[46700] in linux-announce channel archive
New and Fabulous Free Samples
daemon@ATHENA.MIT.EDU (Free Samples)
Tue Aug 27 02:57:46 2024
Date: Tue, 27 Aug 2024 08:46:00 +0200
From: "Free Samples" <ClaimFreeSamples@tupperware.ru.com>
Reply-To: "ScoredIt" <GetFreeSamples@tupperware.ru.com>
To: <linuxch-announce.discuss@charon.mit.edu>
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New and Fabulous Free Samples
http://tupperware.ru.com/pOloag9GfQlh0FUScnj82H_YFZjyOuNaIcgHbVEiR11cq2rxhw
http://tupperware.ru.com/-H7HTMEftOifuWxkVMIq9hFTnXuJsY0swQ7OX1XvIJFv4rgr_A
m was Johnny Mathis's Johnny's Greatest Hits, released in 1958. The album collected eight of Mathis's charting singles, as well as three non-charting B-sides and an altogether new track. The album spent three weeks at the number one spot on Billboard's Best Selling Pop LP's chart. The greatest hits album format then gained popularity in the 1960s and 1970s among American and British rock and pop artists. One notable example was the Beach Boys 1974 album Endless Summer, which upon release was certified 3× platinum by the Recording Industry Association of America. It propelled them from an opening act for Crosby, Stills, Nash & Young to headlining their own tour in just a matter of weeks. Some artists were even popular enough to release multiple greatest hits albums during and after their career.
Greatest hits compilations were sometimes also released as 4-track 7" vinyl EPs. In the late 1960s, EMI Sweden released a series of greatest hits-EPs featuring artists such as The Supremes, Ray Charles and Louis Armstrong.
By the 1990s, greatest hits albums were common for popular artists, with some artists even releasing the greatest hits album as a music video collection concurrently with the album. It also became a commercially viable option to boost popularity for artists with dwindling careers. Some bands refuse to release a greatest hits album, such as rock groups AC/DC, Tool, and Metallica. Garth Brooks had initially refused releasing one, but he eventually agreed to it in 1994 for a limited release (the resulting record, The Hits, sold over ten millio
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<td align="center" style="padding: 0 20px;" valign="middle"><a href="http://tupperware.ru.com/pOloag9GfQlh0FUScnj82H_YFZjyOuNaIcgHbVEiR11cq2rxhw" rel="sponsored" target="blank"><img alt="Free sample" src="http://tupperware.ru.com/3348b217b4d0a76b2f.gif" style="max-width: 433px; width: 90%; margin: 0 auto; border: 0; display: block;" /></a></td>
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<div style="color:#FFFFFF;visibility: hidden;">rogressed, altarpieces began to be commissioned more frequently. In Northern Europe, initially Lübeck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds and confraternities. The 15th century saw the birth of Early Netherlandish painting in the Low Countries; henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead often preferred, for example the Veit Stoss altarpiece in Kraków (completed 1489), while in England there was a 15th-century industry producing relatively cheap painted altarpiece kits in Nottingham alabaster, many of which were exported, the frame being added at the destination. In England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with individual painted panels and often (notably in Venice and Bologna) with complex framing in the form of architectural compositions. In Spain, altarpieces developed in a highly original fashion into often very large, architecturally influenced reredos, sometimes as tall as the church in which it was housed. Renaissance and Reformation Sacra conversazione with a landscape setting and donor portrait, Palma Vecchio, c. 1519 The 15th century also saw a development of the composition of Italian altarpieces where the polyptych was gradually abandoned in favour of single-panel, painted altarpieces. In Italy, the sacra conversazione developed, a group usually centred on the Virgin and Child, flanked by a group of saints usually chosen to repre</div>
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