PINOY ROCK(what is this?)\m/

Pinoy Rock, or Filipino Rock, is the brand of Rock music produced in the Philippines or by Filipinos. It has become as diverse as the Rock music genre itself, and bands adopting this style are now further classified under more specific genres or combinations of genres like Alternative Rock, Ethnic, Metal, New Wave, Pop Rock, Punk Rock, Reggae, Heavy Metal and Ska. Because these genres are generally considered to fall under the broad Rock music category, Pinoy Rock may be more specifically defined as Rock music with Filipino cultural sensibilities.

HISTORY
One of the first popular Filipino rock stars was Bobby Gonzales, whose major hit was “Hahabul-Habol.” Eddie Mesa, another teen idol from the period, became known as the “Elvis Presley of the Philippines.” Back then, many Filipinos referred to Rock bands as “combos,” many of which used nontraditional instruments like floor-bass bongos, maracas, and gas tanks.

In the early 1960s, as electric instruments and new technology became available, instrumental American and British bands like The Shadows and The Ventures flourished. Filipino instrumental bands arose as well in this period; bands like The Deltas, The Celtics, RJ & the Riots, The Technicolors, The Downbeats, The Hi-Jacks, and The Electromaniacs. These bands spawned the first Filipino singer-songwriters.

In 1963, the so-called British Invasion brought bands like The Beatles to mainstream audiences worldwide. Their widespread popularity and their embrace of the counterculture injected the possibility of socio-political lyrics with mature comments on real life into popular music. Immensely influenced by this new breed of British artists, many Filipino bands began adopting similar musical styles; and this produced acts like Downbeats, Tilt Down Men, The Moonstrucks, The Dynasouls, and Bits & Pieces. Some groups enhanced their style by adding unconventional instruments like a horn-and-brass section, trumpet, flute, and saxophone. Examples of such bands included Drop Outs, The Howlers, The Originals, The Houserockers, Clubmen, and The Imperials.
Maria Cafra logo
Maria Cafra logo

In the late 1960s, the onset of the Woodstock generation brought about bands like Crosby Stills Nash & Young, Jimi Hendrix Experience, Chick Corea Return to Forever, Mahavishnu Orchestra, The Who, and others in this frontier such as Ten Years After, Iron Butterfly, Led Zeppelin, Joe Cocker and The Mad Dogs & Englishmen, to audiences worldwide. This brought about the rock culture that still heavily influences Pinoy Rock today. This era produced acts like Circus Band, Maria Cafra, Anakbayan, Isang Kilo Band with members Boy Katindig, Pabs Dadivas, Walter Calinawan, Wally Ang, Bambi Borromeo, and Boy Fragante, Psyclones, Makati Avenue Blues Band, and the Juan Dela Cruz Band to name a few.

1970s

Into the early 1970s, Filipino music was growing more nationalistic and socio-political in nature, as well as using Tagalog more often. Popular or Pop music still dominates the airwaves with artists such as the Apo Hiking Society and Hotdog. The songs like “Ang Miss Universe ng Buhay Ko” (The Miss Universe of My Life) of Hotdog combined Filipino and English words within the same song. This helped innovate the so-called “Manila Sound”. OPM (Original Pilipino music) also became popular.

However, emerging social and political consciousness somehow creeped in to the industry with the traditional allied genres that are folk and rock music. Folk musicians included Freddie Aguilar, Asin, Florante. (In 1978, Freddie Aguilar’s debut single, “Anak”, became the most commercially successful Filipino recording in history. The song became known also in other Asian countries and in Europe). Perhaps Asin, a folk ethnic band, was the first commercial band to successfully brought a pro-environment song to the airwaves with “Masdan Mo Ang Kapaligiran”. Also famous for providing subtle rebellious (anti-Marcos dictatorship sentiment was growing at that time) and peace messages behind its skillful vocal harmonizing. Asin gave the masses hits such as “Bayan Kong Sinilangan (Cotabato)”, “Balita”, and “Pagbabalik”.
DZRJ, home of Classic Pinoy Rock.
DZRJ, home of
Classic Pinoy Rock.

