Podcasts about X Japan

This month we are featuring the legendary X Japan! Formed in 1982, the rock band is known for their theatrical performances and unique style. Join Vicky and Shanna for another episode filled with great tunes and conversation!---Scripted & QAed by: ConnorHosted by: Vicky & ShannaAudio Edited: Jonathan Uploaded by: FredSupport this podcast at — https://redcircle.com/japan-top-10-ri-ben-nototsupu10-jpop-hits/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers     The Man Called X An espionage radio drama that aired on CBS and NBC from July 10, 1944, to May 20, 1952. The radio series was later adapted for television and was broadcast for one season, 1956–1957. People Herbert Marshall had the lead role of agent Ken Thurston/"Mr. X", an American intelligence agent who took on dangerous cases in a variety of exotic locations. Leon Belasco played Mr. X's comedic sidekick, Pegon Zellschmidt, who always turned up in remote parts of the world because he had a "cousin" there. Zellschmidt annoyed and helped Mr. X. Jack Latham was an announcer for the program, and Wendell Niles was the announcer from 1947 to 1948. Orchestras led by Milton Charles, Johnny Green, Felix Mills, and Gordon Jenkins supplied the background music. William N. Robson was the producer and director. Stephen Longstreet was the writer. Production The Man Called X replaced America — Ceiling Unlimited on the CBS schedule. Television The series was later adapted to a 39-episode syndicated television series (1956–1957) starring Barry Sullivan as Thurston for Ziv Television. Episodes Season 1 (1956) 1 1 "For External Use Only" Eddie Davis Story by : Ladislas Farago Teleplay by : Stuart Jerome, Harold Swanton, and William P. Templeton January 27, 1956 2 2 "Ballerina Story" Eddie Davis Leonard Heideman February 3, 1956 3 3 "Extradition" Eddie Davis Ellis Marcus February 10, 1956 4 4 "Assassination" William Castle Stuart Jerome February 17, 1956 5 5 "Truth Serum" Eddie Davis Harold Swanton February 24, 1956 6 6 "Afghanistan" Eddie Davis Leonard Heidman March 2, 1956 7 7 "Embassy" Herbert L. Strock Laurence Heath and Jack Rock March 9, 1956 8 8 "Dangerous" Eddie Davis George Callahan March 16, 1956 9 9 "Provocateur" Eddie Davis Arthur Weiss March 23, 1956 10 10 "Local Hero" Leon Benson Ellis Marcus March 30, 1956 11 11 "Maps" Eddie Davis Jack Rock May 4, 1956 12 12 "U.S. Planes" Eddie Davis William L. Stuart April 13, 1956 13 13 "Acoustics" Eddie Davis Orville H. Hampton April 20, 1956 14 14 "The General" Eddie Davis Leonard Heideman April 27, 1956 Season 2 (1956–1957) 15 1 "Missing Plates" Eddie Davis Jack Rock September 27, 1956 16 2 "Enemy Agent" Eddie Davis Teleplay by : Gene Levitt October 4, 1956 17 3 "Gold" Eddie Davis Jack Laird October 11, 1956 18 4 "Operation Janus" Eddie Davis Teleplay by : Jack Rock and Art Wallace October 18, 1956 19 5 "Staff Headquarters" Eddie Davis Leonard Heideman October 25, 1956 20 6 "Underground" Eddie Davis William L. Stuart November 1, 1956 21 7 "Spare Parts" Eddie Davis Jack Laird November 8, 1956 22 8 "Fallout" Eddie Davis Teleplay by : Arthur Weiss November 15, 1956 23 9 "Speech" Eddie Davis Teleplay by : Ande Lamb November 22, 1956 24 10 "Ship Sabotage" Eddie Davis Jack Rock November 29, 1956 25 11 "Rendezvous" Eddie Davis Ellis Marcus December 5, 1956 26 12 "Switzerland" Eddie Davis Leonard Heideman December 12, 1956 27 13 "Voice On Tape" Eddie Davis Teleplay by : Leonard Heideman December 19, 1956 28 14 "Code W" Eddie Davis Arthur Weiss December 26, 1956 29 15 "Gas Masks" Eddie Davis Teleplay by : Jack Rock January 3, 1957 30 16 "Murder" Eddie Davis Lee Berg January 10, 1957 31 17 "Train Blow-Up" Eddie Davis Ellis Marcus February 6, 1957 32 18 "Powder Keg" Jack Herzberg Les Crutchfield and Jack Rock February 13, 1957 33 19 "Passport" Eddie Davis Norman Jolley February 20, 1957 34 20 "Forged Documents" Eddie Davis Charles Mergendahl February 27, 1957 35 21 "Australia" Lambert Hill Jack Rock March 6, 1957 36 22 "Radio" Eddie Davis George Callahan March 13, 1957 37 23 "Business Empire" Leslie Goodwins Herbert Purdum and Jack Rock March 20, 1957 38 24 "Hungary" Eddie Davis Fritz Blocki and George Callahan March 27, 1957 39 25 "Kidnap" Eddie Davis George Callahan April 4, 1957 sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia     The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs     The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow #sundaynightmystery #lymebayradio fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

pWotD Episode 2816: David Lynch Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 1,222,558 views on Thursday, 16 January 2025 our article of the day is David Lynch.David Keith Lynch (January 20, 1946 – January 15, 2025) was an American filmmaker, visual artist, musician, and actor. He received critical acclaim for his films, which are often distinguished by their surrealist, dreamlike qualities. In a career spanning more than fifty years, he was awarded with numerous accolades, including the Golden Lion for Lifetime Achievement at the Venice Film Festival in 2006 and an Honorary Academy Award in 2019. Described as a "visionary", Lynch was considered one of the most important filmmakers of his era.Lynch studied painting before he began making short films in the late 1960s. His first feature-length film was the independent surrealist film Eraserhead (1977), which saw success as a midnight movie. He was nominated for the Academy Award for Best Director for the biographical drama The Elephant Man (1980), the neo-noir thriller Blue Velvet (1986), and the surrealist mystery Mulholland Drive (2001). His romantic crime drama Wild at Heart (1990) won the Palme d'Or at the Cannes Film Festival. He also directed the space opera adaptation Dune (1984), the surrealist neo-noir Lost Highway (1997), the biographical drama The Straight Story (1999), and the experimental film Inland Empire (2006). Lynch and Mark Frost created the ABC series Twin Peaks (1990–91), for which he was nominated for five Primetime Emmy Awards, including Outstanding Directing for a Drama Series and Outstanding Writing for a Drama Series. Lynch co-wrote and directed its film prequel, Twin Peaks: Fire Walk with Me (1992), and its revival series Twin Peaks: The Return (2017). He also portrayed FBI agent Gordon Cole in Twin Peaks and John Ford in Steven Spielberg's The Fabelmans (2022), and guest starred in shows such as The Cleveland Show (2010–13) and Louie (2012).Lynch also worked as a musician, encompassing the studio albums BlueBOB (2001), Crazy Clown Time (2011), and The Big Dream (2013), as well as painting and photography. He wrote the books Images (1994), Catching the Big Fish (2006), and Room to Dream (2018). He directed several music videos, for artists such as X Japan, Moby, Interpol, Nine Inch Nails, and Donovan, and commercials for Dior, YSL, Gucci, and the NYC Department of Sanitation. A practitioner of Transcendental Meditation (TM), he founded the David Lynch Foundation.This recording reflects the Wikipedia text as of 03:26 UTC on Friday, 17 January 2025.For the full current version of the article, see David Lynch on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Danielle.

✨ Nuova Puntata del Podcast! ✨ In questa puntata di Giappone nel mondo, ci immergiamo nell'affascinante sottocultura del Visual Kei, un fenomeno musicale e artistico che ha lasciato un'impronta indelebile in Giappone e oltre. ☝️ Cosa scoprirai in questa puntata? La nascita del Visual Kei con gli X Japan. Come musica, moda e androginità hanno rotto gli schemi tradizionali. L'evoluzione del movimento negli anni e il suo impatto globale. Consigli su band, manga e anime influenzati dal Visual Kei. ✨ Un viaggio tra ribellione, spettacolo e creatività che non puoi perdere! ➜ Ascolta ora su tutte le piattaforme! E non dimenticare di lasciare un commento per raccontarci la tua esperienza con il Visual Kei. ❤️ Link utili: YouTube: https://www.youtube.com/@plot-twister Twitch: https://www.twitch.tv/plottwistertv Instagram Giappone nel mondo: https://www.instagram.com/giapponenelmondo/ Instagram PlotTwister: https://www.instagram.com/plottwistertv/ Instagram Sono in viaggio: https://www.instagram.com/sono.in.viaggio/ Hashtag: #VisualKei #XJapan #MusicaGiapponese #GiapponeNelMondo #PlotTwister #JRock #Sottoculture #ModaGiapponese #Anime #Manga #Ribellione #CulturaGiapponese #Podcast #Giappone #Androginità #Subculture #MetalGiappone #EsteticaGiapponese #VisualKey #MusicaRock #PodcastItalia

Twitter Japan、「X Corp. Japan」に社名変更　ロックバンド“X JAPAN”にはならず。　X（旧Twitter）日本法人のTwitter Japanは11月23日、社名を「X Corp. Japan （エックス コープ ジャパン）」に変更したことを発表した。

