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Date: Wed, 2 Aug 2023 16:43:27 +0200
From: "Regrow Hair" <RegrowHair@buffalowwildwings.shop>
Reply-To: "Thick Dense Hair" <ThickDenseHair@buffalowwildwings.shop>
Subject: Tap The top of Your Head Like This to Grow Thick Dense Hair in 30 Days
To: <bruce@untroubled.org>
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Tap The top of Your Head Like This to Grow Thick Dense Hair in 30 Days

http://buffalowwildwings.shop/3CaLIPHVeRip64y28H1ye6vqtHj3FEvjkicNq-Znob8ayy5zCA

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However, not all indie record labels failed in this era due the problems with Rough Trade Distribution, some failed because they did not stick to their niche and tried to take on the majors at their own game. David Mimran's Savage Records (known for British band Soho and their Smiths-sampling indie-dance hit "Hippychick" in 1991) was set up by the Swiss teenager in 1986 and funded by his multi-millionaire father. Due to the almost endless financing of his father and the fact their A&R manager (a Swiss record shop owner called Bernard Fanin) had industry experience, the label managed to make it into the 1990s with a number of dance and hip-hop hits by artists such as Silver Bullet and A Homeboy, Hippy and A Funky Dread (issued on Savage's Tam Tam dance label). Around the time Soho had their top ten UK hit, Mimran decided that Savage would not just be a British indie, but would be an American major instead. Savage Records went on a spending spree in America, which resulted in them opening plush offices on Broadway, hiring Michael Jackson's manager Frank DiLeo and signing David Bowie to a massive $3.4 million record deal, all which ended when Mimran's father, Jean Claude, cut finances. In the end Bowie's Savage album, Black Tie White Noise only just made the US Top 40 albums chart (but was a number one in the UK for Savage's distributor BMG via their Arista label) with Savage Records being a record label whose 'story' Telstar and Sanctuary would follow to a lesser extent.

One independent record label who was having a better time than Savage Records in the early to mid-90s American marketplace was Epitaph Records. It was Epitaph that released The Offspring's 1994 album Smash, which would become the best-selling independent record of the 1990s. The album was certified six times platinum in the United States and sold more than 12 million copies worldwide.

In the UK, the indie chart was still a valuable marketing tool (especially when targeting readers of the NME, Select and various student publications) and so the Britpop-era gave rise to the idea of the 'fake indie'. The 'fake indie' would be a record label owned by a major company but whose distribution did not go through the parent company's distribution arm, going through an independent in order for those records to be eligible for the indie chart. Acts promoted this way initially included Sleeper on BMG's Indolent Records and Echobelly on Sony's Fauve Records. However, at this point its worth noting that Sony owned half of Creation Records at the time (with Alan McGee too important within the scene to be labelled a 'fake'), that Fauve Records was set up as part of a labels deal between Epic and former dance music label Rhythm King and as the bands got bigger the releases ended up going through major distribution channels like Arvato (its also worth pointing out that BMG would be seen as being one of the largest independent record companies of the 21st century after Sony BMG was dissolved).

Richard Branson sold the independent label he co-founded with Simon Draper and Nik Powell (Virgin Records) to Thorn EMI in 1992 and a few years later decided to launch a 'new Virgin Records'. This 'Virgin2' was set up as V2 Music in 1996 with staff from Branson's company working on V2 at the same time as the V96 Festival (both record company and festival would use similar 'V' branding, as Branson could not use the full Virgin name for any projects involving music). This British independent label would be joined by othe

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<p style="color:#FFFFFF;font-size:8px;">However, not all indie record labels failed in this era due the problems with Rough Trade Distribution, some failed because they did not stick to their niche and tried to take on the majors at their own game. David Mimran&#39;s Savage Records (known for British band Soho and their Smiths-sampling indie-dance hit &quot;Hippychick&quot; in 1991) was set up by the Swiss teenager in 1986 and funded by his multi-millionaire father. Due to the almost endless financing of his father and the fact their A&amp;R manager (a Swiss record shop owner called Bernard Fanin) had industry experience, the label managed to make it into the 1990s with a number of dance and hip-hop hits by artists such as Silver Bullet and A Homeboy, Hippy and A Funky Dread (issued on Savage&#39;s Tam Tam dance label). Around the time Soho had their top ten UK hit, Mimran decided that Savage would not just be a British indie, but would be an American major instead. Savage Records went on a spending spree in America, which resulted in them opening plush offices on Broadway, hiring Michael Jackson&#39;s manager Frank DiLeo and signing David Bowie to a massive $3.4 million record deal, all which ended when Mimran&#39;s father, Jean Claude, cut finances. In the end Bowie&#39;s Savage album, Black Tie White Noise only just made the US Top 40 albums chart (but was a number one in the UK for Savage&#39;s distributor BMG via their Arista label) with Savage Records being a record label whose &#39;story&#39; Telstar and Sanctuary would follow to a lesser extent. One independent record label who was having a better time than Savage Records in the early to mid-90s American marketplace was Epitaph Records. It was Epitaph that released The Offspring&#39;s 1994 album Smash, which would become the best-selling independent record of the 1990s. The album was certified six times platinum in the United States and sold more than 12 million copies worldwide. In the UK, the indie chart was still a valuable marketing tool (especially when targeting readers of the NME, Select and various student publications) and so the Britpop-era gave rise to the idea of the &#39;fake indie&#39;. The &#39;fake indie&#39; would be a record label owned by a major company but whose distribution did not go through the parent company&#39;s distribution arm, going through an independent in order for those records to be eligible for the indie chart. Acts promoted this way initially included Sleeper on BMG&#39;s Indolent Records and Echobelly on Sony&#39;s Fauve Records. However, at this point its worth noting that Sony owned half of Creation Records at the time (with Alan McGee too important within the scene to be labelled a &#39;fake&#39;), that Fauve Records was set up as part of a labels deal between Epic and former dance music label Rhythm King and as the bands got bigger the releases ended up going through major distribution channels like Arvato (its also worth pointing out that BMG would be seen as being one of the largest independent record companies of the 21st century after Sony BMG was dissolved). Richard Branson sold the independent label he co-founded with Simon Draper and Nik Powell (Virgin Records) to Thorn EMI in 1992 and a few years later decided to launch a &#39;new Virgin Records&#39;. This &#39;Virgin2&#39; was set up as V2 Music in 1996 with staff from Branson&#39;s company working on V2 at the same time as the V96 Festival (both record company and festival would use similar &#39;V&#39; branding, as Branson could not use the full Virgin name for any projects involving music). This British independent label would be joined by othe</p>
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