The Juan Dela Cruz Band, a blues rock supergroup consisting of Pinoy Rock Legends Pepe Smith, Wally Gonzalez, and Mike Hanopol, are often credited for ushering in the very first “rock & roll revolution” in the Philippines that lasted from the late 60′s to the late 70′s (also known as the Golden Age of Pinoy Rock). Considered by many to be the “greatest Pinoy Rock band in history”, they played a large role in re-awakening national pride through their bluesy Tagalog rock songs, such as “Kagatan” and “Balong Malalim”, at a time of English-dominant music in the local scene. During a Woodstock-esque concert in Luneta Park, the group performed the classic anthem “Himig Natin” for the first time and single-handedly changed the face of Pinoy Rock. It was the first of its kind written in the native tongue, yet with all its glory, was said to have been quickly whipped up by a “stoned out” Pepe Smith while inside a public restroom.

Being heavily influenced by the counter culture, the bands of the 70′s were known to have never been sidelined commercially and sometimes took the center stage by storm. The radio station DZRJ, particularly the AM weekend “Pinoy Rock and Rhythm” show hosted by ex Fine Arts student from PWU named Dante David a.k.a. Howlin Dave, provided the much needed support and publicity to Pinoy Rock during this era.

Today, many music journalists refer to the works of these pioneering artists as Classic Pinoy Rock, perhaps to distinguish them from the works of relatively younger Pinoy Rock bands, especially those that emerged in the 1980s through the 1990s.

1980s

In the early up to mid-1980s, Pinoy Rock became the music of Filipino protesters. Gary Granada and the band Buklod had socially relevant lyrics for their songs. Aguilar’s Bayan Ko (My Country) became an anthem during the 1986 EDSA Revolution. A subculture rejected this kind of socially aware lyrics. A Filipino brand of Punk Rock also began to flourish during this period, as led by bands like Betrayed, G.I. & the Idiots, The Jerks, Private Stock, Urban Bandits, WUDS, I.O.V., and The GOONS. Simultaneously, other brands of Pinoy Rock were starting to develop; for instance, Joey Ayala at ang Bagong Lumad (fronted by Joey Ayala) adopted an Ethnic sound, even using indigenous instruments like kubing and kudyapi while Cocojam combined it with Reggae.
the late Teddy Diaz, one of The Dawn’s founding members.
the late Teddy Diaz, one of The Dawn’s founding members.

The most popular Pinoy Rock band in the Philippines in the ’80s was arguably The Dawn, whose early songs were largely influenced by New Wave music, the dominant Alternative music genre in the Philippines during that period. The Dawn came to prominence in 1986, when its independently released single “Enveloped Ideas” became an instant favorite among listeners of DWXB-FM 102.7, a now-defunct FM radio station popular in the mid-’80s that heavily played New Wave music and other similar genres.

Many music journalists and enthusiasts, as well as musicians themselves, attribute the flourishing in the mid-’80s of New Wave- and Punk Rock-influenced bands to DWXB-FM, which began playing independently released singles of unsigned local bands. This helped many of the struggling bands in this era to achieve cult status. These bands included Deans December, Ethnic Faces, Identity Crisis, and Violent Playground, all of which were able to record and release their respective albums in the years that followed.

Other Pinoy Rock groups took their cue from these pioneers and started recording their own songs; and this proved beneficial to the Pinoy Rock scene, which brought back creativity and originality to the awareness of fledgling musicians. Among the lot, The Dawn, The Youth, Afterimage (band), and Introvoys proved to be the enduring and more successful. Each was able to sustain a relatively long career.

DWXB-FM went off the air on June 9, 1987. The new Cory Aquino-led government began sequestering properties owned by her predecessor Ferdinand Marcos and his cronies, including the home that DWXB-FM beamed from. DWXB-FM was revived as an online radio station on September 10, 2005, by Sutton Records, with the original DJs broadcasting from Manila.

1990s

Introvoys and After Image were among the prominent bands in the early 1990s; but their popularity were later overshadowed by younger bands that eventually emerged. Radio station LA 105.9 had advocated Filipino rock music, encouraging original amateur (even if poorly recorded) singles and gave new avenues for emerging bands.

The band that stood out of the amateur clutter was Eraserheads, which to this day many Filipino music enthusiasts regard as the Pinoy rock icon of the 1990s. In 1993, with the release of Eraserheads’ first commercially released album, Ultraelectromagneticpop, a new type of Pinoy rock emerged and many Pinoy rock bands followed their lead. Rivermaya, another Pinoy rock icon, also emerged, further injecting pop sensibilities to rock music, making rock more accessible to the general public. It was also in this period when NU Rock Awards was born. Socially relevant lyrics persisted as well, as exemplified by the band Yano, whose lyricism dwelled mostly on social and political issues.

The commercial success of Eraserheads paved the way for more Pinoy Rock acts getting signed in major labels and gaining more exposure. These bands adopted a variety of influences both in image and music; many fell under a particular genre; however, crossing over of styles is most often inevitable.