The Metal Exchange Podcast guys discuss X-Japan's 1993 release, "Art of Life", watch along style! Listen to "Art of Life": ⁠⁠⁠ https://www.youtube.com/watch?v=_gdO0zsOpqM http://www.xjapan.com/ https://www.facebook.com/XJapan *Become a Member of our Patreon* ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/TheMetalExchangePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ *Purchase our theme song - "The Blade of Nicchi" ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://taliesin3.bandcamp.com/track/blood-sky-the-blade-of-nicchi-feat-micheal-mills⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ *Other Band Mentions* Simone Simmons: https://www.simonesimonsmusic.com/ Thermality: https://www.facebook.com/thermality Fourth Dominion: https://fourthdominion.bandcamp.com/ & https://www.facebook.com/fourthdominion Mayhem: https://www.thetruemayhem.com/ & https://www.facebook.com/mayhemofficial *Join us at The Metal Exchange* ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/MetalExchange⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://metalexchangepodcast.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/TheMetalExchangePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/groups/metalexchanges⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/themetalexchangepodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/MetalExchangePd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/user/4tn81zpim10zdl0qu1azagd8o⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.reddit.com/r/MetalExchangePodcast⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/themetalexchangepodcast/support

It's Episode 85 of the Nerdcast Empire and Episode 25 of Music Weekly as heard LIVE on Twitch.tv/nerdcastempire on August 4, 2024.This week, we discuss the news that Aerosmith is retiring, and their impact on music history. We then check out the best rock and metal releases from July 19. We listen to awesome new music from Orange Goblin, Damaged & Co., Falcon Trails and Shallow Side.Then we head into the vault to check out classic releases from X Japan and Don Henley.It's music weekly on the Nerdcast Empire. Tune in!

This week heed the call of the sumo wrestling, battle-axe-wielding, baby seal-faced man! All hail Johnny the Mighty Tior!!! Yep, it's another installment of our ongoing series called “Grave Mistakes: They Shoulda Been Huge!!!”. We're talking about a seminal New Wave Of “Not So” British Heavy band turned Power Metal trendsetters: RIOT! Infamous as much for horrible album cover visuals and weird heavy metal mascot, Riot is a true heavy metal tour de force that is still kicking ass in 2024. We focus our listening on the first half of their career from their start in 1977 until their transition to pure power metal in 1990. They were always slightly ahead of the curve and trends, but never achieved the success of many of their peers or bands they influenced. We think RIOT shoulda been huge!!!What is it that we do here at InObscuria? Well, we exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. This episode covers a band clearly in the Lost category for most and forgotten for others. As always, we hope that we turn you on to something new. You can check out the documentary we referenced several times during the show here: three-part documentary: Riot – Fight or Fall, available here on Youtube Songs this week include:Riot – “Warrior” from Rock City (1977)Riot – “Road Racin'” from Narita (1979)Riot – “Don't Hold Back” from Fire Down Under (1981)Riot – “Loanshark” from Restless Breed (1982)Riot - “Born In America” from Born In America (1983)Riot – “Thundersteel” from Thundersteel (1988)Riot – “Little Miss Death” from The Privilege Of Power (1990)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

X Japan have released a proper studio album since 1996. They did release a soundtrack in 2016, and released the occasional single too, but as for a longer release? Nada. Zilch. Of course, some of this is down to the fact they essentially broke up and only reunited in 2007. In this episode, we'll be talking about their 5 studio albums. Chris' album choice is actually their 1988 debut, Vanishing Vision. So as usual, we'll leave the chosen album to last. Before that, though, we go on a wild ride through their discography. From what is perhaps their best album Blue Blood, to their most recent output, which is 1996's Mania. Buckle up - we're going deep on this one!

There's been a fair amount of ink spilled on X Japan over the years in certain media outlets. You can even find recent interviews with drummer/pianist/primary songwriter and Japanese megastar Yoshiki in prestigious publications like Time magazine. X Japan, however, remain something of an enigma on British shores. Sure, Yoshiki – a classically trained pianist with a background in drumming for the power metal band X Japan – can sell out the Royal Albert Hall solo, but X Japan themselves have never played a single show in the UK, despite being around for over 40 years. If you're a fan of power metal, speed metal, or Iron Maiden, there's a good chance you'll dig a lot of X Japan's music. But their relative obscurity here in the UK isn't the only reason we're dedicating two episodes to them. It's because the story of the band is absolutely wild, and in episode one, we'll delve into that story in detail. Next week, we'll take a deep dive into their discography. Grab a cuppa and let's dive in!

上影节第一期节目新鲜出炉！聊聊我们很关注的漫改影片《去唱卡拉OK吧！》嘉宾：Alice｜听友群笑领导主播：拉帝｜奇妙导演，小红薯：拉帝Timeline：00:38 Alice上期节目爆了！02:00 随便聊聊上影节03:25 Alice锐评《乐队》08:24 漫画到真人版《卡拉OK》出圈？10:52 影片简介12:02 Alice拉片01:06:02 漫画彩蛋01:08:04 闲聊卡拉ok01:13:06 Alice上影节计划本期背景音乐：くだらない1日 - 激情部宮内優里 - 110228 宮内優里 - 110308 宮内優里 - 110404 宮内優里 - 110427 宮内優里 - 110515 宮内優里 - 110525 宮内優里 - 110620 宮内優里 - 110629 宮内優里 - 110704 宮内優里 - 110819 宮内優里 - 110830 宮内優里 - 110927 宮内優里 - (やすだけんじ 手紙 remix) 宮内優里 - 111004 宮内優里 - 111020 宮内優里 - 111109 X JAPAN - 紅

