Mindless Self Indulgence

Mindless Self Indulgence (often identified using the abbreviation MSI) is an American electronic rock band formed in New York City in 1997. Their music has a mixed style which includes punk rock, alternative rock, electronica, techno, industrial, hip hop, and breakbeat hardcore. MSI has also been known to define themselves as "electro-punk jungle pussy" or "industrial jungle pussy punk". Their group name is derived from an Ayn Rand quote found in the book Atlas Shrugged.

History

Between 1987 and 1996, James Euringer (stage name Jimmy Urine) recorded about 35 songs which varied in musical style, usually settling in an industrial/electronic punk style. These songs were recorded alone by Euringer in New York City using rudimentary equipment. Euringer released an album titled Mindless Self-Indulgence, which featured songs in a very industrial style akin to Nine Inch Nails.

The first concert using the name "Mindless Self Indulgence" was performed on September 7, 1995.

In 1997, Euringer recorded a cover of Method Man's "Bring The Pain", which was made by merging six different styles of the same cover into one song. This became the basis for the Mindless Self Indulgence sound. Shortly after, the current band was formed when Jimmy Urine was joined by Steve, Righ? on guitar, Urine's brother Markus Euringer on second guitar (replaced by bassist Vanessa Y.T., who was subsequently replaced by bassist Lyn-Z), and Urine's cousinKitty on drums. They have released five albums, two EPs, one live album, and one live DVD. Rather than signing traditional record contracts, the band has licensed most of their albums to record labels, retaining ownership of the music.

God

In monotheism and henotheism, God is conceived of as the Supreme Being and principal object of faith. The concept of God as described by theologians commonly includes the attributes of omniscience (infinite knowledge), omnipotence (unlimited power), omnipresence (present everywhere), omnibenevolence (perfect goodness), divine simplicity, and eternal and necessary existence.

God is also usually defined as a non-corporeal being without any human biological gender, but his role as a creator has caused some religions to give him the metaphorical name of "Father". Because God is concieved as not being a corporeal being, he cannot (some say should not) be portrayed in a literal visual image; some religious groups use a man to symbolize God because of his role as the "father" of the universe and his deed of creating man's mind in the image of his own.

In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe. Monotheism is the belief in the existence of one God or in the oneness of God. In pantheism, God is the universe itself. In atheism, God does not exist, while God is deemed unknown or unknowable within the context of agnosticism. God has also been conceived as being incorporeal (immaterial), a personal being, the source of all moral obligation, and the "greatest conceivable existent". Many notable philosophers have developed arguments for and against the existence of God.

God (Tori Amos song)

"God" is a song by American singer-songwriter and musician Tori Amos. It was released as the second single from her second studio album Under the Pink. It was released on February 3, 1994 by Atlantic Records in North America and on October 3 by EastWest Records in the UK.

The song reached number 44 on the UK Singles Chart. as well as #1 on the US Modern Rock Chart.

Releases

The B-sides to the American release included Amos' reworking of "Home on the Range", with new lyrics, as well as a two-song instrumental piano suite. An American cassette single featured the b-side "Sister Janet".

A completely different single was released in Europe on CD, 12" and 7" vinyl single, and cassette. The 7" single was a glossy dual sided picture disc. The various formats featured ambient and jungle house remixes of the track by CJ Bolland, Carl Craig and The Joy.

Track listing

God (Rebecca St. James album)

God is the third studio album by then 18-year-old Christian pop and rock artist Rebecca St. James. It was released on June 25, 1996 by ForeFront Records, and peaked at No. 200 on the Billboard 200. The title song was featured on WOW #1s: 31 of the Greatest Christian Music Hits Ever. It was RIAA Certified Gold in 2005. This was the first of many Rebecca St. James albums produced by Tedd Tjornhom aka Tedd T.

Track listing

God-VIDEO You're The Voice-VIDEO

Chart performance

Album - Billboard (North America)

Singles - CCM Magazine (North America)

Radio success

The song "God" was a hit in 1996, topping three Christian Rock Charts. The radio singles "You're the Voice", "Abba (Father)" and "Go & Sin No More" also did well, while the single "Me Without You" failed to gain major airplay. Though never released as singles "Psalm 139", "Speak to Me" and "You Then Me" have all become fan favorites.

References

Gratitude

Gratitude, thankfulness, gratefulness, or appreciation is a feeling or attitude in acknowledgment of a benefit that one has received or will receive. The experience of gratitude has historically been a focus of several world religions, and has been considered extensively by moral philosophers such as Lee Clement. The systematic study of gratitude within psychology only began around the year 2000, possibly because psychology has traditionally been focused more on understanding distress rather than understanding positive emotions. The study of gratitude within psychology has focused on the understanding of the short term experience of the emotion of gratitude (state gratitude), individual differences in how frequently people feel gratitude (trait gratitude), and the relationship between these two aspects.

Comparison with indebtedness

Gratitude is not the same as indebtedness. While both emotions occur following help, indebtedness occurs when a person perceives that they are under an obligation to make some repayment of compensation for the aid. The emotions lead to different actions; indebtedness can motivate the recipient of the aid to avoid the person who has helped them, whereas gratitude can motivate the recipient to seek out their benefactor and to improve their relationship with them.

E.S.P. (Extra Sexual Persuasion)

E.S.P. (Extra Sexual Persuasion) is a Millie Jackson album released in 1983. In addition to her signature soul music songs, it also includes somewhat more Hi-NRG and Funk dance song production popular at the time such as "This Girl Could Be Dangerous", "Sexercise" and the title track.

Critical reception

In a contemporary review for The Village Voice, music critic Robert Christgau gave the album a "B-" and wrote that, despite her mannerisms and persuasive parodies of sexercise, Jackson lacks the redeeming slow songs of her past work, and both "Slow Tongue" and the title track sound contrived.

Track listing

E.S.P. (Miles Davis album)

Recorded in January 1965, E.S.P. is the first album by what is often referred to as Miles Davis's second great quintet. The quintet comprising Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams would be the most long-lived of all Davis's groups, and this was their first studio recording together.

Composition

Unlike the majority of previous Davis albums, E.S.P. consisted entirely of new compositions written by members of the group. Despite the profusion of new material, only two of the tunes, "Agitation" and "R.J." are known to have appeared in the group's live performances, the latter only appearing in one extant recording. "Agitation", by contrast, was still being performed as late as the fall of 1969.

"Little One" might be best known for being revisited on Hancock's landmark album, Maiden Voyage, recorded a few weeks later. This version is somewhat more embryonic; Carter's bass is halting, and Davis and Shorter state the theme with winding, interlocking contrapuntal lines that evoke Davis and Coltrane's version of "Round Midnight". Hancock's solo on Carter's composition, "Eighty-One", also presages his work on that LP - particularly its title track. This is reflected in the liner notes of the 1999 reissue.