Among the 80′s Metal and Classic Rock-influenced bands that emerged, most successful were THE TEETH Wolfgang, P.O.T., and Razorback, recognized for their songwriting prowess, technical abilities, and extended live performances.

Siakol and Pinoy humor masters Parokya ni Edgar, meanwhile, popularized Alternative Pinoy Rock, with their albums “Tayo Na Sa Paraiso” and “Khangkhungkherrnitz”, respectively.

Though less mainstream, notable acts who showed the diversity of Pinoy Rock during this time included the hard rock-inspired Mutiny, socio-political rockers Datu’s Tribe, Dungeon Metal Panic City,dark metal-influenced Dahong Palay, and New Wave torch bearers Half Life Half Death.

The 90′s also introduced OPM into the international spotlight, as the Eraserheads won the MTV Video Music Award for Best Asian Artist in 1996 and spawned the internationally released album Aloha Milkyway.

For the band called “Circle’s End” the great Silver Chair’s influence embraced their musical styles that brought them to the spot light after winning the 1998 Rock Festival held in Hard rock Café, Makati. Geno Georsua’s song triggers the interest of rock ballad. It was sad to say that the young rock band lasted only for a short period of time and was not able to make a record.
rise of NU 107.
rise of NU 107.

Emerging from the early nineties as well was the underground gothic scene. Most notable in spearheading and enduring this genre was gothic rock visionaries,Dominion. Followed later by contemporaries like, Prominence of Cathedrals, Iconoclast and much later by the industrial act Apparition. Although gaining quite a considerable following among the Filipino youth, the Pinoy goth scene remains to be relatively marginalized from the mainstream, with Subkulture, a goth culture-focused production label, acting as main source of goth events and music.

In the mid 1990′s emerged the first pinoy Rap Metal group Erectus with their hit song “Trapik” making the benchmark in the Underground Pinoy Rock Industry.

In the late 1990s, with the rise in popularity of nu metal bands Korn and Limp Bizkit, local bands followed suit. These acts include Greyhoundz, Cheese, Slapshock and Chicosci.

In the early 2000s, Hip hop, acoustic and R&B-influenced bands dominated the Philippine music scene, causing Pinoy Rock to take a backseat. Only a number of Pinoy Rock bands had managed to stay in the mainstream during this period; artists like Sandwich, Slapshock, Rivermaya, Siakol, Parokya Ni Edgar, Barbie’s Cradle, and Moonstar 88.

In 2004, Pinoy Rock once again gained prominence, with the rise of yet another wave of Filipino Rock bands. Alongside durable ’90s veterans like Rivermaya, Siakol, and Parokya ni Edgar, the following artists all gained considerable exposure: Bamboo (ex-frontman of Rivermaya), Kapatid (headed by ex-frontman of Advent Call and of P.O.T., Karl Roy), Kitchie Nadal, Sugar Free, Itchyworms, Kamikazee, Kjwan, Barbie Almalbis (ex-frontperson of Hungry Young Poets and of Barbie’s Cradle), Pupil (headed by ex-frontman of Eraserheads, Ely Buendia), and The Pin-Up Girls who was tagged as the first Filipino Rock band to be signed by a U.S. label.

During this time, the Pinoy Rock music scene in Cebu was also finally given its much-needed exposure. The blossoming “Bisrock” music scene gave rise to forerunners Urbandub, Junior Kilat, Faspitch, and Sheila & the Insects.

2004 also saw the emergence of the first Philippine virtual band, Mistula. With the internet as their stage, Mistula comes alive through their official website, a fusion of music, graphic art, literature, photography and other art forms, taking Pinoy Rock to a whole new playing field.

2005 further ushered in the mainstream buzz on Pinoy Rock, and along with it bands that leaned more towards pop sensibilities. During this time, Pinoy Rock, more than ever, gained mainstream exposure, with bands like Callalily, Hale, Sponge Cola, Orange and Lemons, 6CycleMind, and Cueshe

2005 also marked the year when tribute concerts and albums for various Pinoy Rock icons were produced: ranging from the Eraserheads, (Ultraelectromagneticjam), the APO Hiking Society (Kami nAPO muna), and bands of the ‘Manila sound’ era (The Best of Manila Sound: Hopia Mani Popcorn).