MLB: Dodgers' Ohtani, Yamamoto Meet X Japan Member Yoshiki before Game

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Advertencia: Decidí hacer esta mezcla para mostrar algunas canciones menos conocidas y (en su mayoría) subestimadas de la banda finlandesa de power metal Stratovarius. TrackList: 0:00 Break The Ice (Twilight Time) 5:25 Reign of Terror (Dreamspace) 8:54 Atlantis (Dreamspace 10:01 Gypsy in me (Black album) 14:29 Black Diamond Demo Version (Visions, Japan release) 19:37 Galaxies (Fourth dimension) 24:39 Abyss (Dreamspace) 29:37 It's a mystery (Intermission) 33:42 Metal Frenzy (Twilight time) 36:03 Maniac dance (Black album) 40:40 We hold the key (Fourth dimension) 48:37 I did it my way (Revolution Renessaince demo album) 52:42 Papillon (Elements pt.1) 59:50 No Turning Back (Destiny) 1:04:04 Kill The King - Tribute to dio (Intermission) 1:08:43 United (Black album) 1:15:57 Uncertainty (Episode) 1:21:56 In My Line of Work (Eternal) 1:26:12 Madnesssssss strikes at midnight (Twilight time) 1:33:12 Wings Of Tomorrow (Dreamspace) Stratovarius es una banda finlandesa de power metal melódico con elementos de música clásica, fundado en 1984 en Helsinki por Tuomo Lassila, John Vihervä y Staffan Stråhlman bajo el nombre Black Water. A partir de 1986 se le ha conocido como Stratovarius (término inventado por Lassila que fusiona dos instrumentos musicales: Stradivarius, instrumentos de cuerda (como los violines) altamente apreciados por los músicos; y Stratocaster, (modelo de guitarra eléctrica de la marca Fender).​ Stratovarius es una de las pioneras del power metal y el metal sinfónico. Actualmente, la banda no cuenta con ningún miembro original, pero el miembro más antiguo es su vocalista, Timo Kotipelto, seguido por el teclista Jens Johansson. En 1984, Staffan Stråhlman, John Vihervä y Tuomo Lassila formaron su primera banda, llamada Black Water, que, posteriormente, en 1985, renombrarían como Stratovarius. Después de un año tocando y de haber sacado dos demos, Stråhlman decidió dejar la banda. Entonces, Tuomo Lassila buscó a un guitarrista que se encargara también de la voz. Tras varias audiciones encontraron a Timo Tolkki, un joven finlandés proveniente de Nurmijärvi que había tocado en una banda llamada Road Block.​ Con Timo Tolkki en la guitarra y en la voz, Tuomo Lassila buscó un teclista de origen finlandés para completar la banda, uniéndose así Antti Ikonen. Tras recorrer algunas discográficas de Finlandia firmaron con CBS Finland. En 1987, John Vihervä abandonó el grupo y fue reemplazado por Jyrki Lentonen. En 1988 lanzaron sus dos primeros sencillos, «Future Shock» y «Black Night». En 1989 publicaron su primer álbum, titulado Fright Night, al que acompañaron de una pequeña gira por Europa en la que visitaron países como Dinamarca, Rusia y Noruega. Tras unos problemas con Jyrki Lentonen, este dejó la banda y su puesto en el bajo fue ocupado por Jari Beakman. En 1991, por conflictos con CBS Finland, firmaron con una discográfica poco conocida llamada Bluelight Records para editar su segundo disco, un álbum titulado Stratovarius II, del que apenas saldrían 1000 copias a la venta. Tras haber lanzado el álbum Stratovarius II, poco tiempo después, se haría una nueva versión de él ya que el dueño de la discográfica alemana Noise Records quedó sorprendido de que tan buen álbum no fuera tomado en cuenta. De esta manera se les dio una nueva oportunidad, para esta vez, lanzarlo internacionalmente. Así, en 1992, regrabaron el álbum, renombrándolo como Twilight Time. Fue lanzado en toda Europa y algunos países de Asia y además en ese año también editaron la canción Break The Ice. Después de haber lanzado el álbum, tendrían un impresionante número de ventas en Japón, donde superarían a grupos importantes, como X Japan, Deep Purple y Black Sabbath. Esto, los sorprendió, con lo cual, planearon su primera gira internacional, visitando algunos países de Europa y Asia. Después de la fama conseguida con Twilight Time, sale de la banda Jari Behm quien tuvo poca participación en el grupo a pesar de haber permanecido dos años en ella, entonces la banda decide no descansar y contratan a Jari Kainulainen que reemplaza a Jari Behm en el bajo y lanzan su próximo álbum que sería titulado Dreamspace. Colocan a la venta dos demos y liberaron la canción Wings Of Tomorrow. Este álbum obtuvo mayor cantidad de ventas que sus dos álbumes anteriores y es el primero en que participa el joven Jari Kainulainen con la banda; ya después de esto la banda saldría nuevamente de gira y, además, el álbum superaría el número de ventas de su anterior obra. Por otra parte Tolkki logra su sueño de lanzar un álbum como solista titulado Classical Variations And Themes en el mismo año que fue lanzado el Dreamspace. Después de haber lanzado el álbum Dreamspace y de tocar en el Giants of Rock Timo Tolkki decide dejar las voces para dedicarse exclusivamente a la guitarra ya que no se veía con futuro como cantante. Entonces decide hacer una audición donde buscaba un cantante que pudiese alcanzar tonos muy altos. El elegido fue Timo Kotipelto, un joven finlandés que venía de cantar en su antigua banda Filthy Asses. Según la leyenda dice que Kotipelto escuchó su primer álbum Fright Night diciendo que buena banda, después de algunos ensayos Tolkki sorprendido por la voz del joven fue elegido para el siguiente álbum. En 1995 la banda decidió lanzar otro álbum titulado Fourth Dimension con un sonido muy diferente al anterior y la voz de Kotipelto que se convertiría en un sello personal en el estilo del grupo. El disco salió a la venta en marzo de 1995 el cual fue muy bien recibido por el público, logrando fama mundial grabando el vídeo Against The Wind. En este álbum se nota un nuevo rumbo musical de la banda optando por sonidos de música clásica combinados con heavy metal. Fourth Dimension superó el número de ventas de Twilight Time y Dreamspace. Siguió una gira internacional por varios países de Europa y en Japón. La banda lanzó a la venta su primer álbum en vivo titulado Live In Three Dimensions, el álbum salió a la venta solamente en Japón y fueron lanzadas muy pocas copias. Y un segundo álbum en vivo Twilight In The East (Live in Osaka W'Ohol) salió a fines del mismo año. Además se graba el DVD titulado "Live In Germany" que salió a la venta 4 meses después de los álbumes en vivo. Después de terminar la gira de la banda, Timo Tolkki le dijo a Tuomo Lassila y Antti Ikonen que quería hacer una música más rápida y potente que la que actualmente estaban haciendo, entonces Lassila y Ikonen deciden salir de la banda porque ya no se sentían dispuestos a continuar con el legado que Tolkki quería imponer. Con Tuomo Lassila y Antti Ikonen fuera de la banda, Tolkki se emprende en busca de un nuevo teclista y un nuevo batería, que en una charla con Timo Kotipelto y Jari Kainulainen, deciden buscar los nuevos miembros de Stratovarius fuera de Finlandia. En 1996 los nuevos miembros serían Jörg Michael y Jens Johansson que ya eran unos músicos consolidados, por su parte Jörg Michael venía de la famosa banda Rage, en ese momento de igual manera, Jens Johansson era un músico que gozaba de fama internacional y que en aquel entonces residía en Estados Unidos donde fue pretendido por la joven banda Dream Theater quienes querían optar de sus servicios. Con Jörg Michael, un extraordinario baterista, Jens Johansson reconocido como uno de los teclistas más rápidos del mundo, Timo Tolkki un excelente guitarrista y Timo Kotipelto, con una calidad vocal excelente, deciden sacar lo que sería su nuevo álbum Episode. Este disco contó con el apoyo de una orquesta, posee un sonido melódico, dramático y sinfónico, con canciones mucho más potentes y veloces que en sus anteriores álbumes. El álbum obtuvo muy buenas críticas y alcanzó el Top 40 en Finlandia y el Top 10 de Japón. De este álbum destacan "Eternity", "Speed of Light", Father Time, la balada "Forever" y "Will The Sun Rise?". La banda viaja a Japón donde graba su tercer álbum en vivo Episode In The East. En 1997 la banda lanza su sexto álbum de estudio titulado como Visions. Este disco contaría con las famosas canciones The Kiss of Judas y Black Diamond que serían muy referentes en este estilo musical en el futuro. El álbum alcanzó su primer disco de oro. Los 10 minutos de la canción Visions hicieron que fuera la más larga desde sus inicios 1985 hasta aquel 1997. El álbum logró estar en la posición número #4 en Finlandia manteniéndose por 24 semanas en el Top 40 y ser el más vendido en ese año. La banda aprovechó para realizar una extensa gira que abarcó Europa, Japón y Sudamérica por primera vez, brindándonos grandiosos temas como Kiss of Judas, Legions of the Twilight, Forever Free, la épica Visions y su tema más emblemático, Black Diamond. Además de lanzar al mercado su primer álbum compilado titulado The Past And Now. En abril se lanzó un doble disco en vivo titulado "Visions in Brazil" más el DVD titulado "Live In Rio". En 1998 la banda lanza dos álbumes en vivo titulados "Live In Jyrki" y en DVD que fue lanzado a principios del año y Visions of Europe que sería grabado en Italia y Grecia publicados en año casi a fines del 1998. Además, a fines de octubre se lanzó el nuevo álbum titulado Destiny más épico y sinfónico que el anterior en ese mismo año que trajo consigo muy buenas críticas, además de ser el álbum más vendido en ese año en Finlandia alcanzaría la posición número 1 y su canción S.O.S entraría en la posición número 2 en Finlandia, dándole su segundo disco de oro y consigo una gira mundial que los llevaría por primera vez a visitar América del Sur, visitando países como Brasil, Argentina y Chile. También obtuvieron el trofeo "Emma" de la industria fonográfica finladesa por ser una "banda de exportación. Destiny fue su segunda canción más larga con 10 minutos al igual que la canción visions. Esta vez la canción Destiny fue más famosa y dio mucho éxito en las ventas compuesta por un coro grande y metal melódico sinfónico. En 1999 lanzan su segundo álbum compilado titulado The Chosen Ones alcanzando la posición número #7 en Finlandia, un mes después de lanzar el álbum compilado se lanzó el séptimo álbum en vivo "Live In Tavastia Helsinki" más el DVD. Luego llegaron los premios y Kotipelto se llevó el segundo premio al mejor vocalista; Timo Tolkki, al mejor compositor; Jens Johansson, como el Mejor Músico extranjero. Además de lanzar antes a fines del año su octavo álbum en vivo Visions Of Destiny. Ya después de haber sacado a la venta el exitoso álbum Destiny. En el año 2000 saldría a la venta el álbum Infinite que recibiría buenas críticas, no solo musicalmente sino también en cuanto a la portada que fue un buen trabajo realizado por Derek Riggs, el álbum alcanzaría la posición número uno en Finlandia y de sacar su tercer disco de oro. Las canciones destacadas son Hunting High and Low y A Million Light Years Away alcanzando las posiciones #2 en Finlandia, ya es la tercera vez consecutiva que Stratovarius lo consigue. Además de estrenar su tercer compilado 14 Diamonds. La canción "Infinity", es su tercera canción más larga, con 9 minutos, junto con la canción "Freedom". La gira mundial de Stratovarius, incluiría por primera vez países como Hong Kong, México, El Salvador y Colombia, Junto con Sonata Arctica y Rhapsody. Luego de la extensa gira, saldría a la venta el famoso DVD de la banda titulado Infinite Visions que incluiría muchas de las presentaciones de la banda alrededor del mundo. En un concierto cuando empezaban a tocar la canción S.O.S Kotipelto se quemó el brazo con los fuegos artificiales y a pesar de esto, siguió con el concierto. Por otra parte Timo Kotipelto participó con la banda Ayreon con su álbum Universal Migrator Part 2: Flight of the Migrator. En el 2001 la discográfica editará Intermission, un álbum compilado de Lados B, incluyendo varios de los bonus tracks de discos anteriores, con algunas versiones como "I Surrender" de Rainbow y "Blood Stone" de Judas Priest covers y algunos temas en vivo. Además la banda Argentina Rata Blanca más Nightwish junto con Stratovarius realizan una nueva versión de la canción La leyenda del hada y el mago. Tolkki participa en el proyecto de Tobias Sammet titulado Avantasia con el álbum The Metal Opera En el 2002 tras las largas giras y los constantes álbumes hechos, la banda decide tomarse un respiro y trabajar en proyectos como solistas o en proyectos de invitados en algunas bandas de Metal. En ese periodo, Timo Tolkki saca su disco Hymn To Life y coopera con el proyecto musical de Tobias Sammet titulado Avantasia por segunda vez en su álbum The Metal Opera Part II. Por otra parte el teclista Jens Johansson participa en el álbum "Winterheart's Guild" de Sonata Arctica substituyendo a Mikko Harkin Además, Kainulainen participa en proyectos con Warmen en el álbum Beyond Abilities y en la canción "False News Travel Fast" del álbum Silence de Sonata Arctica. Por otro lado Timo Kotipelto hace un proyecto musical titulado Kotipelto y saca su primer álbum titulado Waiting For The Dawn. En el 2003 la banda lanzaría un álbum con dos partes, algo muy parecido a lo que hizo Helloween en sus inicios. La banda mostraría su canción Eagleheart en el año 2002, dos meses antes de lanzar el álbum oficialmente. La canción contenía muchos tintes de power metal, lo que la convirtió en una clásica del género. Pero el álbum contendría un sonido más enfocado al Neoclassical Metal que al power metal, así como canciones de muy larga duración. En enero se lanza el álbum Elements, Pt. 1 Para muchos fanes Stratovarius estaba decayendo, y para otros estaba experimentando nuevos rumbos. Cada vez más la consideraban una banda de culto. El álbum lleva la canción más larga que Infinity, Destiny y Visions. La canción "Elements" con sus 12 minutos de puro metal hecho con un coro grande al igual que Destiny. Después de lanzar Elements, Pt. 1 y tener una gira mundial, en el mes de abril sería lanzado el cuarto DVD "Live At Tuska" que fue un éxito, luego llegaría Elements, Pt. 2 ese mismo año. Consigo traería buenas y malas críticas. Cada vez más, Stratovarius experimentaba con nuevos sonidos más épicos, e incluso progresivos. En este caso, este álbum tenía un estilo épico, y algo en común con el sonido del clásico doom metal, como se ve claramente en la canción Alpha & Omega. Junto con este álbum saldría un nuevo video de la banda, correspondiente a la canción "I Walk To My Own Song", que entraría en la posición número 9 en Finlandia. Asimismo, la canción anterior, Eagleheart, entraría en la posición número 2, como también hizo el álbum. Stratovarius presentó un show en vivo en Barcelona donde presentó su nuevo trabajo un álbum en vivo llamado "Elements In Barcelona" Con estos dos álbumes, la banda conseguiría aún más fama de la que ya tenía. De aquí se deduce que adoptan un sonido un poco más comercial, que ayudó a la banda a alcanzar su objetivo. A fines del 2003 Stratovarius lanza su quinto DVD "Live In Japan". Timo Kotipelto por otra parte participó con Klamydia con su álbum "Seokset". A fines del 2003, la relación entre los miembros de Stratovarius era la peor en casi veinte años de la banda. Los problemas psicológicos y de alcoholismo de Timo Tolkki llegaron a un punto culminé cuando despidió de la banda a Timo Kotipelto (cantante) y Jörg Michael (baterista). En él 2004 la banda demuestra 2 DVD más: "Live In Italy" y el "Live At Roumanmari Festival" más el álbum en vivo de ese DVD, sin lamentar mucho la partida de los músicos, Tolkki se apresuró a anunciar a Anders Johansson (baterista de la banda Hammerfall y hermano de Jens) como el nuevo baterista, y a la ignota Katriina Wiialla –presentada solo como Miss K de entonces 30 años de edad, como la nueva vocalista. Las primeras fotos de la cantante publicadas en el sitio de la banda, en la que se la mostraba con sus manos llenas de sangre, fueron recibidas con mucho escepticismo por parte de los fanes y la prensa, sin mencionar que nadie conocía la voz a Miss K. Luego el 21 de febrero Tolkki, refirió haber tenido un ataque de pánico, tratando de calmarse, sintió que una voz le hablaba y decía "Kabbalah", pensando que era la voz de Cristo que le decía, busca un libro, "Enseñanzas de Kabbalah"... en fin él puso en la página que desde ahora tenía que estudiar el Kabbalah, además, dijo que Cristo le había pedido que se fotografiara él todo ensangrentado. Entre todo eso, salió que posiblemente Michael Kiske podría ser el nuevo vocalista de Stratovarius, pero como escribió en otro tópico, Kiske dijo rotundamente que no. Por su parte, Kotipelto, continuó su trabajo en solitario. Durante la época oscura de Stratovarius ocurrida en 2004, Kotipelto decide concentrarse nuevamente en su carrera de solista, y nace así su segunda placa discográfica, Coldness, disco que a diferencia del primero, no es un álbum conceptual, sino un álbum muy profundo y personal, lo cual es notorio en toda la composición. Los temas, reflejan el estado emocional por el que Kotipelto pasaba en esos momentos. Por su parte Michael tocó en con los legendarios Saxon. Luego de la oportuna intervención de Jens, que logró limar las asperezas entre Timo Tolkki y sus ex compañeros de banda, Stratovarius volvería con un nuevo disco homónimo dos años después, y su exvocalista se convertiría en solo un recuerdo, recibiendo apenas unas tibias palabras de agradecimiento en el CD. Timo Tolkki luego pidió disculpas por su comportamiento. En ese año, con la cantante Katriina Wiialla y Timo Tolkki , se grabó un nuevo álbum, titulado Pop-Killer, pero el álbum no fue publicado. En enero de 2005, se anunció que Stratovarius había reunido la antigua alineación. En junio de 2005, Tolkki anunció que el bajista de la banda, Jari Kainulainen, había dejado la banda debido a motivos personales. Fue sustituido por Lauri Porra, un joven músico finlandés. Stratovarius luego lanzó el auto-titulado álbum Stratovarius (álbum) en septiembre de 2005, el cual genera polémica entre sus seguidores y es duramente criticado por alejarse del estilo power-sinfónico que siempre los ha caracterizado, ya que este álbum no contiene ninguno de los elementos mencionados, más bien es un disco que podría considerarse dentro del hard rock con influencias ochenteras y un nuevo videoclip llamado Maniac Dance fue revelado en agosto. Durante este tiempo, Stratovarius inicia una gira mundial, comenzando en Argentina, que incluyó un tramo de América del Norte, donde recorrió los Estados Unidos y Canadá por primera vez en la historia de la banda. Se desempeñó en eventos como la Atlanta ProgPower, y así en lugares conocidos como BB King's House of Blues en Nueva York y Filadelfia Teatro del Trocadero. La gira también incluyó Europa y ciudades japonesas. Además. la banda lanza el décimo álbum en vivo "Live In Montreal" . Timo Kotipelto fue nuevamente elegido para grabar un álbum más con Warmen con su trabajo Accept the Fact. En septiembre de 2006 se lanza al mercado el nuevo compilado titulado Black Diamond: The Anthology. el que contiene las 30 canciones más famosas del grupo a lo largo de su historia. Además Kotipelto participó con los chicos de Leningrad Cowboys cantando versiones en vivo como "Let´s Have A Party" y "I will stay" En 2007, en el último recital que tuvo Timo Tolkki con la banda en España, Timo le preguntó a Kotipelto que si él pudiese cantar la canción de Elvis Presley "Can´t Help Falling in Love", solo muy poca gente se dio cuenta de que le pertenecía a Elvis, en aquel recital Tolkki lloró frente a sus fanes ya que era el último show con Stratovarius, al terminar el show se despidió de sus fanes y le deseó lo mejor a Stratovarius. Por otra parte Kotipelto lanza en abril el nuevo álbum en solitario Serenity (Kotipelto album) con la colaboración de Lauri Porra. En febrero del 2008 Timo Tolkki reveló la nueva banda llamada Revolution Renaissance y en marzo reveló el nuevo álbum en solista de Tolkki titulado Saana – Warrior of Light Pt 1. Después de un largo período de silencio, el 4 de marzo de 2008, Timo Tolkki declaró oficialmente la disolución de Stratovarius en su sitio web. Las confrontaciones, peleas, incompetencia, relaciones tensas, reacciones negativas, amargura, hostilidades, desinterés y la mala maestría musical han sido la causa a esta realidad interna alrededor de estos simples hechos dolorosos. Las tensiones internas dentro de la banda se citaron como la causa, diciendo que Lauri Porra y Jens Johansson eran su único apoyo, Jörg Michael se centró más en su período de sesiones de trabajo, y Kotipelto fue el mejor para tener una banda por sí mismo. La banda tenía previsto lanzar un nuevo álbum de estudio cuyo nombre lo habrían dejado en código, "R..... R.....", en el 2008. En lugar de ello, Tolkki creó un nuevo grupo llamado "Revolution Renaissance", cuyo nombre es el nombre del que sería el siguiente disco de Stratovarius y que las canciones del primer álbum serían precisamente las canciones que estarían en "R..... R......". Saldría entonces el disco de la "nueva" agrupación de Tolkki donde aparecen conocidos cantantes como Michael Kiske y Tobias Sammet entre otros. Sin embargo los miembros restantes de Stratovarius liberarían por la red el demo de "Revolution Renaissance" el disco con exactamente las mismas canciones pero interpretadas por la alineación original. Los miembros restantes de Stratovarius publicaron una declaración en línea para dar su versión de la historia. Llegaron a la conclusión de decir que las razones de Timo Tolkki fueron financieras. Además aseguraron que seguirían juntos ya que se lo deben a sí mismos y a sus fanes. Al poco tiempo, Tolkki da una declaración final en la cual da a conocer la renuncia a los derechos del nombre de Stratovarius, así como a todas las ganancias de su fondo de catálogo, cediéndolos a Timo Kotipelto, Jens Johansson y Jörg Michael. En abril de 2008 Timo Tolkki abandonó Stratovarius y dejó atrás los problemas y las deudas, dando su bendición a los otros miembros para continuar con la banda y el caso legal. Los demás miembros se encontraron en un limbo legal y una gran deuda, pero aun así continuaron trabajando. Un cambio se dio cuando finalmente se llegó a un acuerdo con Sanctuary a finales del 2008. En una entrevista, Timo Kotipelto, Jens Johansson y Lauri Porra, han anunciado que entre finales del 2008 y principios del 2009 comenzarán a componer un nuevo disco. Luego, a finales del 2008 Stratovarius anunció quién sería el que remplazará a Tolkki, un joven guitarrista finlandés, Matias Kupiainen, quien aparece en un vídeo subido a YouTube por los mismos integrantes llamado "Work in Progresser" donde se aprecian las sesiones de ensayo del nuevo disco, también incluye una parte de lo que sería una canción de su futuro álbum. En una entrevista Timo Tolkki confirma que les cedió todos los derechos de Stratovarius lo que indica que continuarán con el mismo nombre. En 2009 Timo Kotipelto revela en enero la nueva banda formada por él y los ex de Sonata Arctica titulado Cain's Offering con su nuevo trabajo Gather The Faithful que dio la luz el 22 de julio de 2009. Además la banda Stratovarius estrena su nuevo álbum titulado Polaris un álbum melódico, poderoso, fresco, bien armado y técnicamente elaborado, que salió a la venta a finales de mayo del 2009 y fue seguido de conciertos en una serie de festivales en Europa entre junio y julio, y de una gira mundial entre septiembre y octubre que se inició en Polonia e incluyó países de Asia, Norteamérica y Sudamérica, siendo su última presentación en Lima, Perú, el 24 de octubre de 2009. Alcanzó a estar en las posiciones # 2 en Finlandia es el primer álbum que participa el nuevo guitarrista Matias Kupiainen. Las canciones destacadas son 2 singles Deep Unknown y Higher We Go. En la segunda mitad del 2009, Stratovarius empieza su Tour Polaris 2009 recorriendo varios países de Europa y luego pasando por EE. UU., México, Chile, Argentina, Ecuador, concluyendo la gira en Perú. Además se lanzaría el nuevo DVD llamado "Live In Chile" en el mismo año. En 2010 se sacó a la venta una reedición del álbum Polaris Live con diverso material en directo grabado durante el Polaris Tour, titulado Polaris live (Special Edition) sería su undécimo álbum y el último por ahora. En septiembre del 2010, se anunció el comienzo de la grabación del segundo álbum de Stratovarius con Matias Kupiainen en la guitarra eléctrica. Antes de lanzar el álbum oficialmente se editará el Darkest Hours EP, con dos de los nuevos temas de su nuevo álbum: Darkest Hours e Infernal Maze, la demo de Darkest Hours y dos grabaciones en directo correspondientes a Against The Wind y Black Diamond. Saldrá a la venta el 26 de noviembre. Además, para promocionar el nuevo álbum, Stratovarius irá de gira como invitado de Helloween en su gira Seven Sinners Tour. Recientemente se ha conocido que el baterista de Stratovarius Jörg Michael sufre cáncer, del cual ha sido operado. Este hecho ha implicado que no pueda participar en la gira del grupo, siendo temporalmente sustituido por Alex Landenburg. En 2011 la banda libera su nuevo álbum titulado Elysium, que en tan solo en una semana el álbum alcanzó a estar en el puesto número #1 en Finlandia y otorgar nuevo disco de oro. Las canciones destacadas son Infernal Maze, Under Flaming Skies, Darkest Hours; Sin embargo, si hay un tema que brilla con luces propias y que merece un análisis aparte, es “Elysium”, corte homónimo y que se transforma en la canción más larga de la historia de la banda, con 18 minutos de duración. Como un tren, es un tema que tiene varios vagones en su extensión. Un inicio suave, un medio tiempo elegante que nos relata actitud positiva frente a lo venidero. El “I´m not afraid anymore” probablemente sea la línea más emblemática, y la que pega con más fuerza en esta parte. El corte va tomando fuerza conforme va avanzando, con arreglos de guitarras muy buenos, y un Johannson en un segundo plano que le viene muy bien, salvo cuando interviene en la parte de los solos, en donde hace muy buena dupla con Kupianen. Por otra parte el baterista Jörg Michael se recupera del cáncer y regresa con la banda a terminar la gira con Helloween. Este año Stratovarius revela su nuevo y esperado videoclip de su glorioso álbum "Elysium" Under Flaming Skies el primer corte de su gran obra, fue grabado en vivo en los estudios Edel Music El 20 de junio de 2012 se anuncia nuevo baterista para la banda de nombre Rolf Pilve Pagina Oficial: https://stratovarius.com/Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

