From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4247 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, May 29 2020 Volume 14 : Number 4247 Today's Subjects: ----------------- Get a free life insurance quote today ["Fidelity Life" ] Shop Frames, Barware, Garden Gifts & More ["Personalized Home Gifts" ] ---------------------------------------------------------------------- Date: Fri, 29 May 2020 06:06:45 -0400 From: "Fidelity Life" Subject: Get a free life insurance quote today Get a free life insurance quote today http://woodthe.guru/cQK9HTTHPulW8iXxSR0sd5svPbnezEuk21W_ZsRdkD0JCLw http://woodthe.guru/X_7DzKECDuB64S90JtxVzMAIIWwnc2IbSh8IbCdBIY1sV2Fd In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, and therefore who could generate the most sales. These bands were able to record their songs in expensive studios, and their works then offered for sale through record store chains that were owned by the entertainment corporations, along with eventually selling the merchandise into big box retailers. Record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, and those bands who were not making the expected sales figures were then excluded from this system. Before the term alternative rock came into common usage around 1990, the sorts of music to which it refers were known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups he was writing about. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts". The first national chart based on distribution called the Indie Chart was published in January 1980; it immediately succeeded in its aim to help these labels. At the time, the term indie was used literally to describe independently distributed records. By 1985, indie had come to mean a particular genre, or group of subgenres, rather than simply distribution status. The use of the term alternative to describe rock music originated around the mid-1980s; at the time, the common music industry terms for cutting-edge music were new music and post modern, respectively indicating freshness and a tendency to re contextualize sounds of the past. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term 'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally nonbmainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems". Usage of the term would broaden to include new wave, pop, punk rock, post-punk, and occasionally "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative also encompassed variants such as "rap, trash, metal and industrial". The bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails, Siouxsie and the Banshees (as second headliners) and Jane's Addiction (as the headlining act). Covering for MTV the opening date of Lollapalooza in Phoenix in July 1991, Dave Kendall introduced the report saying the festival presented the "most diverse lineups of alternative rock". That summer, Farrell had coined the term Alternative Nation. In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has formerly been considered alternative rock b a colleg! e-cent ered marketing group with fairly lucrative, if limited, potential- has in fact moved into the mainstream ------------------------------ Date: Fri, 29 May 2020 05:27:44 -0400 From: "My Total Home Protection" Subject: Do you want FREE coverage? Confirm ASAP! Do you want FREE coverage? Confirm ASAP! http://actions.buzz/xoE7IphglUZglAAjGbUtTIwibAlM5E5G8JF6tUrKQcESRFmr http://actions.buzz/8ZA_DcmayuV4YzL_zZVF57GpDXcA6gHcURr6hhoyyU7-b7ZR The first edition of the Lollapalooza festival became the most successful tour in North America in July and August 1991. For Dave Grohl of Nirvana who caught it near Los Angeles in an open-air amphitheater, "it felt like something was happening, that was the beginning of it all". The tour helped change the mentalities in the music industry: "by that fall, radio and MTV and music had changed. I really think that if it werenbt for Perry , if it werenbt for Lollapalooza, you and I wouldnbt be having this conversation right now". The release of the Nirvana's single "Smells Like Teen Spirit" in September 1991 "marked the instigation of the grunge music phenomenon". Helped by constant airplay of the song's music video on MTV, their album Nevermind was selling 400,000 copies a week by Christmas 1991. Its success surprised the music industry. Nevermind not only popularized grunge, but also established "the cultural and commercial viability of alternative rock in general." Michael Azerrad asserted that Nevermind symbolized "a sea-change in rock music" in which the hair metal that had dominated rock music at that time fell out of favor in the face of music that was authentic and culturally relevant. The breakthrough success of Nirvana led to the widespread popularization of alternative rock in the 1990s. It heralded a "new openness to alternative rock" among commercial radio stations, opening doors for heavier