including Furiosa, Nickel Boys, Gladiator II, The Substance, Do Not Expect to Much From the End of the World and more. We also shared our favorite performances last year, the most surprisingly good films, and the worst trends in Hollywood.Fill out your own ballot. We'll discuss the results on an upcoming show: https://forms.gle/iAFTDFsbv4HtcVBi9Guest Links: https://www.patreon.com/hitfactorypodVisit our website at http://sesh.showSupport the show by subscribing: http://patreon.com/strugglesession | https://strugglesession.supercast.com/Please leave us a 5 star review at Apple podcasts: https://podcasts.apple.com/us/podcast/struggle-session/id1265384284Follow us on Instagram: https://instagram.com/thestrugglesessionCheck out our YouTube channel: https://www.youtube.com/@StruggleSessionpodcastSend an email or voicemail to thestrugglesession@gmail.com Keep up with and contact Leslie : https://msha.ke/lleeiiiStruggle Session Theme by Brendan James: https://thegreatvorelli.bandcamp.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/struggle-session--5842028/support.

THIS WEEK: The Visit (2015)Motion Sickness welcomes back old friends as Aaron Casias of Hit Factory joins us to discuss the perpetually fascinating career of M. Night Shyamalan. I bet you all forgot that he made a Found Footage film, didn't you? We didn't forget. We never forget.Donate to Palestinian Medical Aid Support Optimism Vaccine on Patreon

To mark reaching the end of the journey through every single produced by Mike Stock, Matt Aitken and Pete Waterman from 1984-1993, Gavin and Matt celebrate the music of the Hit Factory by counting down our listeners' favourite 20 singles from the list of 200 we have discussed on the podcast. What will be number 1? (Subscribers, numbers 50-21 are counted down in the bonus material at chartbeats.com.au/saw-bonus)Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsau, @matthewdenby.bsky.socialFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

In 2025, the iconic NOW series moves into the world of musical theatre with a brand new show ‘NOW, That's What I Call A Musical' delivering a storyline that ties friendship and incredible 80s pop music together perfectly. A dynamic cast, a sure fire story from Pippa Evans filled with a rollercoaster of emotions and laughter is coupled by choreography from Craig Revel Horwood for a guaranteed hit night out!And if that wasn't enough the touring show includes guest appearances from an array of pop icons - Sinitta, Carol Decker, Toyah Wilcox and Sonia!And for this special episode of Back to Now, Sonia exclusively joins us to chat about the show and how this pop nostalgia spectacular is exactly what we need right now. As well as providing details (no spoilers!) about the show, Sonia takes us back to the year it's set - 1989 - and shares her own memories of becoming one of the decades most successful female chart stars. We go behind the scenes of PWL, how Sonia really convinced Pete Waterman to sign her up to the Hit Factory, who she to borrow clothes from for her debut video and what it meant to move from being a pop fan into the pages of Smash Hits in a very short period indeed!We also can't spend some time with Sonia and not talk Eurovision - so we do, and it's a blast of Europop memories.And, exclusively - find out which NOW album played constantly in Sonia's (and her boyfriends) car! Grab your popcorn, take your seat and tune into big 1989 pop memories and much more with this special episode of Back to NOW! Hosted on Acast. See acast.com/privacy for more information.

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.It's a New Year and we don't feel any different!In typical Hit Factory fashion, the simple task of creating an "In/Out" list for 2025 became a discussion about the infantilization of culture, embracing cinephilia beyond marketing cycles, and how the current state of art reflects an empire in decline. If you've ever wanted to hear a movie podcast tell you that you "have an ethical and spiritual imperative to seek out better films...you're in the right place!Other topics include the reign of filmmaker Alan Rudolph, how autonomous vehicles are definitely surveiling you, whether Doechii will be at the Met Gala, and our eager anticipation of Den of Thieves 2: Pantera.....Our theme song is "Mirror" by Chris Fish. 