THE KIMI KATO SHOW with Jeremiah - Featuring Sugizo! Sugizo and Kimi discuss their road trip from Los Angeles to Las Vegas to see U2:UV Achtung Baby perform Live at Sphere and he compares it to road trips of his youth in Japan + so much more! Sugizo was born Yasuhiro Sugihara (杉原 康弘) better known by his stage name Sugizo, he is a Japanese musician, songwriter, composer, and record producer. He is probably best known as the lead guitarist and violinist of the rock band Luna Sea since 1989, but he is also a member of X-Japan, Juno Reactor, and The Last Rockstars. Luna Sea became one of Japan's most famous rock bands, selling more than ten million records and performing in China and Taiwan. Luna Sea's NEW album is "Mother Style" Luna Sea is celebrating its 35th Anniversary, a milestone few bands can claim. Check out the 2024 tour dates, merchandise, music, and more at: https://www.lunasea.jp Luna Sea in Facebook: @lunaseareboot Instagram: @lunaseaofficial Sugizo on Instagram - @sugizo_official Kimi Kato on Instagram - @kimitaka.kato Project Asteri on Instagram - @project_asteri, @asteri_ent Project Asteri Website: https://projectasteri.com Host - Kimi Kato Co-Host - Jeremiah D. Higgins Executive Producers - Kimi Kato & Jeremiah D. Higgins Sound Engineer - Graham Palmer | Surprise Studio All Inquiries: Jeremiah D. Higgins https://linktr.ee/jeremiahdhiggins @SUGIZOofficial @XJapanOfficial @lunaseaofficial @THELASTROCKSTARS @JunoReactorOfficial @Yoshiki @lunaseaofficial #rockstar #guitar #japan