alternative bands in particular. In the wake of Nevermind, alternative rock "found itself dragged-kicking and screaming ... into the mainstream" and record companies, confused by the genre's success yet eager to capitalize on it, scrambled to sign bands. The New York Times declared in 1993, "Alternative rock doesn't seem so alternative anymore. Every major label has a handful of guitar-driven bands in shapeless shirts and threadbare jeans, bands with bad posture and good riffs who cultivate the oblique and the evasive, who conceal catchy tunes with noise and hide craftsmanship behind nonchalance." However, many alternative rock artists rejected success, for it conflicted with the rebellious, DIY ethic the genre had espoused before mainstream exposure and their ideas of artistic authenticity. Grunge Main article: Grunge Eddie Vedder of Pearl Jam Other grunge bands subsequently replicated Nirvana's success. Pearl Jam had released its debut album Ten a month before Nevermind in 1991, but album sales only picked up a year later. By the second half of 1992 Ten became a breakthrough success, being certified gold and reaching number two on the Billboard 200 album chart. Soundgarden's album Badmotorfinger, Alice in Chains' Dirt and Stone Temple Pilots' Core along with the Temple of the Dog album collaboration featuring members of Pearl Jam and Soundgarden, were also among the 100 top-selling albums of 1992. The popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool." Major record labels signed most of the prominent grunge bands in Seattle, while a second influx of bands moved to the city in hopes of succes ------------------------------ Date: Fri, 29 May 2020 05:19:36 -0400 From: "Your Colombian Woman" Subject: Interested in singles See photos! Interested in singles See photos! http://woodthe.guru/q8YimbasuFxelMF2lLwkSZNPgN0rIl63m0N15ry2eUa41SE3 http://woodthe.guru/waLVE88ANdck2FHQwSIE_qFJjczmlFWiF_nZx-4su4vMR-wn Despite a change in style, alternative rock still managed to be mainstream. Post-grunge remained commercially viable into the start of the 21st century, when bands like Creed and Matchbox Twenty became among the most popular rock bands in the United States. At the same time Britpop began to decline, Radiohead achieved critical acclaim with its third album OK Computer (1997), and its follow-ups Kid A (2000) and Amnesiac (2001), which were in marked contrast with the traditionalism of Britpop. Radiohead, along with post-Britpop groups like Travis and Coldplay, were major forces in British rock in subsequent years. Emo band Jimmy Eat World performing in 2007 In the mid-1990s, Sunny Day Real Estate defined the emo genre. Weezer's album Pinkerton (1996) was also influential. By 2000 and on into the new decade, emo was one of the most popular rock music genres. Popular acts included the sales success of Bleed American by Jimmy Eat World (2001) and Dashboard Confessional's The Places You Have Come to Fear the Most (2003). The new emo had a much more mainstream sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations. At the same time, use of the term "emo" expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion. Emo's mainstream success continued with bands emerging in the 2000s, including multi-platinum acts such as Fall Out Boy and My Chemical Romance and mainstream groups such as Paramore and Panic! at the Disco. 21st century Muse performing in 2010 During the late 1990s and early 2000s, several alternative rock bands emerged, including the Strokes, Franz Ferdinand, Interpol and the Rapture that drew primary inspiration from post-punk and new wave, establishing the post-punk revival movement. Preceded by the success of bands such as the Strokes and the White Stripes earlier in the decade, an influx of new alternative rock bands, including several post-punk revival artists and others such as the Killers, and Yeah Yeah Yeahs, found commercial success in the early and mid 2000s. Owing to the success of these bands, Entertainment Weekly declared in 2004, "After almost a decade of domination by rap-rock and nu-metal bands, mainstream alt-rock is finally good again." Thirty Seconds to Mars experienced a notable rise in popularity during the latter half of the 2000s. American rock band Red Hot Chili Peppers entered a new-found popularity in 1999 after the release of their album Californication (1999), with continued success throughout the 2000s. Arctic Monkeys were a prominent act to owe their initial commercial success to the use of Internet social networking, with two UK No. 1 singles and Whatever People Say I Am, That's What I'm Not (2006), which became the fastest-selling debut album in British chart history. Twenty One Pilots performing in 2016 Most references to alternative rock music in the United States past 2010 are to the indie rock genre, a term that previously had limited usage on