POPULARITY
90 episodes with Moroder
4 episodes with Moroder
5 episodes with Moroder
2 episodes with Moroder
3 episodes with Moroder
2 episodes with Moroder
2 episodes with Moroder
2 episodes with Moroder
2 episodes with Moroder
Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music. Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG) Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Raymond Scott, “Space Mystery” (1963). Used Scott's Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2. Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3. John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4. John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5. Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6. Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7. Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8. Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9. Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10. Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11. Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12. Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 07:15 01:29:56 13. Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 03:05 01:37:08 14. Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing. 08:51 01:40:12 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
When did the 60s symbolically end? Altamont? Kent State? No - when the organ stops playing towards the end of "Gimme Gimme Good Lovin'" by Crazy Elephant. It's bubblegum, but also super rockin'. Who'da thunk it? The first cover of the version was by ... Giorgio Moroder? It doesn't sound like his 70s stuff but it is wild. Third is a 80s Moroder-esque version from Roxy Perry, a blueswoman who didn't expect a Hi-NRG remix of her vocal. The fourth suitor is Canada's legendary hair metallers, Helix. For Canucks Erik and Weldon, this is manna from heavy metal heaven. Finally, a recent rendition from GospelbeacH, which is faithful - too faithful? Listen to this with some girls from Texarcan!!
Continua la saga dedicata all'elettronica che ci avete chiesto proprio voi!Nella puntata di oggi vedremo come questa musica si è evoluta fino a diventare ballabile entrando nella vera e propria sfera del Pop, e vedremo quale ruolo hanno avuto in tutto questo Giorgio Moroder e i Daft Punk.Ascolta la playlist dedicata alla puntata:1) Giorgio Moroder Playlist
Rejoignez-nous pour un épisode fascinant de 'La Note Secrète' où nous plongeons dans l'univers musical de Giorgio Moroder, un compositeur italien de légende qui a marqué l'histoire de la musique électronique. À l'aube de ses 85 ans, cet artiste prolifique nous offre un voyage captivant à travers ses plus grands succès.Animé par l'enthousiasme communicatif de Fabrice Lafitte, cet épisode vous fera découvrir les coulisses de la création de l'inoubliable 'I Feel Love', un titre phare de Donna Summer qui a révolutionné le paysage musical des années 70. Vous apprendrez comment l'inspiration de Moroder, puisée dans une scène culte de 'Star Wars', a donné naissance à cette mélodie électrisante, portée par la voix envoûtante de Donna Summer.Mais ce n'est pas tout ! Vous découvrirez également comment le duo Moroder-Billotte a contribué à l'américanisation du nom de la chanteuse, ainsi que les anecdotes savoureuses qui ont jalonné l'enregistrement de ce titre devenu un classique. Entre les gémissements 'chauds' de Donna Summer et les craintes des producteurs quant à la diffusion de la chanson, l'histoire de 'I Feel Love' regorge de moments savoureux qui vous captiveront.Au-delà de ce succès retentissant, cet épisode vous permettra d'explorer l'influence durable de Giorgio Moroder sur la musique populaire. De 'What a Feeling' pour 'Flashdance' à ses collaborations avec David Bowie et Blondie, vous découvrirez comment cet innovateur a façonné le paysage musical de plusieurs générations.Alors que vous vous laisserez emporter par les sonorités futuristes de Moroder, préparez-vous à redécouvrir vos tubes préférés sous un jour nouveau. Cet épisode de 'La Note Secrète' vous offrira un regard inédit sur l'un des artistes les plus influents de l'histoire de la musique électronique.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Support from Nick Warren, AFFKT, Anthony Pappa, Just Her, Audio Junkies, and of course form Dave Seaman and Steve Parry Jonathan Cowan is an OG of the scene Stateside, particularly in his native Florida, where he gave a certain Dave Seaman his first US residency back in 1998, and to this day remains a kingpin of that week in March when the dance music cognoscenti descend upon Miami. With these two transatlantic amigos and like-minded souls having been (ahem) brothers in rhythm for nigh on three decades now, it was only right & proper that some of JC's studio excursions would find their way to Selador. And so it was. The achingly beautiful ‘Alden's Groove' was first, debuting on our Sweet Sixteenth Showcase in 2022, and then followed by ‘Swaddles' which graced our Seventeenth Instalment in 2023. At the time we described it as “tip top electronic headfuckery”, and some two years on, we ain't changed our minds. So naturally we're pleased as proverbial punch to now unveil a brand-new double-header from JC. ‘Slater' is first up, as clever as it is insanely catchy. It wears several 90s influences proudly on its sleeve (think ‘French Kiss' meets Desert's seminal ‘Moods' and you're part way there), while wrapping everything up in a warm 2025 blanket of sound. Listen now, thank us slater ;) On the flipside, ‘Sawyer' kicks off with a pure 80s Chicago bassline riding that Windy City wave, before Moroder-esque wonktastic riffage joins the fray and takes hold of the dance floor. So high indeed. Tried and tested by both Messrs Seaman & Parry, these two meticulously crafted gems have been staples of their sets for the past few months but don't just take our word for it, judge for yourselves. Team Selador – Running in the family. x
Support from Nick Warren, AFFKT, Anthony Pappa, Just Her, Audio Junkies, and of course form Dave Seaman and Steve Parry Jonathan Cowan is an OG of the scene Stateside, particularly in his native Florida, where he gave a certain Dave Seaman his first US residency back in 1998, and to this day remains a kingpin of that week in March when the dance music cognoscenti descend upon Miami. With these two transatlantic amigos and like-minded souls having been (ahem) brothers in rhythm for nigh on three decades now, it was only right & proper that some of JC's studio excursions would find their way to Selador. And so it was. The achingly beautiful ‘Alden's Groove' was first, debuting on our Sweet Sixteenth Showcase in 2022, and then followed by ‘Swaddles' which graced our Seventeenth Instalment in 2023. At the time we described it as “tip top electronic headfuckery”, and some two years on, we ain't changed our minds. So naturally we're pleased as proverbial punch to now unveil a brand-new double-header from JC. ‘Slater' is first up, as clever as it is insanely catchy. It wears several 90s influences proudly on its sleeve (think ‘French Kiss' meets Desert's seminal ‘Moods' and you're part way there), while wrapping everything up in a warm 2025 blanket of sound. Listen now, thank us slater ;) On the flipside, ‘Sawyer' kicks off with a pure 80s Chicago bassline riding that Windy City wave, before Moroder-esque wonktastic riffage joins the fray and takes hold of the dance floor. So high indeed. Tried and tested by both Messrs Seaman & Parry, these two meticulously crafted gems have been staples of their sets for the past few months but don't just take our word for it, judge for yourselves. Team Selador – Running in the family. x
Un'altra puntata che ci avete richiesto proprio VOI!Ci avete chiesto: “sarebbe bella una puntata sull'elettronica, dalla colta al Pop, da Stokhoausen ai Kraftwerk, da Moroder ai Daft Punk”.Vista l'enorme quantità di contenuti collegati da trattare abbiamo scelto di dividere la richiesta in una miniserie di 3 puntate.In questo episodio affronteremo la Musica Elettronica Colta e l'evoluzione del genere da Stockhausen fino al Krautrock dei Kraftwerk. Scopriremo quindi come si è passati dalla Musica Elettronica Colta a quella Progressiva all'interno della Musica Popolare.Ascolta la playlist dedicata alla puntata:1) Karlheinz Stockhausen Playlist
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
Whether you like it or not, in 1838 Charles Darwin revealed one of the great secrets of the natural world. He saw that this world is ever changing with all living things evolving and that's since life began on Earth. When we turn our backs on the laws of nature, we put ourselves at great risk. AI is not prosperity."Mystery of Mysteries-the appearance of new life on this Earth". MUSIC/T.Bates,C.Shorter, G.Moroder,P.Egelmann,D.Prigent/L.Gerrard,A.Silvestri
durée : 00:04:05 - L'ami.e du vendredi - par : Guillemette Odicino - Ce vendredi, Guillemette Odicino rend hommage à Giorgio Moroder, le pape de la boule à facettes, redevenu culte grâce au Random Access Memories des Daft Punk en 2013.