¡Bienvenidos a un nuevo podcast de Zona Negativa! En el programa de hoy -¡el primero del año!- empezamos fuerte... ¡hablamos de manga y violencia! ¿Se ha superado ya ese tópico que describe el manga como historias llenas de sexo, sangre y violencia? No, no es necesario hacer un podcast para desmentir mitos en torno al manga a estas alturas, pero hoy sí hablaremos de nuestros mangas violentos favoritos y de los distintos tipos de violencias que podemos encontrar en ellos. ¿Tendrás estómago para escucharnos...? ¡Pues empezamos! Colaboradores: Fer García, Pablo Gómez, Laura Calvo y Mònica Rex Edición: Jordi T. Pardo Suscríbete a nuestro podcast en... iVoox - https://bit.ly/znpivoox Spotify - https://bit.ly/znpspo Apple Podcasts - http://bit.ly/znpapple Google Podcast - http://bit.ly/znpgoogle Y búscanos en tu app de podcast favorita. Música de entrada y salida: "IkouZe ! - acoustic" de Sumashu - https://bit.ly/ZNPintro Música de intermedio: "Opening X/1999 " de X-Japan - https://www.youtube.com/watch?v=uBL04EVCzSw Para estar al día de todo el mundo del cómic y sus galaxias cercanas, ¡visita Zona Negativa!

As he presents his first film "Under the Sky" in Paris and prepares to launch his fashion line, Japanese superstar Yoshiki speaks to Eve Jackson about being both a heavy metal rock god selling out arenas since the 1980s with his group X Japan, as well as a classical composer and concert pianist who brings the house down in historic venues like the Royal Albert Hall and Carnegie Hall. The Japanese polymath also shares how he turned his grief and anger following his father's suicide into creative energy which drives him on his artistic mission.

Here's the latest n Hard N Heavy Headlines with Emmy Mack of RedHook! Dive into the hottest and most controversial topics shaking the hard rock and heavy metal world. The episode kicks off with the stir caused by the 2024 Knotfest Australia lineup, where the notable absence of female artists, especially the spotlight on Lzzy Hale from Halestorm as the only woman, has sparked a widespread debate about gender diversity in music festivals. With comments from figures like Andrew Glitoris and Tim Price, we explore the community's reaction and the broader implications for the music industry. Next, we switch gears to the chaotic scenes at the Brian Jonestown Massacre's Melbourne show, which turned into a dramatic on-stage brawl among band members. Described by fans as a "car crash," this segment delves into the details of what went wrong and the audience's response to this unexpected disruption. The episode also features the exciting news of experimental metal group Mr Bungle, led by Mike Patton, returning to Australia after two decades for a tour with the Melvins, set to happen in March 2024. This segment promises a deep dive into the band's legacy and what fans can expect from their highly anticipated tour. Lastly, we address the sad news of the passing of X Japan's bass player, Heath, at the age of 55. In a tribute to his legacy, we reflect on his contributions to the iconic Japanese rock band and the music world at large.See omnystudio.com/listener for privacy information.