Shortly after Mike Stock left PWL in 1993, he purchased a building to house a brand-new studio complex and record label, Love This, and reunited with Matt Aitken to resume their songwriting and production work together. Although, over the next few years, the duo would release many more cover versions than original songs, having success with the likes of Nicki French, Jocelyn Brown & Kym Mazelle, John Alford, Newton (in Australia) and Robson & Jerome. Mike Stock joins us for one final time to recap the highlights from the Love This era and give his rationale for the emphasis on remakes, He also discusses working with Simon Cowell on quite a few projects, including the theme to kids' TV show Mighty Morphin' Power Rangers and how the problems plaguing Love This, such as a dispute with the London Underground over rail work that compromised his studios and issues surrounding the release of "Santa Maria" by Tatjana, resulted in the label being shut in 1997. Mike goes on to talk about some of the work he's done since, such as tracks by pop acts Scooch and Girls@Play, and what he would like his overall musical legacy to be. Matt Aitken, Miriam Stockley and Julian Gingell also feature to share their memories of this era. Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsau, @matthewdenby.bsky.socialFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

CW: This episode discusses cinematic sexual violence. Aaron and Carlee from the Hit Factory podcast return from San Francisco to discuss one of Anthony Mann's best films, the psychological western Man of the West, starring Gary Cooper in one of his final performances as a former outlaw who has worked to get away from his sordid past and rebuild his life, only to find himself by circumstance back in league with the very “family” of killers who raised him, in a classic film noir scenario transposed to the Western genre. Jean-Luc Godard hailed Man of the West as the best film of 1958 and in this episode we discuss the psycho-sexual complexities of this western and how it pointed the way to the future of American cinema including the horror genre, how like Michael Mann's Manhunter it implicates the audience by depicting an “audience” within the movie forced to watch sexually-charged violence unfold, and the modernity of the performances by Lee J. Cobb as the crazed paterfamilias of the killers and the singer Julie London as the “saloon singer” held hostage by the gang. We also discuss what this film has to say about violence as the substance that forged Western expansion and which, as we've seen in the wake of Donald Trump's re-election, still courses through the American bloodstream today. Over 30% of all Junk Filter episodes are only available to patrons of the podcast. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/junkfilter Follow Aaron and Carlee on Twitter, and support the Hit Factory Patreon. Julie London's title theme for Man of the West, un-used in the film itself Trailer for Man of the West (Anthony Mann, 1958)

Although both Matt Aitken and Mike Stock had left the building, PWL Records continued to release music — and in this epilogue episode, we look at some of the artists who succeeded and some that didn't hit the mark in the few years after the demise of Stock Aitken Waterman. Former PWL MD David Howells joins us to discuss the challenges of starting afresh with new talent to replace Mike and Matt, and talks about what prompted his own departure from the business he had helped steer since the mid-'80s. With a strong focus on dance music at PWL in the '90s, one of the more consistent acts — in terms of quality and chart success — was Loveland. Paul Taylor returns to explain how the group behind hits like "Let The Music (Lift You Up)" and "I Need Somebody" came about, and how PWL's Manchester business received much of Pete Waterman's attention at this point. Paul also discusses his own unceremonious exit from the group. Meanwhile. Slamm remained signed to PWL and were put to work with Gary Miller on increasingly poppy music, with singer Johnny Wilks recapping that era of the band's journey for us. Then, we finish by looking at how Pete's initial run with PWL ended in 1996 and who the songwriters and producers were that would provide him with a second wave of success in the following years with acts like Steps, Tina Cousins and Westlife.Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