Tim and Jeremy are back on European soil for our second episode on Eurodisco. Examining their record boxes with a post-colonial lens they discuss the aesthetics and politics of race within the genre. We also here about homoeroticism, history-themed tracks, ‘the honky box', and the life and times of two of the key players in the scene: Jacques Morali and Richie Rome.And of course… Village People.Next time – Moroder!Tracklist:The Ritchie Family - Istanbul (Not Constantinople)The Ritchie Family - African QueensVillage People - San FranciscoBoney M - Ma BakerBoney M - New York City
En 1977, le légendaire producteur Giorgio Moroder expérimentait avec le synthétiseur Moog pour créer un son futuriste. En collaboration avec Donna Summer, ils ont conçu une piste entièrement électronique, une première dans l'industrie de la musique. Le résultat fut le riff hypnotique d'« I Feel Love », qui allait changer à jamais la face de la musique pop et électronique.Donna Summer, malgré sa timidité et sa foi religieuse, s'est emparée de cette piste novatrice pour y insuffler une sensualité débordante. Sa voix puissante et envoûtante a propulsé le titre au rang de classique de la disco, brisant les barrières imposées par certaines maisons de disques qui le trouvaient trop audacieux.C'est précisément cette audace qui a fait d'« I Feel Love » un véritable tournant dans l'histoire de la musique. Le titre a ouvert la voie à l'essor de la musique électronique, inspirant des artistes tels que Daft Punk et Brian Eno, ce dernier ayant même qualifié le son de Moroder de « son du futur ».Aujourd'hui, « I Feel Love » continue de séduire les générations, comme en témoignent ses récentes utilisations dans des publicités et des films. Redécouvrez les coulisses captivantes de ce classique de la disco, qui a su traverser les décennies pour rester une référence incontournable.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.
Abbiamo incontrato Giorgio Moroder, uno dei compositori italiani più famosi a livello internazionale per l'utilizzo dei sintetizzatori. Moroder ha collaborato con Freddie Mercury, David Bowie, Barbra Streisand e i Daft Punk, e ha dato vita a tantissime canzoni e colonne sonore tra le più celebri al mondo. In occasione dell'edizione 2024 di Videocittà al Gazometro di Roma, abbiamo intervistato il disk jockey per farci raccontare com'è nata la collaborazione con i Daft Punk e per approfondire l'argomento musica elettronica e synthesizer, lo strumento musicale che genera suoni a partire da una Liberia pre-esistente di suoni digitali. Learn more about your ad choices. Visit megaphone.fm/adchoices
#Fratellid'Italia ; #Meloni #GiorgiaMeloni #estremi . #America #Biden #Trump #sondaggi @AngeloPaura ; #Maltempo #ValdAosta ; #Strade @ClaudiaGuasco ; Un altro punto in favore di trump e uno in meno per #Biden #AngeloPaura @AngeloPaura ; #GiorgioMoroder #Musica @MattiaMarzi
Ho toccato questo argomento almeno duecento volte nel podcast, ma ecco finalmente uno specialone interamente dedicato alla Discomusic: la nascita, l'underground, l'esplosione, i nomi di punta, i club, la "Febbre del Sabato Sera", il declino e la morte. Ma soprattutto la sua enorme importanza sociale, prima ancora che musicale, per le generazioni successive... Instagram: https://www.instagram.com/swing_out_faber/Spotify: https://spoti.fi/2yxp5xCApple: https://apple.co/2WAUcjKSpreaker: https://www.spreaker.com/show/suono-ma-nessuno-apreGrafica di Daris Nardini: https://instagram.com/thedarside?igshid=YmMyMTA2M2Y=Sigla iniziale: "Suono Ma Nessuno Apre" by Michele PoggiSetlist episodio: Bee Gees - How Deep Is Your LoveManu Dibango - Soul MakossaBarry White - Never, Never Gonna Give You UpKC & The Sunshine Band - I'm Your Boogie ManDonna Summer - Love To Love You BabyDonna Summer - I Feel LoveBoney M. - Ma BakerChic - Le FreakWalter Murphy - A Fifth Of BeethovenBlondie - Heart Of GlassAmanda Lear - TomorrowSisters Sledge - Lost In MusicFonti:"La Storia Della Disco Music" (Hoepli, 2019) di Andrea Angeli Bufalini e Giovanni Savastano
It's JB's birthday pick and he has chosen the 1927 Fritz Lang classic Metropolis, restored and given a new soundtrack in the 80s by the King of 80s Soundtracks, Giorgio Moroder. Felt like homework to Kitt. This is Andy's superhero origin story: the literal zeitgeist of Weimar Germany and what this film was saying. Melissa hated this movie! What songs would we have picked to put in the movie? Studio notes for a remake version? --- Send in a voice message: https://podcasters.spotify.com/pod/show/kissyourfranchisegoodbye/message
In this episode Jeremy and Tim are joined by writer, historian, and friend of the show Simon Reynolds to discuss British musical trends of the 1970s and his life as a music journalist. Simon is arguably the most important music critic writing today, having penned seminal books on post-punk, electronic dance music, feminist rock and much more. In this interview he mostly talks about his most recent book, ‘Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century', sharing stories from his childhood interest in the decadent world of Glam. The three discuss how so many artists came to aestheticise a rejection of suburbia, the purply gauze of Top of the Pops, and thinking the Situationists were a band. They unpick how Punk is imagined and historicised versus how it was experienced, how Simon came to reappraise the 60s against a hostile critical culture, and consider the role of the music press historically and today. For patrons, our extended edition also includes a discussion around Simon's 2011 book ‘Retromania: Pop Culture's Addiction to its Own Past'. Tim, Jeremy and Simon recount the particular conjuncture from which the book arose, tease out its key theses, and apply those to contemporary music culture. Simon Reynolds is the author of ‘Blissed Out: The Raptures of Rock', ‘The Sex Revolts: Gender, Rebellion and Rock 'N' Roll' with Joy Press, ‘Energy Flash: A Journey Through Rave Music and Dance Culture', ‘Rip It Up and Start Again: Postpunk 1978–1984', ‘Bring The Noise: 20 Years of Writing About Hip Rock and Hip-Hop', ‘Retromania: Pop Culture's Addiction to Its Own Past' and ‘Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century'. His next book, ‘Futuromania: Electronic Dreams from Moroder to Migos' is forthcoming. Tracklist: Scott Joplin - The Entertainer Ian Dury & the Blockheads - Plaistow Patricia The Rezillos - Top Of The Pops The Specials - Ghost Town Led Zeppelin - Whole Lotta Love