Fanmacia Popular inició este mes de marzo 2023 su séptima temporada al aire con toda la compañía propia de los sábados por la tarde. Con mas de 250 episodios y caminando rumbo a los 300, Fanmacia Popular se alza como como uno de los programas mas longevos de su tipo en la radiofonía digital y ello es mérito de un equipo encabezado por Roque, quien junto a Kira, Carlos y Dani cuentan cada semana las novedades de la animación japonesa, el manga, el entretenimiento asiático y la cultura pop de Japón. En este programa vamos a tener la presencia musical especial de la recientemente fallecida cantante Junko Ohashi la cual estará presente en gran parte de los bloques musicales de ese programa. En lo que respecta a información. conversamos sobre los nominados para la versión 2023 de los Game Awards ¿Quiénes serán los que irán por el GOTY? Además, el nuevo trailer que trae Shaman King Flowers y las posibles vías de difusión que tendrá la serie en streming, El estreno exclusivo de SandLand de Akira Toriyama a través de Disney+ y el estrepitoso fracaso de The Marvels que salpica al desarrollo de Avengers V. Esto junto a las breves de la semana con Suzume y su llegada a Crunchyroll, las cifras de rating que dejó el episodio final de Shingeki no Kyojin,y el posible anime que podría tener la franquicia cinematográfica de John Wick, Desde luego, también tendremos nuestras tradicionales secciones entre las que se encuentran el Fashion Geek, que hoy tendrá un nuevo tributo en esta oportunidad al fallecido bajista Heath de la clásica agrupación X JAPAN junto a los Emprendimientos Geeks de esta semana. Esta semana Roque nos una especial dedicatoria en su sección La Reseña Citypop, en donde repasará la historia, éxitos y vida de una de las mas grandes voces de la música de Japón y cuyo episodio estuvo dedicado a su memoria: Junko Ohashi también conocida como ERASED. Por último, tendremos una travesía por los éxitos de Japon en el Asian Top Chart. Programa emitido el día sábado 18 de noviembre de 2023.

The Metal Exchange Podcast guys discuss Sorcerer's 2023 release, "Reign of the Reaper". Justin's Recommended Track: Morning Star Chris' Recommended Track: Thy Kingdom Will Come Listen to "Reign of the Reaper":  ⁠https://open.spotify.com/album/44pasQeyxzNE6cB39WLkAv⁠ ⁠https://www.sorcererdoom.com/⁠ ⁠https://www.facebook.com/sorcererdoom⁠ ⁠⁠⁠⁠⁠ *Other Band Mentions* Caligula's Horse: ⁠https://caligulashorse.com/⁠ & ⁠https://www.facebook.com/caligulashorseband⁠ Angra: ⁠https://angra.net/⁠ & ⁠https://www.facebook.com/AngraOfficialPage⁠ Serenity: ⁠https://www.serenity-band.com/⁠ & ⁠https://www.facebook.com/serenityaustria⁠ The Grandmaster: ⁠https://www.facebook.com/TheGrandmasterBand⁠ Joe Satriani: ⁠http://www.satriani.com/⁠ & ⁠https://www.facebook.com/joesatriani⁠ Steve Vai: ⁠https://www.vai.com/⁠ & ⁠https://www.facebook.com/stevevai⁠ X Japan: ⁠https://www.facebook.com/XJapan⁠ Queensryche: ⁠http://www.queensrycheofficial.com/⁠ & ⁠https://www.facebook.com/QueensrycheOfficial⁠ Armored Saint: ⁠https://www.armoredsaint.com/⁠ & ⁠https://www.armoredsaint.com/⁠ *Become a Member of our Patreon* ⁠⁠⁠⁠https://www.patreon.com/TheMetalExchangePodcast⁠⁠⁠⁠ *Join us at The Metal Exchange* ⁠⁠⁠⁠https://linktr.ee/MetalExchange⁠⁠⁠⁠ ⁠⁠⁠⁠https://www.facebook.com/TheMetalExchangePodcast⁠⁠⁠⁠ ⁠⁠⁠⁠https://www.facebook.com/groups/metalexchanges⁠⁠⁠⁠ ⁠⁠⁠⁠https://www.instagram.com/themetalexchangepodcast⁠⁠⁠⁠ ⁠⁠⁠⁠https://twitter.com/MetalExchangePd⁠⁠⁠⁠⁠ ⁠⁠⁠⁠https://open.spotify.com/user/4tn81zpim10zdl0qu1azagd8o⁠⁠⁠⁠ ⁠⁠⁠⁠https://www.reddit.com/r/MetalExchangePodcast⁠ Use our special link to save 30% off your first month of any Zencastr paid plan: https://zen.ai/vBOlblZ3LdTvobbiQDKo6OabB1ANKmbing4Rty3hTXo --- Support this podcast: https://podcasters.spotify.com/pod/show/themetalexchangepodcast/support

GIVEAWAY AFTERSHOCK DETAILSWe have two 4-Day General Admission passes for this year's Aftershock in October. And we want these tickets to go to someone that deserves to enjoy this festival. We know life can be hard, and we talk about this music because it helps us through hard times. We think you deserve an escape; blow off some steam and have fun at Aftershock!To enter the giveaway, send us your story about how the music we talk about helped you through a difficult time in your life. We want to hear your inspiring story and what song or artist helped pull you through it. Email us at giveaway@gaijinguys.com by September 8th. And the best submission will get two free passes to Aftershock 2023, October 5th through 8th at Discovery Park in Sacramento, CA. The winner will be announced and their story will be read on our September 10th GAIJIN GUYS PODCAST. Send us your story and we hope to see you with us at Aftershock. #gaijinguys #jrock #podcastsSupport the show

In this week's episode, we unearthed our Gen 2 iPad and traveled back to the decade that many rock n' rollers call the “dark decade”. That's right! We are listening to obscure tracks from the previous decade of the 20-Teens; when Gaga wore a meat dress, we were introduced to Instagram, Indie Rock became a genre, we all got challenged with ice buckets, the host of The Apprentice got elected, and some really great rock n' punk n' metal!New to InObscuria? It's all about digging up obscure Rock n' Punk n' Metal from one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. In this episode we talk about the lost and forgotten gems of the 10s. A decade where music became a true commodity as streaming surpassed all physical and digital media as the way we consume our tunes.Songs this week include:The Bronx - “Style Over Everything” from The Bronx (IV) (2013)Fair To Midland - “Whiskey & Ritalin” from Arrows & Anchors (2011)Rozwell Kid - “Baby's First Sideburns” from Good Graphics EP (2015)The Human Project - “Anti-Pathetic” from Origins (2013)Graveyard - “Buying Truth (Tack Och Förlåt)” from Hisingen Blues (2011)The Carburetors - “Lords Of Thunder” from Laughing In The Face Of Death (2015)Psychopunch - “Long Time Coming” from The Last Goodbye (2010)X Japan - “Born To Be Free” from Born To Be Free – Single (2015) Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

X JAPANの新曲なども含めて10曲紹介！ ▶︎ https://linktr.ee/potaufeu #ポトフさん ◾︎THE SOUNDTRACK // MY CUP OF TEA Spotifyの「Music + Talk」で音楽を紹介するポッドキャスト番組です。 Spotifyでのみ聴ける【Music+Talk】と、音楽を省いたトークのみの[skip music]があります。 [skip music]はSpotify以外のプラットフォームにも配信されてます。 --- Send in a voice message: https://podcasters.spotify.com/pod/show/potaufeu/message

Suscríbete para más: https://www.youtube.com/c/pixxelers Sigueme en redes: https://linktr.ee/jlrock92 Discord: https://discord.gg/EFkfqhMZDU NOTAS: - NVIDIA RTX 4060 Ti 16GB ya llegó: https://youtu.be/2_Y3E631ro8 - FTC se rinde ante Xbox y Activision: https://tinyurl.com/7sanbwzb - Motorola bloquea smartphones importados: https://tinyurl.com/323fjt8d - Gloria a Glorbo en WoW: https://tinyurl.com/4xjfupjz - Gloria a Glorbo en Destiny: https://tinyurl.com/yvvy9kks - Simpsons Hit & Run Remake: https://youtu.be/AHAY-teQoFc - Ratchet and Clank Rift Apart PC: https://youtu.be/I71u7j1Izww - Samsung Galaxy Unpacked 2023: https://youtu.be/c6X-IN3IG8I - RIP Meta Quest Pro: https://tinyurl.com/259b7994 - Apple Vision Pro paga por Apps: https://tinyurl.com/ykhuzy53 - Microsoft HoloLense 2: https://tinyurl.com/kh2rx2hx - Inflación por Streaming: https://tinyurl.com/582yjntw - Nuevo Google Maps: https://tinyurl.com/34npxbjy - Ayaneo Kun: https://youtu.be/t60jxPjIx54 - Ayaneo Slide: https://youtu.be/sOCfMltIOnY - GPD G1: https://youtu.be/KuKKc66wrsc - PlayStation Proyecto Q leak: https://tinyurl.com/2rz6hjvd - RIP Twitter, Hola X: https://tinyurl.com/ydpxdph3 - Historial de Elon con X: https://tinyurl.com/ye77dkke - Policía clausura Twitter X: https://tinyurl.com/5anz865y - Twitter X unicode: https://tinyurl.com/4v7n3wn3 - X Japan: https://tinyurl.com/2p8kn2c4 - Meta y Microsoft dueños de X: https://tinyurl.com/m83y6zb6 - Elon se roba X en Twitter: https://tinyurl.com/533p26v3 - RIP Larry Twitter: https://tinyurl.com/4thcat8b - Twitter extorsiona empresas verificadas: https://tinyurl.com/pvtf4edb - Anti AdBlock de Google es PC DRM: https://tinyurl.com/bdwfp2xk - TSMC retrasa FAB en Arizona: https://tinyurl.com/2v9ce85f - Roblox Hackeado: https://tinyurl.com/3yhp4xna

This Week On America's Podcast. Eric RMCP Jordon from "Rock All Over You Podcast" and Andy Rodriguez from "Blackspinner Circle"Joins Us. In this podcast episode, we'll be reviewing ZZ Top's album 'El Loco' and discussing whether it's a good or bad album overall. We'll be taking a deep dive into each track and highlighting what we think are the strengths and weaknesses of this album. We'll be discussing the band's unique blend of blues, rock and country influences, and debating whether this album stands up to the high standards set by ZZ Top's previous releases. We'll listen closely to tracks such as 'Tube Snake Boogie', 'Leila', and the iconic 'Pearl Necklace' and talk about what makes them great. By the end of the podcast, we'll offer our final verdict on 'El Loco'. Is it a masterful piece of work that represents ZZ Top's musical genius, or does it fall short of expectations? You'll have to tune in to find out! Whether you're a die-hard ZZ Top fan or just a lover of great music, this is an episode you won't want to miss. Tracks of the Week Eric "Say Anything" by X Japan, Jerry "Melissa" by The Allman Brothers, Andy "Hush" by Deep Purple, Marc "Hard To Be' by The Vaughn Brothers and Charles "Shake Your Money Maker" by Peter Green's Fleetwood Mac. Until Next Week Make Sure don't listen to this episode driving or handling heavy machinery this episode might make you drunk!!   #ZZTOP #TEXAS #ROCKNROLL #freeformrocknation #americaspodcast 

We are discussing We Are X (Stephen Kijak, 2016), a documentary about the rock band, X Japan. Hosted by Lexi Covill. Co-Hosted by Justin Morgan and Charles Phillips. Mixing and QA by Scratchin' Menace with Music by X Japan. Follow us on Facebook and Twitter for the latest updates. Available on Apple Podcasts, Google Podcasts, Spotify, and a dozen other popular platforms. Please subscribe, rate and review us. Every little bit helps, and more importantly, thank you for listening!