In the studio, we're joined by Grammy-winning music producer Tony Black and returning BDP guest, NYC's premier cigar DJ, DJ Nino Brown—two longtime friends who first met over a decade ago at a cigar lounge! Tony has contributed to over 80 million sold/downloaded recordings. A former staff engineer at NYC's legendary Hit Factory (1993–1998), he tells great stories what it was like collaborating with icons like Michael Jackson, Notorious B.I.G., Jay-Z, Nas, Wu-Tang Clan, DMX, P. Diddy, Luther Vandross, Elton John, Céline Dion, Billy Joel and hundreds more! Tony won a Grammy for The Diary of Alicia Keys, and worked on three #1 albums, 25 Top 10 albums, and 21 Top 10 singles.   Website: https://tonyblackprod.com/ Youtube: https://www.youtube.com/c/TonyBlackNYC Dj Nino Brown Instagram : @djninobrownnyc Become a member on our website! Exclusive discounts & giveaways! https://www.burndownpodcast.com/  

Well, we've reached the end of our Paul Schrader retrospective - for a couple weeks until OH, CANADA comes out - and it's time to discuss our findings. What did we learn about Schrader? About film? About podcasting? About ourselves? Can we remember all the different ways we got sick and hurt since March? Where are we going next, and when? Thank you to everyone who has followed along on our lonely journey toward transcendence. A very special thanks to all the guests who joined us and made the show listenable whenever we let them get a word in: Aaron and Carlee from Hit Factory, Manuela Lazić, Marya E. Gates, Brandon Streussnig, Bilge Ebiri, Esmé Holden, Comrade Yui, Ryan and Este from Altmania, Robert Rubsam, Jordan Fish, Ray Tintori, Jake Tropila, Jack Sinclair, Jane Altoids, Glenn Heath, Jr., Soraya Sebghati, Nick Wiger, Chadd Harbold, Charles Lyons-Burt, Darryl and Petros from Getting Dafoe You, Roxana Hadadi, Matthew Germenis, and Bob Martin. Another extra special thanks to our Patreon supporters who help us make this whole thing make at least some sense to our families. We still can't believe any of you listen to the show. Can't and don't! We'll see you all in 2025 with a brand new subject - and episodes on OH, CANADA and JUROR #2 before the end of the year. Plus some cool surprises, maybe. Who can know the mind of God?   Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Every journey has an ending, and in this episode, we reach the final three singles produced by Mike Stock and Pete Waterman in 1993 — and discuss the events surrounding the termination of the partnership as Mike left PWL. Former Miss America Suzette Charles joins us to talk about her singing/acting/pageant career and how she turned up at PWL demanding an audience with Pete. Her eventual collaboration with Mike yielded underrated gem "Free To Love Again" and five other fan favourite tracks that went unreleased at the time. She also fills us in on her studio reunion with Mike in the past few months and what we can expect from their recent work together. Sybil returns to discuss her final Stock and Waterman single, "Stronger Together", and reflect on her pop career. Plus, Johnny Wilks from Slamm talks about releasing a remake of "Virginia Plain" — the final SW production in the '90s. Then, we hear from Mike about his decision to leave PWL and what brought him and Pete, and then all of SAW back together again in the 2000s and beyond.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Simon Maher, Founder of 8Radio.com

The top 40 resurgence was over, with the next few Stock and Waterman singles released in 1993 struggling on the UK chart. But it wasn't for want of trying. Tapping into the same piano house sound that had yielded hits for Sybil (with and without West End), "Looks Like I'm In Love Again" by Key West featuring Erik had come to PWL via Eddie Gordon's Sanctuary imprint. The man behind Key West (and the writer of the song), music industry legend Richard Hewson joins us to discuss his decades-long career, working as an arranger for some of the biggest names in music and as an artist in his own right as The RAH Band. He reveals the story behind "Looks Like I'm In Love Again" and how Erik ended up taking over from the original vocalist. Eddie also shares his memories of that project and reveals how girl group Eternal almost signed to PWL. Meanwhile, Sybil returns to discuss her next single, a remake of "Beyond Your Wildest Dreams", and how she navigated her career in both the UK and the US. For something completely different, PWL snapped up five-piece band Slamm — and their vocalist, Johnny Wilks, talks us through that unexpected decision and recalls the making of their first single for the label, "Energize". Plus, there's the final Pat & Mick release and one last WWF Superstars single.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