It's a Mark birthday movie-- the very non-franchise-y Crazy Heart which won Jeff Bridges an Oscar. Unlike the Academy, the rest of us hated this movie to various degrees. Andy goes on a 25 minute rant about country music fans and the Fast Car remake. Mark says Andy needs to calm down. Melissa and Kitt still don't like the movie. Alcoholism. Schroedinger's Single Mom. The age difference thing. We do like the music though. JB appears just in time for studio notes. Can we separate art from artist? Next week is JB's birthday movie, the Moroder version of Metropolis, which you can see here. --- Send in a voice message: https://podcasters.spotify.com/pod/show/kissyourfranchisegoodbye/message
TITLE "MixTape085 Daft Punk vs Giorgio Moroder" 1. "Main Title (From The Motion Picture "Scarface")" - "Giorgio Moroder" 2. "Giorgio by Moroder" - "Daft Punk" 3. "Da Funk" - "Daft Punk" 4. "Get Lucky (Radio Edit) [feat. Pharrell Williams and Nile Rodgers]" - "Daft Punk, Pharrell Williams, Nile Rodgers" 5. "Giorgio's Theme" - "Giorgio Moroder" 6. "74 Is the New 24" - "Giorgio Moroder" 7. "What a Feeling - Hackatone Remix" - "Giorgio Moroder, Hackatone" 8. "Chase" - "Giorgio Moroder" 9. "La Disco" - "Giorgio Moroder" 10. "Right Here, Right Now (feat. Kylie Minogue)" - "Giorgio Moroder, Kylie Minogue" 11. "Never Ending Story - Giorgio 7" Mix" - "Limahl, Giorgio Moroder" 12. "E=Mc2 - Kniagna Remix" - "Giorgio Moroder, Kniagna" 13. "Lichtjahre" - "Schiller, Giorgio Moroder" 14. "Around the World" - "Daft Punk" 15. "Spring Affair - J.C Fous de la Mer Radio Instrumental Mix" - "Giorgio Moroder, J.C. Fous de la mer" 16. "One More Time" - "Daft Punk" 17. "Déjà vu (feat. Sia)" - "Giorgio Moroder, Sia" 18. "Tom's Diner (feat. Britney Spears)" - "Giorgio Moroder, Britney Spears" 19. "Lose Yourself to Dance (feat. Pharrell Williams)" - "Daft Punk, Pharrell Williams" 20. "Starboy" - "The Weeknd, Daft Punk" 21. "I Feel It Coming" - "The Weeknd, Daft Punk" 22. "The World Is Yours" - "Giorgio Moroder"
Het futuristische geluid van Donna Summers I Feel Love is al sinds 1999 elk jaar te horen in de Top 2000. En het nummer blijft de afgelopen jaren maar klimmen in de lijst. De man achter het geluid van die plaat is songwriter en producer Giorgio Moroder. Leo Blokhuis duikt in de carrière van deze pionier binnen de elektronische muziek, tevens de man achter filmhits als Flashdance... What a Feeling en Take My Breath Away uit Top Gun. En Leo laat daarbij ook fragmenten horen uit eigen interviews met Moroder én Donna Summer.
01. DAFT PUNK - Giorgio by Moroder [columbia 2013]02. CERRONE - Supernature (intrumental mix) [malligator 1977]03. FRANKEY & SANDRINO - Acamar [innervisions 2015]04. NANDU - Tears in your eyes [out of options 2023]05. RAMPA - 2000 [cocoon 2021]06. RODRIGUEZ Jr - Kilian [mobilee 2021]07. AGORIA - Grande Torino [infiné 2010]08. IO E PALMIERI - Passi Bind (Ci-fra re-mash) [white 2023]09. MICHAEL FORZZA & DIMITRI ANDREAS feat. JULIAN HIVAL - Kahana (2020 retouch) [systematic 2020]10. CLAUDE VONSTROKE - 7 deadly strokes (patrick chardronnet remix) [neutonmusic 2006]11. ROMAN KYN - Where we belong [siamese 2023]12. JUERGENS - Love it (final mix) [room recordings 2006]13. MADBEN - Circuit breaker [ellum 2023]14. LEN FAKI - BX3 [ostgut ton 2009]15. MACEO PLEX - Solar Detroit [ellum 2015]16. BREACH - Jack (jonathan kaspar remix) [defected 2023]17. DVS1 - Black russian [klockworks 2014]18. DAFT PUNK - Rollin' & scratchin' [warner 1997]JOIN US -> www.facebook.com/itsjustmuzikradioIT'S JUST MUZIK RADIO SHOW presented by DEN MARTELO is played :Every Tuesday 18-20h @ YouFM 106.9 Belgium (www.facebook.com/youfmbe)Every Saturday 18-20h @ Galaxie 95.3 France (www.galaxieradio.fr)Every Sunday 16-18h @ O.N.I.B. Radio (www.onibradio.com)
In this episode, Joe speaks with Dr. David Geisler-Moroder from University of Innsbruck about advancements in research in the field of daylighting and energy modeling and what software tools are available to architects and researchers.
"Sense Of Danger" presents a captivating blend of House and Progressive House, crafted to take listeners on an unforgettable musical journey. This E.P. showcases the 4 Da People's skillful fusion of genres, combining the infectious rhythms of House with the melodic progressions of Progressive House. At the heart of "Sense Of Danger" lies a sexy and groovy Moroder-style bassline that sets the tone for the entire E.P. This pulsating bass creates a mesmerizing foundation for the tracks, immersing listeners in a dynamic and irresistible groove. Adding to the allure of "Sense Of Danger" is the inclusion of a sexy and catchy vocal performance. The vocals not only enhance the overall mood of the E.P. but also serve as a memorable and engaging element that draws listeners in. Prepare yourself for an immersive musical experience as "Sense Of Danger" is set to be released worldwide on May 24th, 2023. Fans and enthusiasts alike can look forward to finding this exceptional E.P. on all major digital music stores and streaming platforms. Don't miss the opportunity to indulge in the seductive rhythms, groovy basslines, and captivating vocals of "Sense Of Danger" by 4 Da People. Mark the release date on your calendar and get ready to immerse yourself in this enticing musical journey.
This is a rewind of an episode from 2021.Today's episode is all about my favourite subgenre of disco and dance music - Italo. What it is, where it came from and why it's so enduring.Italo disco is a European form of electronic disco that proliferated throughout Europe in the early '80s. It's a catch all term for 80s electronic pop of mostly Italian origin.Italo is what happens when disco starts getting made with drum machines and synthesizers - a loveable curio of romantic pop, a tasteless yet tasteful novelty item, A simple music born at a time when music was increasingly sophisticated.Italo is big fun electronic pop music that doesn't take itself too seriously. It is time capsule of a generally more innocent time of bad dancers, keytars, moustaches and chrome-shimmering fashion.From Vice's A Bullshitter's Guide To Italo-Disco by Angus HarrisonImagine, if you can, if somebody made a B-movie of the entire disco genre. Music so obviously emotional, it becomes inescapably affecting. This is Italo and its heartstring-pulling magic. It's not disco, in fact in most cases it's technically a lot worse, but there is untold charm in the chintz.Niall and Andrea take you deep into how US disco morphed into Italo, how Moroder and Hi-NRG fits in, the characteristics of Italo disco, the glitz, the glamour and the keytars. Plus, we talk about the Nialler9 Podcast theme song - Red Dragon Band's 'Let Me Be Your Radio...Patreon members get exclusive access to my 8 hour Italo Disco playlist featuring all of the songs played on this episode, which includes classics likeDoctor's Cat – Feel The DriveMr. Flagio – Take A ChanceLa Bionda – I Wanna Be Your LoverRAF – Self-ControlKen Laszlo – Hey Hey GuyRyan Paris – Dolce VitaSabrina – Boysand many more.Support Nialler9 on Patreon and join our Discord chat Hosted on Acast. See acast.com/privacy for more information.