alternative rock channels and media. Radio Stations in the 2010s have been changing formats away from alternative rock, but this is mostly motivated by conglomeration efforts coupled with advertisers seeking more Top 40/Top 100 stations for sales. While there have been conflicting opinions on the relevance of alternative rock to mainstream audiences beyond 2010, Dave Grohl commented on an article from the December 29, 2013 issue of the New York Daily News stating that rock is dead: "speak for yourself... rock seems pretty alive ------------------------------ Date: Fri, 29 May 2020 06:19:05 -0400 From: "Health Services" Subject: Access to a telehealth plan Access to a telehealth plan http://eatt.guru/hQ6evcjDyPrBryK2V_rPkphIZ7b9ggJQCkVGuH-0ywNl-KJY http://eatt.guru/YeQJX7rMhJuNvOuKq0r_FTf1fL4aSfSpkj2qtPzT2rRohiRv truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived". Historian Nicholas Rogers, exploring the origins of Halloween, notes that while "some folklorists have detected its origins in the Roman feast of Pomona, the goddess of fruits and seeds, or in the festival of the dead called Parentalia, it is more typically linked to the Celtic festival of Samhain, which comes from the Old Irish for 'summer's end'." Samhain (/?s??w?n, ?sa??n/) was the first and most important of the four quarter days in the medieval Gaelic calendar and was celebrated on 31 October b 1 November in Ireland, Scotland and the Isle of Man. A kindred festival was held at the same time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan GoaC1v in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival began on the evening before 7 November by modern reckoning (the half point between equinox and solstice). Samhain and Calan Gaeaf are mentioned in some of the earliest Irish and Welsh literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century, and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland. Samhain/Calan Gaeaf marked the end of the harvest season and beginning of winter or the 'darker half' of the year. Like Beltane/Calan Mai, it was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos SC- (Connacht pronunciation /i?s??i?/ eess-SHEE, Munster /e:s ?i:/), the 'spirits' or 'fairies', could more easily come into this world and were particularly active. Most scholars see the Aos SC- as "degraded versions of ancient gods whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs". The Aos SC- were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings. At Samhain, it was believed that the Aos SC- needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos SC-. The souls of the dead were also said to revisit their homes seeking hospitality. Places were set at the dinner table and by the fire to welcome them. The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures throughout the world. In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin". Throughout Ireland and Britain, the household festivities included rituals and games intended to foretell one's future, especially regarding death and marriage. Apples and nuts were often used in these divination rituals. They included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into ------------------------------ Date: Fri, 29 May 2020 04:01:32 -0400 From: "Personalized Home Gifts" Subject: Shop Frames, Barware, Garden Gifts & More Shop Frames, Barware, Garden Gifts & More http://actions.buzz/o6rGfzT3cIXiTDctvLY5G73ByPWhhP3CAJ_NYI1Q44e-wd_n http://actions.buzz/rOnUXYbIBDEt22Qt4CleH1u0zpP-X3AwYwVe32agTpXUfhMn Albinibwho has worked on thousands of recordings including albums by Nirvana, Page and Plant, and PJ Harveybdescribes his role as more technical than artistic, and prefers to be described as an engineer rather than producer. He has a preference for analogue recording techniques, and is noted for his careful placement of microphones in the studio to achieve a nuanced "roomy" sound. Further, in Albini's ethical approach to recording and to the mechanics of the music industry, he makes a point of not attempting to influence the band's song arrangements. He is known for his vocal and dim view of the music industry, and the press often depicts him as not easy to work with. He has also sometimes had a reputation for being misogynist, in part from the name of his former band Rapeman. Despite his reputation, Donelly recalls being especially comfortable working with Albini, whom she found "sweet". Wiggs and Donelly have both commented that although Albini often downplays his degree of influence on an album's quality, for Pod his contributions were considerable. Donelly has praised Albini for the input that he gave the band prior to recording. This included convincing the band to reduce the number of vocal harmonies and give more prominence to Deal's vocals. Donelly believes the removal of harmonies made the performances "more effective and sadder and ... focused". Albini paid attention to capturing strong live performances in the studio. His main concern was achieving the best sound, rather than seeking the best technical performances. Albini had a policy of never doing more than two takes of each song. This led to confrontations with Donelly, who remembers: "For all the fights we had with him in the studio, for all the times I'd stomp upstairs in my pajamas screaming that I couldn't live with such-and-such a guitar part, the next morning I realized he was usually right." Deal also often fought with Albini. Wiggs was struck with how quickly Albini and the other musicians resolved issues through short, intense arguments, an ability she attributed to their being American. Albini saw Walford's drumming as an integral part of the band's sound. Then 19 years old, Walford was a confident and "hard-hitting" drummer who typically played one of his drums behind the beat. Song tempos were faster than Wiggs had expected, which arose in part because Deal lacked the breath control to sing her lines in a slower manner. Music and lyrics Pod has sparse instrumentation. Music critic Colin Larkin likened the album to the Pixies for its threatening melodies and loud, resounding guitars. The New York Times' Karen Schoemer also found similarities to the Pixies, citing Pod's "angular melodies, shattered tempos and screeching dynamics", but felt the album nonetheless had its own identity distinct from Deal's previous band. Unlike the demo, the album does not have a country-influenced sound. Other writers have noted the album's sinister, sexual and youthful feel. Matt LeMay of Pitchfork wrote that Deal's singing is spooky, and evokes a mythical siren or a young girl hiding a weapon. Melody Maker's Ted Mico compared the tone of the songs to the innocent-looking girl in Poltergeist who dribbles blood. Albini said that "there was a simultaneous charm to Kim's presentation to her music that's both childlike and giddy and also completely mature and kind of dirty ... [it had a] sort of girlish fascination with things that were pretty but it was also kind of horny. That was a juxtaposition that, at the time, was unusual. You didn't get a lot of knowing winks from female artists at the time ------------------------------ Date: Wed, 27 May 2020 10:24:11 -0400 From: "Reading Head Start" <**ReadingHeadStart**@hotground.buzz> Subject: Open up... Open up... http://hotground.buzz/fRmplcjoz5BmULh4lngDcpbvN5dCAGzH0YoP9T6g6fXomt0f http://hotground.buzz/GGylSwZAjDKtN27jwu44hOEHzk7aZ6EvGIg-Kx2OagaMOGNY Wireless communication is the electromagnetic transfer of information between two or more points that are not connected by an electrical conductor. The most common wireless technologies use radio waves. With radio waves, intended distances can be short, such as a few meters for Bluetooth or as far as millions of kilometers for deep-space radio communications. It encompasses various types of fixed, mobile, and portable applications, including two-way radios, cellular telephones, personal digital assistants (PDAs), and wireless networking. Other examples of applications of radio wireless technology include GPS units, garage door openers, wireless computer mouse, keyboards and headsets, headphones, radio receivers, satellite television, broadcast television and cordless telephones. Somewhat less common methods of achieving wireless communications include the use of other electromagnetic wireless technologies, such as light, magnetic, or electric fields or the use of sound. The term wireless has been used twice in communications history, with slightly different meaning. It was initially used from about 1890 for the first radio transmitting and receiving technology, as in wireless telegraphy, until the new word radio replaced it around 1920. Radios in the UK that were not portable continued to be referred to as wireless sets into the 1960s. The term was revived in the 1980s and 1990s mainly to distinguish digital devices that communicate without wires, such as the examples listed in the previous paragraph, from those that require wires or cables. This became its primary usage in the 2000s, due to the advent of technologies such as mobile broadband, Wi-Fi and Bluetooth. Wireless operations permit services, such as mobile and interplanetary communications, that are impossible or impractical to implement with the use of wires. The term is commonly used in the telecommunications industry to refer to telecommunications systems (e.g. radio transmitters and receivers, remote controls, etc.) which use some form of energy (e.g. radio waves, acoustic energy,) to transfer information without the use of wires. Information is transferred in this manner over both short and long distances. ------------------------------ End of alt.music.moxy-fruvous digest V14 #4247 **********************************************