This is a big one, folks. Paul Schrader's 2017 FIRST REFORMED, a climate-doom riff on WINTER LIGHT and DIARY OF A COUNTRY PRIEST, kicked off a new phase of his career that's still unfolding as we speak. Phases unfold, right? Anyway, to help us unpack both this tremendous work of transcendental cinema and our own crushing despair, we're joined once again by our great friends Aaron and Carlee from the Hit Factory podcast. Is it illegal to describe a bomb vest as a form of prayer? We'll find out together! Further Reading: "Paul Schrader on How ‘First Reformed' Reflects His Own Despair Over Climate Crisis" "Paul Schrader on First Reformed's Provocative Ending and Its Many Influences" IPCC AR6 Synthesis Report, 2023 WWF Backgrounder: Comparing climate impacts at 1.5°C, 2°C, 3°C and 4°C Further Viewing: DIARY OF A COUNTRY PRIEST (Bresson, 1951) WINTER LIGHT (Bergman, 1963)   Follow Hit Factory: https://x.com/HitFactoryPod https://x.com/deepimpactcrier   Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

The commercial resurgence at PWL continued in 1993, with all four of the singles covered in this episode becoming UK hits. Still on her hot streak following the success of "The Love I Lost" with West End, Sybil returned to the top 5 with original tune "When I'm Good And Ready", which was credited to her alone. Sybil tells us what she thought of the song, which was poppier than her usual efforts, and Mike Stock shares his thoughts about the single coming together and its various mixes and remixes. After the disappointment of "Last Thing On My Mind", Bananarama were back in the top 30 with their remake of "More, More, More". Mike also discusses that track and the Please Yourself album. Meanwhile, another track was made with the World Wrestling Federation Superstars, with "Wrestlemania" reaching the top 20, and Coronation Street star Bill Tarmey visited the Hit Factory for a successful charity remake of "One Voice". Pete Day recalls working on both those singles, which came to PWL courtesy of Simon Cowell. Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Things were looking up at the Hit Factory in early 1993. Mike Stock and Pete Waterman found themselves in the UK top 5 with back-to-back singles — something that hadn't happened in three years. And the latest of those big hits came from a remake of "The Love I Lost" released by West End featuring Sybil. The story behind the single is an intriguing one, with various mixes and multiple people having input on the track along the way. Significant among those people was Eddie Gordon, who'd spent the previous few years working on major hits for record companies like MCA, Motown and Atlantic. With his background in soul, funk and R&B, he was employed by PWL both to find songs and artists for new imprint Sanctuary Records and to develop his idea to cover "The Love I Lost" as West End (a name he'd used as a pseudonym for various projects). Eddie joins us to talk about the selection of Sybil as vocalist for the single and how he, Tony King and Asha Elfenbein (as AKA) remixed the original production, with their mixes becoming hot property in clubs before the track was reworked yet again for commercial release. He also provides insight into the business of PWL in the early '90s with new sub-labels and imprints. Plus, Sybil returns to the podcast to share her memories of "The Love I Lost" coming together, the elements of the track she insisted be changed and its success.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Before we begin our journey through Mike Stock's final year working with Pete Waterman at PWL, we have a preview of what's still to come. Plus, we share the first 10 minutes of our recent Greatest Hits by Kylie Minogue bonus episodeTo hear the full Greatest Hits by Kylie Minogue bonus episode and all the other extra content, you can subscribe at chartbeats.com.au/subscribeSupport the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Join hosts Eric Knight and Ritch Esra as they sit down with renowned K-pop songwriter-producer JINBYJIN. With 65 number one hits and over 35 million physical copies sold, JINBYJIN shares his incredible journey from life engineering to music production, the intricacies of K-pop and J-pop, and the unique role of fan culture. Discover what makes a hit song in these genres and get inspired by JINBYJIN's advice for aspiring musicians. Don't miss this deep dive into the heart of the global music phenomenon!