"Random Access Memories" ist das erfolgreichste Album des französischen Elektro-Popduos Daft Punk. Auf dem Album ist auch der größte Hit der Band "Get Lucky". Für Daft Punk war ihr Album "Random Access Memories" ein unglaublich riesiges Projekt. Rund vier Jahre hat die Produktion des Albums gedauert. Auch finanziell war "Random Access Memories" ein großes Projekt. Mehr als eine Million Euro haben die beiden Bandmitglieder aus ihrem Privatvermögen in die Platte gesteckt. Geld und Zeit, die sich definitiv gelohnt haben. Das Album ist die meistverkaufte Platte der Band, für die die beiden Musiker viele Stars wie Pharell Williams, Chilly Gonzales und auch Nile Rodgers gewinnen konnten. Neben den Fans hat das Album auch die Fachpresse überzeugt und "Random Access Memories" wurde bei der Grammy-Verleihung 2014 mit fünf Trophäen belohnt. Unter anderem als bestes "Popduo" und auch für das "Album des Jahres". SWR1 Meilensteine Gast Sascha Simnovec ist Musiklehrer, Fan und Experte für elektronische Musik. Für ihn ist "Random Access Memories" das beste Album des vergangenen Jahrzehnts, erklärt er im SWR1 Meilensteine Podcast. Auf dem Album machen Daft Punk eine musikalische Reise durch die europäische und amerikanische Tanzmusik der 70er und 80er Jahre. Und die können sie dank Gästen wie Nile Rodgers auch sehr authentisch wiedergeben, aber auch weiterentwickeln. Ein Erkennungsmerkmal von Daft Punk waren sicherlich ihre glänzenden, futuristischen Helme, durch die die Musiker zumindest den Fokus von ihren eigentlichen Personen ablenken konnten. Trotzdem gibt es natürlich einiges, was man zur Hintergrundgeschichte der beiden französischen Musiker Thomas Bangalter und Guy-Manuel de Homem-Christo sagen kann. Die beiden kommen aus zwei gut betuchten, erfolgreichen Künstlerfamilien und sind schon früh mit dem Beruf des Musikers und des Produzenten in Berührung gekommen und musikalisch gefördert worden sind. Dass die beiden Musiker geworden sind war sozusagen unumgänglich. Bevor Guy-Manuel und Thomas sich der elektronischen Popmusik zugewendet haben und 1993 die Gruppe Daft Punk gründeten, waren sie beide Mitglieder der französischen Rockband Darlin'. Trotz oder gerade wegen des unglaublichen Erfolgs trennte sich das Duo 2021. In einem Interview mit der BBC erklärte Thomas Bangalter, dass sie alles erreicht hatten, was sie wollten und es dadurch keine kreative Notwendigkeit mehr gab, gemeinsam Musik zu machen. Eine Entscheidung die für viele Fans sehr enttäuschend gewesen sein muss. __________ Über diese Songs vom Album “Random Access Memories” wird im Podcast gesprochen 17:44 Mins – “Give Life Back to Music” 24:46 Mins – “Giorgio by Moroder” 35:14 Mins – “Within” 42:55 Mins – “Touch” 49:03 Mins – “Get Lucky” 54:26 Mins – “Fragments of Time” 58:05 Mins – “Contact” __________ Über diese Songs wird außerdem im Podcast gesprochen 05:19 Mins – “Happy” von Pharrell Williams 06:23 Mins – “Cuba” von den Gibson Brothers 17:29 Mins – “Le Freak” von Chic 22:31 Mins – “GLBTM” (Studio Outtake) von Daft Punk 25:01 Mins – “Hot Stuff” von Donna Summer 25:10 Mins – “Call Me” von Blondie 25:17 Mins – “What a Feeling” von Irene Cara 25:23 Mins – “Take My Breath Away” von Berlin __________ Shownotes: Jetzt Abstimmen! Die SWR1 Meilensteine sind für den “Deutschen Podcastpreis” nominiert: https://www.deutscher-podcastpreis.de/podcasts/swr1-meilensteine-alben-die-geschichte-machten/ So entstand "Fragments of Time": https://www.youtube.com/watch?v=CYKekR6661o Daft Punk – GLBTM (Studio Outtakes): https://www.youtube.com/watch?v=YiZfLvLU5Jc Daft Punk Dokumentation: https://www.arte.tv/de/videos/098002-012-A/tape-daft-punk/ Einflüsse und Vermächtnis von Daft Punk: https://www.discogs.com/digs/music/daft-punk-random-access-memories-vinyl-influence __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de
What does it all mean? Props to Giorgio Moroder, Paramount and Universal Pictures et al. #GetBung
Donna Summer is famous for her disco and pop career, but before she hit the big time she was already an accomplished singer who sang in musicals, folk opera and in the studio as a session musician. The Boston-born singer started out in a rock band before moving to central Europe to make a living. She was singing in the musical ‘Hair' in Munich when she came to the attention of Moroder's writing partner Pete Belotte. Like most of Summer's early disco hits, I Feel Love was written and produced by Giorgio Moroder and Pete Bellotte. Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/ Check out all other services here: https://linktr.ee/producelikeapro
Donna Summer is famous for her disco and pop career, but before she hit the big time she was already an accomplished singer who sang in musicals, folk opera and in the studio as a session musician. The Boston-born singer started out in a rock band before moving to central Europe to make a living. She was singing in the musical ‘Hair' in Munich when she came to the attention of Moroder's writing partner Pete Belotte. Like most of Summer's early disco hits, I Feel Love was written and produced by Giorgio Moroder and Pete Bellotte. Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/ Check out all other services here: https://linktr.ee/producelikeapro
Vous écoutez Dig Dig Diggers, le magazine des radios Ferarock ! Cette semaine ce sont deux groupes canadiens qui sont mis à l'honneur. Vous aurez l'occasion de découvrir l'album solo de Jonathan Personne, membre de Corridor. Ce premier album pose les bases du son de Personne : une musique épique, inspirée par l'œuvre grandiloquente de brillants compositeurs de trames sonores comme Moroder et Morricone, mais arrangée avec les moyens du bord. Les influences et les esthétiques des quatre dernières décennies du 20e siècle s'y mélangent avec un parti pris pour la langueur et une allégeance bien assumée pour l'anachronisme. Plongez dans son univers avec une interview signée Cédric de Fréquence Mutine. Toujours au Canada, découvrez Bibi Club avec leur album "Le Soleil Et La Mer". Comme une chanson à travers une fenêtre ouverte, comme un vendredi soir au cœur de l'été, on a l'impression d'avoir attendu longtemps Le soleil et la mer. Le premier album de Bibi Club est un album au goût de soleil et d'embruns, chatoyant, élégant, – une fête bilingue après ce qui aura ressemblé pour nous tous à un hiver de deux ans. Marcus de Radio Activ' vous fait découvrir ce groupe le temps d'une interview ! Pour cloturer le magazine de cette semaine, Ludo de Radio Béton reçoit Etienne Legendre, chargé de la programmation du Festival Ouest Park. C'est alors l'occasion de découvrir ce festival havrais, le rendez-vous normand automnale à ne pas manquer !
