From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #13450 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Friday, March 15 2024 Volume 14 : Number 13450 Today's Subjects: ----------------- Confirmation iPh219 ["Ace Hardware Department" Subject: Confirmation iPh219 Confirmation iPh219 http://umlockyourhip.best/mrBFw6ag4koguiBoboPTzDiFGZahLTOm2NndqYKCA1w3V7RMRA http://umlockyourhip.best/oxOENBSQjhkakHY6lf1xT1irPuYzv1OPKXgtCMXL8Zju7_CxTQ In the 1920s, Messager kept pace with the change in fashion in musical theatre, consciously absorbing the styles of musical comedy, lightening his orchestration, but maintaining a Gallic flavour, mostly avoiding American dance-rhythm influences. He collaborated with Sacha Guitry on the musical comedies L'Amour masquC) (1923) and Deburau (1926), starring Yvonne Printemps. The former was a considerable success in Paris, but in London the official censor, the Lord Chamberlain, declared it "unfit for the English public", and banned C. B. Cochran's planned production starring Printemps and Guitry. In Messager's late stage works his lighter touch was balanced by echoes of the nineteenth century, with hints of FaurC) and, particularly, Chabrier's L'C toile. FaurC), by 1923 too frail and deaf to go to the theatre, was lent a copy of the score of L'Amour masquC) and wrote to Messager, "Your wit is the same as always b it never grows old b and so are your charm and very personal brand of music that always remains exquisite even amid the broadest clowning". FaurC) died the following year, and Messager dedicated the music of Deburau to his memory. In 1924 Sergei Diaghilev persuaded Messager to conduct the Paris premieres of Auric's ballet Les FC"cheux and Poulenc's Les Biches. In 1928 Messager played a key role in establishing important updates to copyright law, though he was on the losing side of the case. He sued the BBC for breach of copyright for broadcasting his works without his consent. He lost because he had assigned his British performing rights to George Edwardes, whose estate had given the BBC permission for the broadcast. The case established that as the broadcasting rights had not b ------------------------------ Date: Fri, 15 Mar 2024 08:48:36 +0100 From: "Walmart Black Friday" Subject: Black Friday Deals Black Friday Deals http://naganotonic.best/6ScQkffA58Udi0PjRJXE6SQqtdaAG6XhniYa7F25fIi75c8CGw http://naganotonic.best/bfYHi3W8lkRrvoZJvUIu2Lr3ntcf1__RYeVNmqjPohyA9GVAKw In the 1920s, Messager kept pace with the change in fashion in musical theatre, consciously absorbing the styles of musical comedy, lightening his orchestration, but maintaining a Gallic flavour, mostly avoiding American dance-rhythm influences. He collaborated with Sacha Guitry on the musical comedies L'Amour masquC) (1923) and Deburau (1926), starring Yvonne Printemps. The former was a considerable success in Paris, but in London the official censor, the Lord Chamberlain, declared it "unfit for the English public", and banned C. B. Cochran's planned production starring Printemps and Guitry. In Messager's late stage works his lighter touch was balanced by echoes of the nineteenth century, with hints of FaurC) and, particularly, Chabrier's L'C toile. FaurC), by 1923 too frail and deaf to go to the theatre, was lent a copy of the score of L'Amour masquC) and wrote to Messager, "Your wit is the same as always b it never grows old b and so are your charm and very personal brand of music that always remains exquisite even amid the broadest clowning". FaurC) died the following year, and Messager dedicated the music of Deburau to his memory. In 1924 Sergei Diaghilev persuaded Messager to conduct the Paris premieres of Auric's ballet Les FC"cheux and Poulenc's Les Biches. In 1928 Messager played a key role in establishing important updates to copyright law, though he was on the losing side of the case. He sued the BBC for breach of copyright for broadcasting his works without his consent. He lost because he had assigned his British performing rights to George Edwardes, whose estate had given the BBC permission for the broadcast. The case established that as the broadcasting rights had not b ------------------------------ Date: Fri, 15 Mar 2024 08:22:55 +0100 From: "YourMembership" Subject: Renew YourCostco-membership ForContinued-benefits! Renew YourCostco-membership ForContinued-benefits! http://testo911.za.com/9I1_kstIa0GdNO8NDquZQfX0dgo_H1mUm7NiSAklPLE8hPgY5A http://testo911.za.com/eIs2Y-VNN8BB6ivQ8oiulCsn2CeKwAlCbMAJwfvCa7SJJMLq5A d development of industrial tramways, which had found need on occasions to add additional braking capacity by adding an empty truck to the rear of a group of tramcars. This allowed the "locomotive" b often a cableway powered by a steam engine at the surface b to operate both safely and, more