What's up, dudes? They say the sequels are never as good as the first. I think The Empire Strikes Back proves them wrong…but Band Aid II doesn't. I have music journalist Alex Rawls from The Twelve Songs of Christmas and My Spilt Milk with me to talk all about the second version of the charity song done in 1989! Spoilers: it's not as good as the first, but it's still fun!On Friday, December 1, 1989, Bob Geldof called Pete Waterman to ask if he would consider producing a new version of “Do They Know It's Christmas.” Waterman was part of The Hit Factory, a production team made up of himself, Mike Stock, and Matt Aiken. They were known for hi-NRG or Eurobeat style, with tempos usually somewhere between 102-140bpm, four-to-the-floor kick drums, staccato hi-hat, and bass lines frequently looped with fast eighth or sixteenth notes doubled at the octave. In fact, they produced 13 UK #1 singles and 3 US #1s. Waterman even postponed his wedding and rallied several artists together.Subsequently, on Sunday, December 3rd, the assembled artists recorded at PWL Studios in South London. Bob Geldof and family were present. On Tuesday, December 5th, the updated version was played for the first time on London's Capital Radio, 95.8 Capital FM. Advanced sales reached 500,000 copies, and the single was officially released on December 11th. It spent 3 weeks at #1, though Band Aid's original hit spent 5 weeks at #1 and sold over 2 million copies (which was approximately $24million in sales).Kylie Minogue? Check. Bros? Yep. Cliff Richard? A little out of place, but he was definitely there! So grab your denim jacket, put on an uptempo kick drum backing track, and jam out to this episode all about Band Aid II!The 12 Songs of ChristmasFB: @TwelveSongsofChristmasTwitter: @MySpiltMilk IG: @myspiltmilkGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.You voted for it, we watched it.We discuss the winner of our Patron Poll, Krzysztof Kieślowski's The Double Life of Veronique - A new film to both Hit Factory hosts, and one that has become an instant favorite.Enigmatic, ethereal, and steeped in a gentle magical realism, the film finds ways to make grand the quotidian and the interior emotional plane of existence, transcending attempts to articulate its power and majesty with mere words.We discuss the brilliant Irène Jacob, whose dual performance as Weronika and Veronique communicates an entire world of feeling with her eyes, and we ask if this is perhaps the most beautiful anyone has ever been onscreen. Then, we make meaning of the film's many distinct totems of symbolism - refracted images, melodies, marionettes, and their significance as links not just to the film's two protagonists, but to the imperceptible bond between all people. Finally, we discuss director Kieślowski's initial plan to release hundreds of slightly different iterations of the film in various theaters across the globe, and how the film's subtle graces are made more meaningful by their potential absence.....Our theme song is "Mirror" by Chris Fish.

To wrap up 1992, Stock and Waterman worked with two new artists and two returning favourites. In the case of Kylie Minogue, it was to be her final single released with PWL. Fittingly, her version of "Celebration" was lifted from Greatest Hits and gave her a final UK top 20 hit before departing for new musical adventures. We hear from Phil Harding & Ian Curnow, who produced the track (which later had additional production added by Stock and Waterman). Also, music video director Gregg Masuak joins us again to discuss the shoot in Rio de Janeiro. Bananarama were also back for an even more ABBA-influenced single, "Last Thing On My Mind", which wouldn't be a hit for them but, years later, would give Steps their first UK top 10 single. Mike Stock shares his thoughts on both versions. In terms of the new artists, sibling duo Fresh released "Did I Say Ti Amo" and, thanks to Simon Cowell, PWL embarked on a collaboration with the World Wrestling Federation Superstars, resulting in a top 5 hit for "Slam Jam". Mike and former PWL engineer Pete Day recall the WWF project coming together.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Returning guests Aaron Casis and Carlee Gomes (Hit Factory podcast) are here to talk the puzzling 15:17 to Paris but more importantly our first foray into Clint Eastwood's 2010s era. Together, we discuss the bizarre gelato scene, audience reaction in real time, and Clint's reputation as a public figure --- Support this podcast: https://podcasters.spotify.com/pod/show/exitingthroughthe2010s/support

We are joined by Aaron Casias and Carly Gomes of Hit Factory to discuss William Hurt's first film, Ken Russell's wild and delirious Altered States! We discuss solipsism, God, losing faith, hallucinogens, academia, and why regressing into an ape form might be many conservatives ultimate fantasy. Follow us on Twitter! Buy a cows shirt on Threadless!