En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es; 23 a 01,00h) Charlamos con Fran Fernández, uno de los nombres claves del pop español , que lideró en los 90 Australian Blonde, y escribió aquella hermosa historia de La Costa Brava, amén de realizar una notable carrera en solitario. Australian Blonde estarán en el Visor Fest. Los Malinches están de vuelta con cambios en su formación y con un nuevo sonido que será plasmado en un tercer álbum que llegará en noviembre, ‘Planeta Naulhaut'. Carolina Durante y Orslok presentan Casa Kira" y anuncian gira (9-D en sala Mamba). Ojete Calor presenta "Extremismo Mal"; musicalmente, exploran terrenos nuevos con una oda al ‘spaguetti western', a Morricone y al ‘Sancho-Quijote' de Botones. Pero, siguiendo su lógica, no han querido radicalizarse y siguen apostando por Moroder y el space disco. THUS LOVE ofrecen nueva ración de su post-punk de sensibilidad indie con REPETITIONER, adelanto de su álbum debut MEMORIAL. Los asturianos DOCTOR EXPLOSION publican esta semana ‘El día que David Bowie murió'. “Perros y Gatos” es un canto a vivir el momento. No hay tiempo que perder. Airbag, el combo malagueño se desmarca con un medio tiempo vibrante y conmovedor. Carmesí presenta el EP al completo, REFUGIO con Son Buenos, coincidiendo con su última entrega Satélite. BUILT TO SPILL celebran la salida de When The Wind Forgets Your Name, con nuevo video oficial de ROCKSTEADY. WEYES BLOOD asombra con su nuevo single IT'S NOT JUST ME, IT'S EVERYBODY, y anuncia nuevo álbum AND IN THE DARKNESS, HEARTS AGLOW. Björk sigue desgranando el contenido de ‘Fossora', el álbum que publica el próximo 30 de septiembre y, tras el lanzamiento de ‘Atopos', uno de los eventos que han marcado el verano 2022, llega el segundo corte del disco, que recibe el título de ‘Ovule'. Repasamos la agenda y reseñamos conciertos del fin de semana: Alizzz, Nuevo Catecismo Católico, The Sand, Visor Fest :James, The Waterboys, Teenage Fanclub...
Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.
Composer of the web series/podcast, DarkTyme: Stories From The Future, and business manager of the Black Corporation, Bob Rogue, chose the soundtrack to the 1978 film, Midnight Express, with it's Oscar winning Giorgio Moroder score. Bob became familiar with the soundtrack before even seeing the movie and he shares a fun story about hunting down “The Chase”. Ryan and Bob also chat about the legendary career of Giorgio Moroder in both pop music and the soundtrack world as well as Moroder's legacy as a synth pioneer. Ryan and Bob talk about watching live music in Japan and the cultural differences between living in Japan and living in the United States. For More Information about DarkTyme: Stories From the Future / Black Corporation: Website: https://www.youtube.com/channel/UCarDHHGIBKsuzN1hTzBiFRg (DarkTyme) https://podcasts.apple.com/ee/podcast/darktyme-stories-from-the-future/id1590856438 (DarkTyme) IG: https://www.instagram.com/blackcorporation_jp/?hl=en (Black Corporation) If you'd like to support Soundtrack Your Life, we have a Patreon, where you'll get bonus episodes and more! https://www.patreon.com/soundtrackyourlife Check out the Newsly app! For a free 1 month premium subscription, sign up with the promo code: SNDCAST https://www.newsly.me/ (https://www.newsly.me)
Shoulder Instability: Where to put the bone block? This episode covers a study from Germany by Prof. C. Katthagen who did an anatomic study on the optimal bone block position. Phillip Moroder (CH) is our expert today who helps to analyze the findings. Enjoy! Music under CC license by: "Riots" Artist: Jahzzar"Chuuch!" Artist: The good Lawdz
90s Rave Culture El origen de las Rave Parties se remonta a la celebración de fiestas clandestinas que surgen como respuesta a la restricción de horarios para espectáculos nocturnos en algunos países de Europa, como Inglaterra y Holanda, a finales de la década de los 80. Los aficionados a estas fiestas ilegales se daban cita en fábricas y locales abandonados situados a las afueras de la ciudad, para escuchar y bailar música Techno, House, etc. A pesar del carácter secreto de estas convocatorias, en muchas ocasiones la policía descubría el lugar, desalojaba al público y detenía a los organizadores. Con los años la aparición de géneros como el Trance, Garage, Jungle, Drum & Bass, Big Beat y otros estilos hace que estas celebraciones se empiecen a conocer por el nombre de Raves (en inglés significa delirar o desvariar), ahora si legales, donde se dan cita los principales DJ del mundo entero. En este podcast recordamos algunas de aquellas canciones que sonaron durante las largas horas de cualquier fiesta Rave de los 90s. Entre finales de los 80s y principios de los 90s en el Reino Unido el Acid House, el Techno de Detroit y el New Beat de Bélgica se encontraban en plena ebullición y cada fin de semana se concentraban miles de jóvenes en Raves ilegales por distintas zonas del extrarradio de Londres (fabricas abandonadas, Campos de Polo, etc) la mayoría con duración de 24 o incluso 48 horas. Rápidamente comenzaron a surgir nuevos géneros, sub géneros, productores, DJs y artistas procedentes de estas fiestas. En esta época nos encontramos con The Future Sound of London con su single “Papua New Guinea” una combinación de Acid House, Ambient y Techno. Los SL2 y su mega hit “On a Ragga Trip” un corte de breakbeat muy influenciado por los sonidos jamaicanos. Lanzado en 1992, llegando al número 2 y manteniéndose 11 semanas en los rankings de Reino Unido. Adamsky frecuentaba las Raves en sus orígenes y poco después era uno de los principales DJs de estas fiestas, publicando varios singles de éxito, aquí podemos escuchar “N-R-G” una pieza Techno con matices de Acid House (canción de sonido “RAVE”). Lo mismo ocurre con “Something Good” de Utah Saints, uno de sus mayores hits, sonido Techno influenciado por el Acid House. John Lydon (ex Sex Pistols) colaboro con Leftfield y publicaron el potente tema “Open Up” mitad de camino entre el Techno y el House. Daft Punk público su primer disco en 1996, sorprendiendo a todo el mundo con ese sonido tan fresco muy influenciado por la música disco y la electrónica de los 70s de artistas como Cerrone o Moroder, a este sonido se le llamo “French House”. De este disco nos quedamos con “Revolution 909”. En pleno boom del Britpop surgió con gran fuerza el Big Beat, genero derivado del Breakbeat con grandes influencias del Rock, Funk, Hip Hop e incluso el Punk. Sus máximos exponentes fueron los Chemical Brothers, Fatboy Slim y The Prodigy. Comencemos con los hermanos químicos, dos DJs que mezclaban Hip Hop, Techno y House en sus sesiones en Manchester y que pronto comenzaron a componer sus propias producciones y a realizar remezclas para gente como Primal Scream, Leftfield y Republica. Aquí podemos escucharlos con 2 temas: “Hey Boy Hey Girl” y “Dig Your Own Hole”. El ex bajista de The Housemartins Norman Cook más conocido como Fatboy Slim publico varios singles de éxito durante la década, aquí rescatamos “Gangsta Trippin'” y dos remixes, “I See You Baby” de los Groove Armada (otros exponentes de la escena electrónica británica de los 90s) y “Renegade Master” de WIldchild (canción muy influenciada por el Big Beat y el Jungle). Y por último The Prodigy, que a pesar de incluirlos dentro de la escena del Big Beat ellos ya venían publicando canciones de principios de década, muy influenciados por el Jungle, el Breakbeat y el Punk. Aquí podemos escuchar dos de sus principales canciones: “Firestarter” y “No Good”. No puedo dejar de mencionar dos auténticos himnos de la escena Rave y Dance de los 90s. Por un lado Underworld con su “Born Slippy”, una potente base Techno con la voz de su líder Karl Hyde. Y Faithless y su “Insomnia” (mezcla entre House y Rap) Curiosamente ambos fueron publicados en 1995. Nos queda Pianoman y su “Blured” publicado en 1995 y con el sampler reconocible de Blur y su “Boys & Girls” y Apollo 440 con “Stop The Rock”, corte puramente Big Beat. TRACKLIST: 01 - The Future Sound of London - Papua New Guinea 02 - Fatboy Slim - Gangster Trippin' 03 - SL2 - On A Ragga Tip (Edit) 04 - Adamski - N-R-G 05 - Utah Saints - Something Good (12" Mix) 06 - Leftfield Lydo - Open Up 07 - The Prodigy - Firestarter (Edit) 08 - Underworld - Born Slippy Nuxx 09 - The Chemical Brothers - Hey Boy Hey Girl 10 - Daft Punk - Revolution 909 (Radio Edit) 11 - Faithless - Insomnia (Monster Mix Radio Edit) 12 - Groove Armada - Superstylin' 13 - Groove Armada feat. Gram'ma Funk - I See You Baby (Fatboy Slim Edit) 14 - Apollo 440 - Stop the Rock (@440 Original) 15 - The Prodigy - No Good (Start The Dance) (Edit) 16 - The Chemical Brothers - Dig Your Own Hole 17 - Wildchild - Renegade Master (Fatboy Slim Old Skool edit) 18 - Pianoman - Blurred (Original Club Mix)