This is the true story of my night at The Grammy Museum with Yoshiki, Orchid Quartet, Beverly and Ashley Night. Not to mention Diana, Vocal Coash to the stars, Roger Love, Daniel Saito, and Hannah and Demi (like Demi Moore) Magical night with incredible music at The Clive Davis Theatre. Come behind the curtai with me... Yoshiki https://www.yoshiki.net Orchid Quartet http://www.orchidquartet.com Beverly https://avex.jp/en/beverly/profile/ Ashley Knight http://www.ashleyknightmusic.com Roger Love https://trainings.rogerlove.com

Rich Embury's Metallic Utopia is back with NEW hard rock and heavy metal from Revenge Of The Fallen / Joel Hoekstra's 13 / Liliac! Classics, Requests, and more from Def Leppard / Badlands / Savatage / The Cult / Alice In Chains / Anthrax / Jimi Hendrix Experience / Iron Maiden / Scorpions / Zephaniah […]

Um supergrupo com 4 notáveis do movimento Visual Kei é formado para diminuir as fronteiras entre o Ocidente e o Oriente. Idealizado por Yoshiki do X-Japan, a banda deseja manter a chama do Rock acesa no mundo.

We're venturing into new territory with this one! This time we take a look at the animated music video for X Japan's hit song Rusty Nail. It's about 5 minutes long and filled with ridiculousness, but is it a well-done anime? Leave a comment/review or message us at badanimepod@gmail.com or DM us on insta @badanimepod to have your lovely words read out on the show!

KB & DJ are BACK and the guys kick things off recapping another amazing week of NLL action and some of the things that surprised them throughout the action of Week 15. Then they discuss the upcoming NLL Trade Deadline, discuss Week 16's action in the NLL and give their Picks of the Week. Then they get caught up to speed on PLL Free Agency and new retirements, along with a CRAZY signing by the Redwoods. Then they recap the PLL in Japan and DJ gives his College Lacrosse Rundown. Follow Us! Twitter: @UndergroundPHI @OTBLaxPod Kyle: @KBizzl311 DJ: @SCs_nextgreat Instagram: @undergroundphi @otblaxpod @kicksbycarly Merch & Apparel: phiapparel.co/shop and use code "UNDERGROUND" for 10% off! Send your mailbag questions: otbunderground@gmail.com SUBSCRIBE to our YouTube channel: youtube.com/channel/UCXTLztI5KsYQLH0WptJaL-Q Website: undergroundsportsphiladelphia.com Twitch: twitch.tv/undergroundsportsPHI Manscaped Promo Code: "USP" for 20% off AND free shipping Biñho Board: binhoboard.com/?ref=Underground Trophy Smack: trophysmack.com/Underground Tomahawk Shades Promo Code: "USP" to save 25% off at checkout Intro Music: Arkells "American Screams" Outro Music: Arkells "American Screams" --- Send in a voice message: https://anchor.fm/otblaxpod/message

Japan House curator Hashimoto Mari and translator Eyre Kurasawa unravel kumihimo, the ancient craft of Japanese silk braiding, and how its contemporary reconstructions connect Edo-era samurai armour with French military fashions from the 19th century. Literally translated as ‘joining threads together', kumihimo is the intricate Japanese practice of cord braiding. Its strong and flexible ‘structure' has lent its use to everything from samurai sword scabbards and handles, tying high-fashion kimono and haori following the restoration of the Emperor Meiji in 1868, to origami, solar panels, and aerospace engineering today. Japan House's new exhibition highlights the work of DOMYO, a Tokyo-based workshop established in 1652 which still practices and researches this traditional craft, with the Shōsōin (Imperial) Repository in Nara. Curator Hashimoto Mari unravels the simultaneous evolution of braiding in China, Asia, and South America, its surprising overlaps with Western textile designs like tartan, and how contemporary modeller Hasegawa Akira reconstructs Napoleonic army jackets, replacing ‘Russian braids' with kumihimo to hint at the common threads between Japanese and European military histories. KUMIHIMO: Japanese Silk Braiding by DOMYO runs at Japan House London until 11 June 2023. For more, read my review of KUMIHIMO in gowithYamo: https://www.gowithyamo.com/blog/visit-japan-for-free-from-london WITH: Hashimoto Mari, curator of KUMIHIMO: Japanese Silk Braiding by DOMYO. She is the vice-chairperson of EISEI BUNKO, and a writer and editor who specialises in the Japanese arts. Eyre Kurasawa is an interpreter, writer, and researcher in Japanese and English. ART: ‘French Army Tunic, Hasegawa Akira (2021)'. SOUNDS: DOMYO. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

人気の勢いが止まらない謎の日本人キャラ「タナカさん」、ついに歌手デビュー。瞬く間にX JAPANの名曲を超えたとか。いったい何が？ ニュースの対訳と解説はこちら！ https://newsdekorean.com/script/s2-41/ Twitter: @newsdekorean Instagram: @newsdekorean Facebook: https://www.facebook.com/newsdekorean YouTube: https://www.youtube.com/c/newsdekorean Official HP: https://newsdekorean.com/ ※Spotifyでは音楽と一緒にお聴きいただける「ミュージック+トーク」を配信しています。こちらも是非！

This music video review is supported by MANSCAPED! Use code BAD20 for 20% off! We're venturing into new territory with this one! This time we take a look at the animated music video for X Japan's hit song Rusty Nail. It's about 5 minutes long and filled with ridiculousness, but is it a well-done anime? Support Bad Anime and Get 20% OFF @manscaped + Free Shipping with promo code BAD20 at MANSCAPED.com! #ad #manscapedpod Leave a comment/review or message us at badanimepod@gmail.com or DM us on insta @badanimepod to have your lovely words read out on the show!

YOSHIKI of X Japan and band leader of The Last Rockstars sat down with Rob Herrera in LA for an interview on the supergroup's world debut, the creative process for debut single and recording with HYDE. Thank you for listening! If you enjoyed this podcast please be sure to follow and rate it. You are also welcome to support this podcast with a small monthly donation to help sustain future episodes. If you'd like to watch my video interviews, I invite you to Subscribe to my channel at www.YouTube.com/FrontRowLiveEnt Follow Us: @FrontRowLiveEnt | @Robertherrera3 #Yoshiki #FrontRowLiveEnt --- Support this podcast: https://podcasters.spotify.com/pod/show/frontrowliveent/support

YOSHIKI of X Japan and band leader of The Last Rockstars sat down with Rob Herrera in LA for an interview on the supergroup's world debut, the creative process for debut single and recording with HYDE. Thank you for listening! If you enjoyed this podcast please be sure to follow and rate it. You are also welcome to support this podcast with a small monthly donation to help sustain future episodes. If you'd like to watch my video interviews, I invite you to Subscribe to my channel at www.YouTube.com/FrontRowLiveEnt Follow Us: @FrontRowLiveEnt | @Robertherrera3 #Yoshiki #FrontRowLiveEnt --- Support this podcast: https://podcasters.spotify.com/pod/show/frontrowliveent/support

¡Os damos la bienvenida al Reseñotrón de Zona Negativa! . Esta es nuestra entrega de febrero de 2023 y viene con mucho manga. Para hablar de algunas de las obras más destacadas publicadas en nuestro país en los últimos meses nos acompaña hoy un grupo de redactores dispuesto a darlo todo. Los tiempos y tebeos son los siguientes: 2:20 - Bautismo 11:48 - Las mentiras de la profesora 22:45 - Limit 30:55 - Intermedio 37:05 - La sombra sobre Innsmouth 45:25 - Baki the Grappler 53:10 - Urara 1:07:00 - Despedida Colaboradores: Fer García, Mònica Rex, Jordi T. Pardo y Nacho Teso. Suscríbete a nuestro podcast en... iVoox - https://bit.ly/znpivoox Spotify - https://bit.ly/znpspo Apple Podcasts - http://bit.ly/znpapple Google Podcast - http://bit.ly/znpgoogle Y búscanos en tu app de podcast favorita. Música de entrada y salida: "IkouZe ! - acoustic" de Sumashu - https://bit.ly/ZNPintro Música de intermedio: "Rusty Nail" de X-Japan - https://www.youtube.com/watch?v=M1dcM1pGZS8 Para estar al día de todo el mundo del cómic y sus galaxias cercanas, ¡visita Zona Negativa!