THIS WEEK: Dances With Wolves (1990), Open Range (2003), Horizon: An American Story - Chapter 1 (2024)We're joined by Aaron from Hit Factory to discuss the standard bearer for the modern American western, Kevin Costner, and why sometimes you need to lose your wife of 18 years so you can make a four-part epic about the 19th-century American frontier. Donate to Palestinian Medical Aid Support Optimism Vaccine on Patreon

Summer 1992 didn't yield much in the way of Stock and Waterman productions. But in August that year, there was a sudden rush of releases, kicked off by a curious novelty record: a remake of "Summer Holiday" by Fat Slags, characters from Viz. Former PWL engineer Pete Day helps us get to the bottom of who exactly performed on the track. Meanwhile, Kylie Minogue got one step closer to departing the Hit Factory with new single "What Kind Of Fool (Heard All That Before)", which was included on her Greatest Hits album. Mike Stock and Terry Blamey tell us about the song, which sounded like classic SAW. Speaking of classics, Nancy Davis had another shot at success with a cover version of Jackie Wilson's "(Your Love Keeps Lifting Me) Higher And Higher". And the new-look Bananarama returned to work with Mike and Pete Waterman on "Movin' On", their first single as just the duo of Sara Dallin and Keren Woodward. Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Aaron from the amazing podcast Hit Factory joins our limited series, The Chronicles of the Chronicles of Riddick, to talk about the latest entry in life of one Richard B. Riddick, the 2013 film, Riddick

In early 1992, Boy Krazy were still a year away from their belated massive success in the US with "That's What Love Can Do" and they followed up that debut single in the UK with "All You Have To Do". Now a four-piece, the girl group shifted musical gears, releasing a more club-influenced track, but once again it failed to connect. Ruth Ann, Kimberly and Josselyne discuss that single as well as "Good Times With Bad Boys", which was released in America after "That's What Love Can Do" had been a hit. The ladies also give their thoughts on the situation involving Johnna being positioned by the label as lead vocalist. Meanwhile, Pat & Mick returned to PWL for their annual cover version — a remake of "Shake Your Groove Thing", with Pat Sharp sharing his memories of the music video. We also hear from Mike Stock about PWL's latest signing Nancy Davis and her debut single, "If You Belonged To Me". And Steve Anderson is back on the podcast to tell the Brothers In Rhythm story and recall how he and Dave Seaman were commissioned to remix "Finer Feelings" by Kylie Minogue — and that single's connection to her post-PWL work.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Following their launch in 1991 with debut single "Get Ready For This", Eurodance duo 2 Unlimited enjoyed a string of more than a dozen hits around the world. What does that have to do with Stock Aitken Waterman? Well, in the UK, the act fronted by Ray Slijngaard and Anita Doth was signed to PWL Records at a time when the Hit Factory's in-house productions were often struggling on the charts. Techno tracks like "Twilight Zone", "Maximum Overdrive", "Let The Beat Control Your Body", "The Real Thing", "Tribal Dance" and chart-topper "No Limit" were the sound of the future, while, as we've seen, more traditional pop/dance tunes were having a tough time of it. In this bonus episode, we explore the success PWL enjoyed with 2 Unlimited and what it meant for the working relationship between Pete Waterman and Mike Stock. Ray joins us to share his perspective on the rise of 2 Unlimited and the approach PWL took with the duo's tracks in the UK, initially using instrumental versions rather than ones with Ray's raps on them. He also discusses his personal and professional relationships with Anita and producers Jean-Paul de Coster and Phil Wilde, and the current status of 2 Unlimited.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