90s Rave Culture El origen de las Rave Parties se remonta a la celebración de fiestas clandestinas que surgen como respuesta a la restricción de horarios para espectáculos nocturnos en algunos países de Europa, como Inglaterra y Holanda, a finales de la década de los 80. Los aficionados a estas fiestas ilegales se daban cita en fábricas y locales abandonados situados a las afueras de la ciudad, para escuchar y bailar música Techno, House, etc. A pesar del carácter secreto de estas convocatorias, en muchas ocasiones la policía descubría el lugar, desalojaba al público y detenía a los organizadores. Con los años la aparición de géneros como el Trance, Garage, Jungle, Drum & Bass, Big Beat y otros estilos hace que estas celebraciones se empiecen a conocer por el nombre de Raves (en inglés significa delirar o desvariar), ahora si legales, donde se dan cita los principales DJ del mundo entero. En este podcast recordamos algunas de aquellas canciones que sonaron durante las largas horas de cualquier fiesta Rave de los 90s. Entre finales de los 80s y principios de los 90s en el Reino Unido el Acid House, el Techno de Detroit y el New Beat de Bélgica se encontraban en plena ebullición y cada fin de semana se concentraban miles de jóvenes en Raves ilegales por distintas zonas del extrarradio de Londres (fabricas abandonadas, Campos de Polo, etc) la mayoría con duración de 24 o incluso 48 horas. Rápidamente comenzaron a surgir nuevos géneros, sub géneros, productores, DJs y artistas procedentes de estas fiestas. En esta época nos encontramos con The Future Sound of London con su single “Papua New Guinea” una combinación de Acid House, Ambient y Techno. Los SL2 y su mega hit “On a Ragga Trip” un corte de breakbeat muy influenciado por los sonidos jamaicanos. Lanzado en 1992, llegando al número 2 y manteniéndose 11 semanas en los rankings de Reino Unido. Adamsky frecuentaba las Raves en sus orígenes y poco después era uno de los principales DJs de estas fiestas, publicando varios singles de éxito, aquí podemos escuchar “N-R-G” una pieza Techno con matices de Acid House (canción de sonido “RAVE”). Lo mismo ocurre con “Something Good” de Utah Saints, uno de sus mayores hits, sonido Techno influenciado por el Acid House. John Lydon (ex Sex Pistols) colaboro con Leftfield y publicaron el potente tema “Open Up” mitad de camino entre el Techno y el House. Daft Punk público su primer disco en 1996, sorprendiendo a todo el mundo con ese sonido tan fresco muy influenciado por la música disco y la electrónica de los 70s de artistas como Cerrone o Moroder, a este sonido se le llamo “French House”. De este disco nos quedamos con “Revolution 909”. En pleno boom del Britpop surgió con gran fuerza el Big Beat, genero derivado del Breakbeat con grandes influencias del Rock, Funk, Hip Hop e incluso el Punk. Sus máximos exponentes fueron los Chemical Brothers, Fatboy Slim y The Prodigy. Comencemos con los hermanos químicos, dos DJs que mezclaban Hip Hop, Techno y House en sus sesiones en Manchester y que pronto comenzaron a componer sus propias producciones y a realizar remezclas para gente como Primal Scream, Leftfield y Republica. Aquí podemos escucharlos con 2 temas: “Hey Boy Hey Girl” y “Dig Your Own Hole”. El ex bajista de The Housemartins Norman Cook más conocido como Fatboy Slim publico varios singles de éxito durante la década, aquí rescatamos “Gangsta Trippin’” y dos remixes, “I See You Baby” de los Groove Armada (otros exponentes de la escena electrónica británica de los 90s) y “Renegade Master” de WIldchild (canción muy influenciada por el Big Beat y el Jungle). Y por último The Prodigy, que a pesar de incluirlos dentro de la escena del Big Beat ellos ya venían publicando canciones de principios de década, muy influenciados por el Jungle, el Breakbeat y el Punk. Aquí podemos escuchar dos de sus principales canciones: “Firestarter” y “No Good”. No puedo dejar de mencionar dos auténticos himnos de la escena Rave y Dance de los 90s. Por un lado Underworld con su “Born Slippy”, una potente base Techno con la voz de su líder Karl Hyde. Y Faithless y su “Insomnia” (mezcla entre House y Rap) Curiosamente ambos fueron publicados en 1995. Nos queda Pianoman y su “Blured” publicado en 1995 y con el sampler reconocible de Blur y su “Boys & Girls” y Apollo 440 con “Stop The Rock”, corte puramente Big Beat. TRACKLIST: 01 - The Future Sound of London - Papua New Guinea 02 - Fatboy Slim - Gangster Trippin' 03 - SL2 - On A Ragga Tip (Edit) 04 - Adamski - N-R-G 05 - Utah Saints - Something Good (12" Mix) 06 - Leftfield Lydo - Open Up 07 - The Prodigy - Firestarter (Edit) 08 - Underworld - Born Slippy Nuxx 09 - The Chemical Brothers - Hey Boy Hey Girl 10 - Daft Punk - Revolution 909 (Radio Edit) 11 - Faithless - Insomnia (Monster Mix Radio Edit) 12 - Groove Armada - Superstylin' 13 - Groove Armada feat. Gram'ma Funk - I See You Baby (Fatboy Slim Edit) 14 - Apollo 440 - Stop the Rock (@440 Original) 15 - The Prodigy - No Good (Start The Dance) (Edit) 16 - The Chemical Brothers - Dig Your Own Hole 17 - Wildchild - Renegade Master (Fatboy Slim Old Skool edit) 18 - Pianoman - Blurred (Original Club Mix)
---ARTICLES AND LINKS DISCUSSED"When you give up your dream, you die.""Flashdance" [1983] Trailer:https://www.youtube.com/watch?v=9aqbkd19pMA---Pittsburgh And Dance – New York Timeshttps://www.nytimes.com/1983/04/15/movies/pittsburgh-and-dance.html---Flashdance – Roger Eberthttps://www.rogerebert.com/reviews/flashdance-1983 ---What Hurt Feelings: The Untold Story Of The 31-Year Battle Over "Flashdance"https://www.buzzfeed.com/sorayaroberts/the-untold-story-of-the-people-flashdance-left-behind---FOLLOW THE CONVERSATION ON reddit:https://www.reddit.com/r/sideboobcinema/---SUPPORT THE NEW FLESHPatreon:https://www.patreon.com/user?u=61455803Buy Me A Coffee:https://www.buymeacoffee.com/thenewflesh---Instagram: @thenewfleshpodcast---Twitter: @TheNewFleshpod---Follow Ricky: @ricky_allpike on InstagramFollow Jon: @thejonastro on InstagramFollow AJ: @_aj_1985---SIDEBOOB CINEMA produced by Sheila EhksLogo Design by Made To Move: @made.tomoveTheme Song: Dreamdrive "Good In Red"
Music writer Pete Paphides has turned to songwriters and musicians, from Abba to the Undertones, to make sense of all the big moments in his life. So when he got the call he was dreading, to say that his father was dying, it was music that saw him through shock, denial and loss. In this moving audio essay, read by the author, Paphides explores both the unpredictability of grief and the way his playlists gained fresh meaning – particularly the traditional songs his Greek-Cypriot father listened to, which remind him of home and wet weekends above the family fish-and-chip shop in Birmingham. “This is the gift that grief gives you,” says Paphides. “When a loved one leaves this world, they take with them the invisible membrane that stood between your senses and the songs they receive.” For months, he had been looking forward to the premiere of the Abba Voyage hologram show; now, it falls on the eve of his father's funeral. When he attends the show, how will it affect him? This article was originally published on 11 June 2022. You can read the text version (with playlist) here. Music quoted in this piece:“Freetime” by Trashcan Sinatras“Giorgio by Moroder” by Daft Punk“Maddox Table” by 10,000 Maniacs“Ena omorfo amaxi me dio aloga” (One Cart with Two Horses) by Grigoris Bithikotsis“Six Words” by Elbow Hosted on Acast. See acast.com/privacy for more information.