〜本日のトピックス〜 0:00 11月1日は紅茶の日です 6:28 紅葉が見に行きたいと思う年齢ですもの どっちも"紅"が付いてたの、たまたまよ。 且つ、ぺそこ、それほどX JAPANに詳しくないのよ ☆22/10/26収録 BGM :「茜色に染まる二人」by しんさんわーくす #ひとり語り #LGBTQ+ #GayTalker #紅茶の日 #紅葉

โยชิกิ แห่ง X JAPAN ผู้อุทิศทุกสิ่งอย่างให้กับดนตรี MUSIC STAND

The Metal Exchange Podcast guys discuss X Japan's 1989 release, "Blue Blood". Justin's Recommended Track: Week End Chris' Recommended Track: Celebration https://open.spotify.com/album/03ScnRsp9QKQrzxNbgtNup http://www.xjapan.com/ https://www.facebook.com/XJapan *Other Band Mentions* Stratovarius: http://stratovarius.com/ & https://www.facebook.com/stratovarius Charlotte Wessels: https://shop.charlottewessels.nl/ & https://www.facebook.com/OfficialCharlotteWessels Delain: http://www.delain.nl/ & https://www.facebook.com/delainmusic MMXX: https://www.mmxx.band/ & https://www.facebook.com/mmxxdoom Egres: https://www.facebook.com/egresband Bloodbath: https://bloodbath.biz/ & https://www.facebook.com/bloodbathband Avantasia: https://avantasia.com/ & https://www.facebook.com/avantasia Lacuna Coil: https://www.lacunacoil.com/ & https://www.facebook.com/lacunacoil *Join us at The Metal Exchange* https://linktr.ee/MetalExchange https://www.facebook.com/TheMetalExchangePodcast https://www.instagram.com/themetalexchangepodcast/ https://twitter.com/MetalExchangePd https://open.spotify.com/user/4tn81zpim10zdl0qu1azagd8o https://www.reddit.com/r/MetalExchangePodcast/

On this week's episode, we continue our support of the country of Ukraine and we check out our first bands you should know artist in Hellz Abyss as we check out their track Cover and Run featuring former Rob Zombie guitarist Riggs. We talk some rock and metal news with stories on support for the Ukraine by X-Japan, Rammstein, Amon Amarth, Jinjer, and Slipknot as well as stories on Watain, Venom, and more before we take a break to check out this week's Unsigned Band Of The Week in Boston's own Illusions End. We talk more rock and metal news with stories on Marilyn Manson, Booka Nile, Pam Anderson, Gwar, and many more before we end the show with our second Bands You Should Know Artist in Michigan's own Goat Blood Fetish. Follow us on Twitter.com/pedal_radio, Facebook.com/eddiespedaltothemetalradioshow, Instagram.com/pedaltothemetalradioshow, and pedaltothemetalradioshow.blogspot.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/edward-gato/support

⚠溫馨提醒：師徒同台，資訊爆量⚠ 上課囉！本集「主持課」的講師當然就是班長Lulu的師父黃子佼！ 已經獲頒多座廣播、電視金鐘獎，同時也是重度樂迷的佼哥，下半年帶來更多流行音樂相關的新節目《#T-POP我們聽大的！!》、《婚禮歌手》，更首度跨足主持Podcast節目《Play Again》。Lulu第一次訪問師父佼哥為什麼頻頻忍不住吶喊？佼哥平常節奏到底有多快，連同行聚餐的Lulu都直接傻眼？從電視到網路到Podcast節目，對主持人來說有哪些差別？什麼又是成為主持人最重要的條件？ 黃子佼 Ｘ 陳俊菖 《Play Again》Podcast https://kkbox.fm/83RHcuh 《#T-POP我們聽大的！!》https://www.youtube.com/channel/UC6mKt23kUUH4jhRwnP6UDqA 《婚禮歌手》https://www.facebook.com/ebctheweddingsinger/ ◎本集節目重點： (00:01:10) 第一次訪問師父！ (00:03:10) 很早就決定開Podcast了 (00:17:00) 喜歡逛市集到連婚禮都決定要辦個市集？ (00:19:00) Podcast比起廣播的優勢 (00:20:00) 徒弟Lulu吶喊心聲 (00:23:30) 年輕時跟大小S出遊會排Rundown！？ (00:25:50) 疫情期間把握機會看了X JAPAN的紀錄片 (00:31:40) 《#T-POP我們聽大的！!》最擔心的是？ (00:34:30) 電視和網路節目最大的差異 (00:40:20) 《超級星期天》的紅包超大包！ (00:44:00) 跨界體會沒有白走的路 (00:51:30) 亦莊亦諧之外的主持準備 (00:56:10) 佼哥有時候是Lulu發言人！？ KKBOX 獨家自製 Podcast《Lulu超強校》，由跨界娛樂天后 Lulu 黃路梓茵化身班長，邀請各界名人擔任客座講師，將自身的專長與經驗傳授給大家。

Panic and Sarah start out on the path to discussing their trip to see X Japan at Madison Square Garden, but detour into the past of how they learned of the band, and random thoughts and reflections on the group and their music. Warning we get heated in the discussions- explicit language- so listener discretion advised.Support the showPlease help Music Elixir by rating, reviewing, and sharing the episode. We appreciate your support!Follow us on:TwitterInstagram If have questions, comments, or requests click on our form:Music Elixir FormDJ Panic Blog:OK ASIA

Yoshiki is one of Japan's biggest stars. Although he started as a classical pianist, he went on to become an extraordinary drummer who transformed the music scene in Japan with his wild performances and over-the-top outfits. It all began in the 1980s when he founded the band X Japan and spawned a whole new style. They have fans all over the world, have sold more than 30 million records and have won many awards. This month Yoshiki received Japan's prestigious Medal of Honor for his support of frontline medical workers during the Covid 19 pandemic. This interview was first broadcast on 1st March 2017. Get in touch: outlook@bbc.com Presenter: Jo Fidgen Producer: Thomas Harding-Assinder Picture: Yoshiki from X Japan on stage during Coachella Music and Arts Festival in 2018 Credit: Rich Fury/Getty Images for Coachella

Hunter and Wesley review X Japan's album "Jealousy" and what they think have influenced them. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Content Warning: Suicide, Addiction, Child Abuse We return to the story of X Japan! Join us as we explore the possible reasons for hide's death, Toshi's departure from the totalitarian cult that had him brainwashed and the re-emergence of the greatest Visual Kei band of all time. If you're interested, here's a link to a Spotify playlist of X Japan I made upon Kym's request! https://open.spotify.com/playlist/0SrnzbdYjLrsjNOVCJxhSI For more content follow me on @hikikomoripodcast on Instagram where I'll be posting photos relevant to this episode! You can also find me on Twitter @sequencepod, or you can listen to my other podcasts Final Fanservice and Not Another Film on any big podcast app. Sources: The Times We Are X documentary by Stephen Kijak Visual Kei Wiki - hide Wikipedia

This episode is the first of two looking at the legendary Visual Kei band X Japan. We explore the birth of the band, the late 80s punk movement and the very strange mind of Yoshiki. For more content follow me on @hikikomoripodcast on Instagram where I'll be posting photos relevant to this episode! You can also find me on Twitter @sequencepod, or you can listen to my other podcasts Final Fanservice and Not Another Film on any big podcast app. Sources: The Times  We Are X documentary by Stephen Kijak Visual Kei Wiki - hide Wikipedia 

人生，就是在不断打脸中成长，从完全不能接受到彻底沦陷变为痴汉，多姐一步步踏上了X JAPAN的迷恋之旅。作为日本音乐圈中少有的极具商业头脑和音乐天赋的人，YOSHIKI自然成为了多姐的重点关注对象，本期节目，就让我们跟随多姐的脚步，一起掉入林小花的“坑”里。／Song List／01. X JAPAN - Forever Love02. X JAPAN - Art of Life -3rd Movement-03. X JAPAN - Say Anything04. X JAPAN - La Venus (Acoustic Version)大内密谈的新浪微博帐号“大内密谈”大内密谈的微信公共帐号“大内密谈”欢迎加入 欢迎互动：）

人生，就是在不断打脸中成长，从完全不能接受到彻底沦陷变为痴汉，多姐一步步踏上了X JAPAN的迷恋之旅。作为日本音乐圈中少有的极具商业头脑和音乐天赋的人，YOSHIKI自然成为了多姐的重点关注对象，本期节目，就让我们跟随多姐的脚步，一起掉入林小花的“坑”里。／Song List／01. X JAPAN - Forever Love02. X JAPAN - Art of Life -3rd Movement-03. X JAPAN - Say Anything04. X JAPAN - La Venus (Acoustic Version)大内密谈的新浪微博帐号“大内密谈”大内密谈的微信公共帐号“大内密谈”欢迎加入 欢迎互动：）

Comedian Harry Hill is best known for writing and presenting the BAFTA-winning television show, Harry Hill's TV Burp - which ran for 11 years - and for narrating You've Been Framed, the series which features funny home video clips. Tonight, the doctor-turned-comic introduces Matt Millz, eponymous hero of Matt Millz - The Youngest Stand-Up Comedian in the World, his latest children's novel, which is also a practical guide for aspiring comedians. Actor and presenter Liza Tarbuck joins Harry to reveal the secrets of the mysterious art of narrating television programmes. Japanese rock sensation Yoshiki discusses the highs and lows of his career as the drummer in his prog-rock band X Japan that sold over 30 million records, and as a classical pianist who has composed and performed for the Emperor of Japan. Presenter: Stig Abell Producer: Julian May.