The River of Dreams album was Billy Joel's introduction to a new generation of fans in the early 90s. With chart-topping songs, a notorious Grammy appearance, and an extensive world tour, it was a landmark in Billy's career.  But for drummer Zachary Alford, it was one of his first experiences in a major label session, and another step in his quickly-blossoming career.  Hot on the heels of high-profile world tours, Zachary got the call to come in cold to a session at the Hit Factory in New York. That day, Billy and producer Danny Kortchmar were set to record “All About Soul.” Zack tracked his parts, and would go on to record a total of seven songs, 6 of which made the album.  Now, 30 years after the album's release, Zachary shared his memories of those sessions and much more. His journey from working with multiple bands in Manhattan, to touring the world with B-52s, Bruce Springseen, David Bowie and others, and his memories of developing his style and skill set are a master class for aspiring musicians and anyone looking for an honest peek behind the curtain.  Join us as we dig deep into the River of Dreams sessions, and the mindset of an acclaimed professional musician.   ------   Email us: glasshousespodcast@gmail.com   Glass Houses - A Billy Joel Podcast on the web / social media: Website: http://www.glasshousespod.com Facebook: https://www.facebook.com/glasshousespodcast/ Instagram: https://www.instagram.com/glasshousespod/ Twitter: https://twitter.com/glasshousespod  Discord: https://discord.gg/6G6cMRFu7T   Support the podcast: Paypal: https://paypal.me/glasshousespod Venmo: @MGrosvenor   Produced by Michael Grosvenor & Jack Firneno for Glass Houses Media, LLC Learn more about your ad choices. Visit megaphone.fm/adchoices

There was no denying the popularity of rave and techno in the UK in 1991, and Stock and Waterman went all clubby as the year drew to a close — with help from some key collaborators. DJs Paul Taylor and Danny Bennett (aka Danny Hibrid) from Angels nightclub visited PWL to work with Tony King on remixing Kylie Minogue album track "I Guess I Like It Like That". The result: a completely new single, "Keep On Pumpin' It", which came out in its own right. Paul and Tony tell the story of this club classic, which was issued to clubs as a white label ahead of its commercial release. Meanwhile, the unlikely pairing of Malcolm McLaren and Alison Limerick were brought together to work with SW on "Magic's Back", the theme song to Malcolm's documentary, The Ghosts Of Oxford Street. Alison talks about the project and her own run of '90s club classics, like "Where Love Lives", "Make It On My Own" and "Time Of Our Lives". And, as we commence our journey into 1992, the third single from Let's Get To It was Kylie's remake of "Give Me Just A Little More Time", which was backed by rave-inspired B-side "Do You Dare". Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

THG welcomes back guest and sponsor Scott Slagle. Scott is Charlotte-based recording engineer, producer and owner of Asylum Digital Recording & Mixing Studio.  A veteran in the Carolina music scene, he has worked as a freelance recording engineer/producer at The Bassment, Chung King, D&D, DARP, Firehouse, The Hit Factory, HUSH Studios, Reflection Sound Studios and The Sonic Cafe'.  He is a founding member of Electric Mountain, a team of producers that consists of Stephen Barrett, Dave Haire, Christopher Holston & Jason Michel and 1/5 of the band Super Ape (handling keyboards, percussion, production & programming). Scott is a voting member of the Audio Engineering Society (AES). Support the Show.Make sure to subscribe to us on Spotify, Apple Podcasts, and Google Podcasts. Also follow us on Instagram and Facebook @hilltopglove. Sponsored by: BOPs, Lynx Recording Studios, Mid Carolina Service Co., Asylum Digital Recording & Mixing, Celeb Studio Cafe, the Simon Marketing Agency, and TruBrilliance Ent. Become a member of our Patreon channel to get access to full video episodes, early premieres, and bonus content!