Host Nate Wilcox asks Dave to discuss the origins of "I Feel Love", the careers of Summer and Moroder before and after the song, and some of the other songs and artists whose work anticipated electronic dance music.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.
Host Nate Wilcox asks Dave to discuss the origins of "I Feel Love", the careers of Summer and Moroder before and after the song, and some of the other songs and artists whose work anticipated electronic dance music. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
Host Nate Wilcox asks Dave to discuss the origins of "I Feel Love", the careers of Summer and Moroder before and after the song, and some of the other songs and artists whose work anticipated electronic dance music. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
Host Nate Wilcox asks Dave to discuss the origins of "I Feel Love", the careers of Summer and Moroder before and after the song, and some of the other songs and artists whose work anticipated electronic dance music.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.
Brace yourselves for a MONSTER of a synthwave show on this frightful halloween! We grabbed EDM Extrodinare Smitech Wesson, who is hot on the synthwave scene with his debut EP "Azra & Leyra". He only went and provided a 2 hour mix for us! If that's not enough?! How about early first plays from: Phaserland, Strike Eagle & Arctic Mega Defender, Beckett and MASKED? Still not enough??!!! How about the biggest synthwave superstar playlist we've done yet?! What you waiting for?! Let's get to it! Artist of the weeK:@smitechwesson D J J D S E T L I S T [00:35] Vincenzo Salvia: Fear of the Bark [02:30] Dark Smoke Signal: Thunder Road [06:25] DJ Keltech: boogeymen [08:50] Thrillhammer: Heart Throbbing Lover (Tal M Klein Remix) [11:30] Moonrunner 83: Running on Empty (Instrumental Version) [14:45] Memorex Memories: Under The Tree [17:00] Yota: Runaway [19:35] Gryff: Miami Overdrive (Extended Edit) [22:30] MASKED: And Justice For All [25:30] Yota: Lucid Dreams [28:30] Dan Terminus: Feral [30:50] Beckett: Fright Night Fever [33:45] Daniel Deluxe: The Orb [35:45] Deadlife: Hard Bitch [39:10] Cat Temper: Meoward Spiral [41:50] Phaserland: Space Glide (feat. Glitter) [45:20] Lebrock: Heartstrings (Wolf Club Remix) [48:30] FM 84: Running in the Night (Featuring Ollie Wride) [51:30] Contre Attaque: Save The World [55:40] FHE: Crucifix of Light (feat. Shaun P & G Tom Mac) [59:05] System Glow: Urban Escape [1:00:15] Thought Beings: Strange Matter [1:02:40] Aeronexus: Universal Equilbrium (feat. Contre Attaque) [1:06:15] Arctic Mega Defender: Pool Shark! (feat Strike Eagle) [1:09:55] Carpenter Brut: Maniac S M I T E CH W E S S O N S E T L I S T [1:14:10] Fukkk Offf: Pacific Coast Highway [1:17:20] Stellar Dreams: Dimensions [1:21:00] Street Fever: La Corde [1:24:15] Absolute Valentine: Bad News [1:26:50] Two Door Cinema Club: Sun (Gigamesh Remix) [1:31:50] Emil Rottmayer: T.I.M.E (Part 2) [1:34:05] Smitech Wesson: Azra [1:37:05] Emil Rottmayer: Audia [1:41:25] LoVe On The Beat: Under Control (Bestrack Remix) [1:43:50] PYLOT: Shadowtask [1:46:55] Devault, Power Glove: Intrusion [1:49:15] Vitalic feat. David Shaw: Waiting for the Stars (feat. David Shaw) [1:52:40] FM-84: Wild Ones (feat. Ollie Wride) [1:56:50] Smitech Wesson: Leyla [2:00:00] Moskva: Kassiopeya - Le Voyage [2:03:50] Magna: Divide (Miami Edit) Hotline Miami OST [2:07:25] M.A.D.E.S: Nightkiller [2:11:45] LVX: Posthuman [2:15:05] Johnny Ola: L.A.P.D [2:19:20] ORAX: Summer '89 [2:23:45] Magic Sword: Legend of the Keeper [2:28:45] Nightstop: Streetwalker [2:32:05] 7DD9: No Mercy (Cobra Kai 1984 Mix) [2:35:25] Z6b3r: 2020 [2:38:20] Majestique feat. Lakshmi: Renegades [2:42:20] Blende: Paramount [2:46:55] Teenage Bad Girl: Keep Up With You [2:52:40] ALEX & Tokyo Rose: Rivals (feat. Power Glove) [2:55:15] Daft Punk: Giorgio by Moroder [2:57:55] Captain Mustache Feat. Play Paul: Everything (Original Mix) [3:02:00] Eski Teyp: all you need [3:05:05] Kris Menace feat. Black Hills: Waiting For You (Oliver Remix) [3:08:55] Naeleck, Sarah Rebecca: All My Heroes [3:13:10] The Midnight: Jason (feat. Nikki Flores)
1-Cuba, 60 anni fa l' inizio del Bloqueo imposto dagli Stati Uniti. ..L'embargo, che ha un impatto su ogni aspetto della vita sull'isola, non ha impedito ai fratelli Castro ..di fornire alla popolazione ottimi sistemi sanitario e educativo. Ma la gravissima crisi economica dovrebbe indurre l'attuale dirigenza ad attuare profonde riforme...( Claudio Agostoni, Gianni Beretta) ..2- In Europa la fine della pandemia è dietro l'angolo, L'OMS lancia un messaggio all'insegna dell' ottimismo ma avverte che l'attuale tregua può durare a lungo soltanto se si raggiungerà..un alto tasso di vaccinazione in tutto il mondo. ( Andrea Zighetti) ..3- In Africa una persona su 5 soffre di denutrizione e 93 milioni di persone in 36 Paesi sono senza cibo. Dal nuovo rapporto dell'Oxfam pubblicato alla vigilia del summit africano e europeo...( Francesco Petrelli – Oxfam) ..4-Diario Americano. Joe Biden a New York, alle prese con una ondata di criminalità senza precedenti. ( Roberto Festa) ..5-World Music: dalla Nigeria l'album di “ Ibibio Sound Machine “, il collettivo che condanna nelle sue canzoni l'estremismo di Boko Haram e che cita la Techno di Detroit e la Disco di..Moroder. ( Marcello Lorrai)
1-Cuba, 60 anni fa l' inizio del Bloqueo imposto dagli Stati Uniti. ..L'embargo, che ha un impatto su ogni aspetto della vita sull'isola, non ha impedito ai fratelli Castro ..di fornire alla popolazione ottimi sistemi sanitario e educativo. Ma la gravissima crisi economica dovrebbe indurre l'attuale dirigenza ad attuare profonde riforme...( Claudio Agostoni, Gianni Beretta) ..2- In Europa la fine della pandemia è dietro l'angolo, L'OMS lancia un messaggio all'insegna dell' ottimismo ma avverte che l'attuale tregua può durare a lungo soltanto se si raggiungerà..un alto tasso di vaccinazione in tutto il mondo. ( Andrea Zighetti) ..3- In Africa una persona su 5 soffre di denutrizione e 93 milioni di persone in 36 Paesi sono senza cibo. Dal nuovo rapporto dell'Oxfam pubblicato alla vigilia del summit africano e europeo...( Francesco Petrelli – Oxfam) ..4-Diario Americano. Joe Biden a New York, alle prese con una ondata di criminalità senza precedenti. ( Roberto Festa) ..5-World Music: dalla Nigeria l'album di “ Ibibio Sound Machine “, il collettivo che condanna nelle sue canzoni l'estremismo di Boko Haram e che cita la Techno di Detroit e la Disco di..Moroder. ( Marcello Lorrai)