importantly, at higher speed. The first railways, such as the pioneering Liverpool and Manchester Railway of 1830, used a version of the tramways buffer and chain coupling, termed a screw-coupling. Vehicles are coupled by hand using a hook and links with a turnbuckle-like device that draws the vehicles together. Vehicles have buffers, one at each corner on the ends, which are pulled together and compressed by the coupling device. With no continuous brake across the entire train, the whole train was reliant on the braking capacity of the locomotive, and train lengths were restricted. To allow for longer trains, early railway companies from the 1840s onwards began replicating industrial tramway practises, by adding "break vans". The term was derived from their name on the industrial tramways, in which they controlled the (residual) train if there was a "break" in the linkage to the locomotive.[citation needed] Early railway couplings had been found to be prone to breakages. The term was only replaced by "brake van" from the 1870s onwards. Because of the combined risks of shortage of brake power and breaking couplings, the speed of freight trains was initially restricted to 25 mph (40 km/h). The brake van was marshalled at the rear of the train, and served two purposes: Provided additional braking for 'unfitted' goods trains Put a man (the guard) at the rear of the train, who could take action in the event of a breakdown or accident While the UK railway system persisted until post-nationalisation in 1948 with "unfitted" (discontinuously braked) trains and loose couplings (the final unfitted trains ran in the 1990s), other systems, such as the North American adoption of the Janney coupler, overcame the same railway safety issues in a different manner. The guard's duties This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2015) (Learn how and when to remove this template message) On unfitted trains, the brake van has several purposes, an ------------------------------ Date: Fri, 15 Mar 2024 09:44:54 +0000 From: "LifeGuard Shield Fire Blanket" Subject: Top Reasons Why Lifeguard Shield is Your Essential Fire Safety Solution: Content-Transfer-Encoding: 8bit ------------------------------ Date: Fri, 15 Mar 2024 07:34:56 +0100 From: "Wood Vinegar" Subject: Pour THIS vinegar on your leg (erase all pain in 37 seconds) Pour THIS vinegar on your leg (erase all pain in 37 seconds) http://testo911.za.com/I9A3hKdNVX4Y1C0U4xA6a8_PDkob5TzDk2or2w76nXZNjkqw8g http://testo911.za.com/iaM8wMBvaShyKnqMLyn8MYIcVUvdP4QHCt_keXL6dEqBd5IjFw In the 1920s, Messager kept pace with the change in fashion in musical theatre, consciously absorbing the styles of musical comedy, lightening his orchestration, but maintaining a Gallic flavour, mostly avoiding American dance-rhythm influences. He collaborated with Sacha Guitry on the musical comedies L'Amour masquC) (1923) and Deburau (1926), starring Yvonne Printemps. The former was a considerable success in Paris, but in London the official censor, the Lord Chamberlain, declared it "unfit for the English public", and banned C. B. Cochran's planned production starring Printemps and Guitry. In Messager's late stage works his lighter touch was balanced by echoes of the nineteenth century, with hints of FaurC) and, particularly, Chabrier's L'C toile. FaurC), by 1923 too frail and deaf to go to the theatre, was lent a copy of the score of L'Amour masquC) and wrote to Messager, "Your wit is the same as always b it never grows old b and so are your charm and very personal brand of music that always remains exquisite even amid the broadest clowning". FaurC) died the following year, and Messager dedicated the music of Deburau to his memory. In 1924 Sergei Diaghilev persuaded Messager to conduct the Paris premieres of Auric's ballet Les FC"cheux and Poulenc's Les Biches. In 1928 Messager played a key role in establishing important updates to copyright law, though he was on the losing side of the case. He sued the BBC for breach of copyright for broadcasting his works without his consent. He lost because he had assigned his British performing rights to George Edwardes, whose estate had given the BBC permission for the broadcast. The case established that as the broadcasting rights had not b ------------------------------ Date: Wed, 13 Mar 2024 16:14:27 +0000 From: "Play piano by ear" Subject: Elevate Your Piano Skills: Join Piano 4 All Today! Content-Transfer-Encoding: 8bit ------------------------------ Date: Wed, 13 Mar 2024 12:08:18 +0000 From: "LumeDeodorant Ad" Subject: Keep Your Confidence High and Say Goodbye to Unwanted Perspiration with Lume Deodorant Content-Transfer-Encoding: 8bit ------------------------------ End of alt.music.moxy-fruvous digest V14 #13450 ***********************************************