---ARTICLES AND LINKS DISCUSSED"When you give up your dream, you die.""Flashdance" [1983] Trailer:https://www.youtube.com/watch?v=9aqbkd19pMA---Pittsburgh And Dance – New York Timeshttps://www.nytimes.com/1983/04/15/movies/pittsburgh-and-dance.html---Flashdance – Roger Eberthttps://www.rogerebert.com/reviews/flashdance-1983 ---What Hurt Feelings: The Untold Story Of The 31-Year Battle Over "Flashdance"https://www.buzzfeed.com/sorayaroberts/the-untold-story-of-the-people-flashdance-left-behind---SUPPORT THE NEW FLESHPatreon:https://www.patreon.com/user?u=61455803Buy Me A Coffee:https://www.buymeacoffee.com/thenewflesh---Instagram: @thenewfleshpodcast---Twitter: @TheNewFleshpod---Follow Ricky: @ricky_allpike on InstagramFollow Jon: @thejonastro on InstagramFollow AJ: @_aj_1985---SIDEBOOB CINEMA produced by Sheila EhksLogo Design by Made To Move: @made.tomoveTheme Song: Dreamdrive "Good In Red"
Forged in the fires of Arizona's seminal 90s rave scene, Markus Schulz first went state, then national and with equal pace, international. From the building blocks of progressive trance & house, he crafted early anthems like ‘The New World' and latter-day ones like ‘Destiny'. He's helmed the scene-essential Coldharbour Recordings label for 13 years, chaired the Global DJ Broadcast radio show for 17 and remixed everyone from Moroder to Madonna. His floor-bound adventures have met with equal acclaim. Through his native audience affinity, flawless mixing, instinctive tune selection, and stylistically vast open-till-close sets, he has wowed crowds in every major city on Earth. Markus has scaled the upper reaches of the world's DJ rankings — a three-time winner of DJ Times' America's Best DJ crown ('12, '14 & ‘18) — and has drawn acclaim from every electronic music portal & press outlet on the planet. A regular fixture at the world's most famous clubs, arenas and festival stages, weekly, he continues to share his inimitable musical vision. In Europe, he's floored audiences at events like Transmission, Electronic Family, Nature One and Dance Valley. He's creamed Creamfields; gridlocked Global Gatherings and hosted his own stage at Tomorrowland. Stateside, EDC, Ultra, Nocturnal and numerous others have all similarly felt Schulz's presence. His legendary sets at spots like Space (Miami), Avalon (Los Angeles), Stereo (Montreal), Amnesia (Ibiza), as well as his International Residency at Ministry Of Sound, have become rites of passage for music lovers around the world. Most recently, Markus conceived and delivered the ‘Watch The World' album. Released in October 2018, the album ran in the same stylistic vein as forerunner ‘We Are The Light', with a heavy, all-but-exclusive emphasis on song-based tracks. Again the album afforded Markus the much-desired chance to resume his songwriting, which first came to the fore on ‘WTW'. The album's first numbers were introduced by way of Spring ‘18's ‘In Bloom' EP. ‘Calling For Love', which featured vocals from JES, and the Emma Hewitt-sung ‘Safe From Harm' both debuted as part of the EP. Following in summer was ‘Upon My Shoulders', which featured frontman Sebu of indietronica outfit Capital Cities. The album also included a first-time collaboration with Christina Novelli, as well as co-productions with Romanian stars Smiley and Alina Eremia. ------------------ Tracklist: 1. Markus Schulz, BT - I Need Love 2. Fisherman - Nature vs. Nurture 3. Orjan Nilsen, Dennis Sheperd, Nifra & Estiva - Cabin Fever 4. Markus Schulz, Smiley - The Dreamers [Markus Schulz In Bloom Mix] 5. Arkham Knights - Knightvision 6. Marshmello, Bastille - Happier [Markus Schulz Festival Mix] 7. Probspot - Blueberry [Daniel Wanrooy Remix] 8. Ferry Corsten, BT - 1997 9. Mike EFEX - Wolfenstein 10. Markus Schulz, Alina Eremia - You Light Up the Night 11. Jam & Spoon - Follow Me [Jerome Isma-Ae Remix] 12. Daxson, MK - Culture 17 [Daxson Mashup] 13. Lewis Capaldi - Someone You Loved [Markus Schulz Remix] 14. Harry Square vs. Queen - A Dreamworld of Radio Ga Ga [Markus Schulz Mashup] 15. ID 16. Markus Schulz, HALIENE - Ave Maria ------------------ Check out Markus Schulz: http://www.facebook.com/markusschulz http://twitter.com/MarkusSchulz http://soundcloud.com/markusschulz http://www.instagram.com/markusschulz ------------------ Listen to more exclusive mixes: iedm.com/blogs/iedmradio www.youtube.com/c/Iedmradiopodcast www.mixcloud.com/iEDMradio/ iedmradio.podbean.com/?source=pb Need the hottest in EDM apparel? Buy the latest here: iedm.com/ ------------------ Discover more: www.facebook.com/iEDMOfficial www.twitter.com/iEDMofficial instagram.com/iEDMofficial iEDMofficial.tumblr.com www.youtube.com/c/IEDMhomeoftherave
Widely credited as the father of disco and a pioneer of electronic dance music, Moroder's imprint on the music world is broad and definitive - so much so that his history feels like an archeological dig into the roots of modern music. Moroder connects the heart and the mind with the synthesizer as his instrument of choice; he helped define what the future might be, and that future is now. He is currently on tour as a DJ, spinning his favorite tracks and smiling as we all dance. Facebook Event: https://www.facebook.com/events/1821957141196385/ Ticket Link: https://www.ticketfly.com/purchase/event/1714560?_ga=2.98236511.1157886312.1535382075-2124148799.1535382075 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Get on the Turnpike Towards The Area Of Increased Hazards, as Ali shows Jon 1986's best Navy recruitment video Top Gun. Ali is nauseated by the lack of sexual chemistry between our leads. Jon is just glad to be hanging with the boys. Both are sad to learn that the pattern is full. Top Gun was directed by Tony Scott and stars Maverick, Goose, Iceman, Slider, Jester, Gooch, Pottymouth, Pancakes, Zippo, Gummo, Shemp, and Tom Skerritt. There's some Loggins, some Moroder, and some Faltermeyer.
© 2020-2025 Ivy Podcast Discovery LLC