The year 2005 also saw the emergence of influential music venues such as Cafe Saguijo, 6underground, and Gweilos in addition to the myriad of venues in the Philippines, such as Mayric’s, 70′s Bistro, Freedom Bar, 19 East, Dish, mag:net, Kolumn, Mai Yuchi, Wilfredos, Caliente, A-Venue, Xaymaca, Pulp Summer Slam and NU 107 Summer Shebang to name a few. In the United States of America where the Fil-Am Rock Scene burgeons, venues are slowly but surely recognizing the presence of Pinoy Rock.

know the dawn(phillippine rock band)

The Dawn is a Filipino rock band (see Pinoy rock) which gained popularity during the late 1980s in the Philippines. The band broke up in 1995 and eventually, lead vocalist Jett Pangan formed another band bearing his name. In late 1999, however, they again reunited.

History.
The Dawn was originally formed in 1985 by Teddy Diaz (vocals and guitars), Jett Pangan (lead vocals), Clay Luna (bass), and JB Leonor (drums). They derived the band’s name from a portrait of the Holy Spirit that symbolized the dawn of a new day (probably found in a book given by the Sisters of the Holy Spirit to Teddy Diaz,[1] as well as a crucifix which Teddy also received from the same sisterhood), called The Dawning of the Holy Spirit. Diaz, Leonor and Luna initially wanted a female vocalist; but in the course of their search, Jett Pangan auditioned and bagged the trio’s unanimous nod. The recharged quartet began performing in clubs and eventually recorded a demo of a song entitled “Enveloped Ideas,” a copy of which they submitted to DWXB 102.7, a now-defunct Metro Manila–based FM radio station that played Alternative Rock / New Wave music. It topped the radio station’s charts in 1986, helping the group gain a cult following. Heavily influenced by the New Wave style of the ’80s, “Enveloped Ideas” is distinct for its introductory operatic vocals a la Klaus Nomi.

While The Dawn was in search of a major record label, Luna left the band to emigrate to the US. Carlos “Caloy” Balcells, bass player of another Filipino group, the Cicada Band, soon replaced him.

Success and tragedy
In 1986, The Dawn signed with OctoArts International and, the next summer, released their eponymous debut album, which gained commercial success. Many felt that The Dawn would fill the void left behind by the Juan de la Cruz Band when their music slowly faded in the 1980′s.

At the height of their popularity in 1988, and just weeks after the release of their second album I Stand With You, Teddy Diaz was stabbed to death in front of his girlfriend’s house on August 21, 1988 by two bystanders allegedly under the influence of drugs and alcohol. Despite the demise of Diaz, his influence is still felt among many guitarists today and he has become a legend among many Filipino musicians. The Dawn, together with the Filipino music industry also considers Teddy to be the band’s driving force till this day.

The band bravely soldiered on; at one time employing the services of a masked guitarist (nicknamed Zorro by some fans) in the absence of a permanent axeman. Atsushi Matsuura, a Japanese guitarist who had earlier released a solo album in the Philippines under Ivory Records, was inducted to perform lead guitar duties in January of 1989. He was later replaced by Francis Reyes, ex-Afterimage guitarist, who was also a DJ at NU-107, a local alternative rock radio station. Francis also happened to be close friend of Teddy’s. Classically trained session keyboardist Millette Saldajeno joined the band in late 1990; she was replaced by Isidore Fernandez in 1992.

Breakup and reunion
n 1995, the band went their separate ways due to Pangan’s desire to move on with another career. Pangan eventually formed the Jett Pangan Group. The 1997 reunion at the ULTRA brought everyone including Matsuura back on stage, and for the first time, the band jammed with two guitarists; Reyes being on board as well. They did another reunion show at the now defunct ABG’s along Pasong Tamo, while they were discussing a comeback release through Sony Music Philippines. They reunited with both Francis Reyes and Atsushi Matsuura on guitars and performed on GMA Networks’ 2000 today Global Millennium Day Broadcast in Ayala Avenue in Makati City. In that year, they also recorded Prodigal Sun, an album that, much like the parable of the Prodigal Son, symbolized their return to the music scene.

2001 saw the band actively engaged in the live circuit; they embarked on an 8-city US tour and were in New York City when 9/11 turned the World Trade Center into ground zero. In 2004, Caloy Balcells left the band in order to perform his duties as city councilor in his native Talisay City; he was replaced by former Wolfgang bassist Mon Legaspi and a few months later the band once again parted with Matsuura and returned to being a quartet.

Present status
n 2005, a new album, Harapin (To Face), was released, featuring singles such as Tulad ng Dati (Just Like Before, or As It Was) and Laging Narito (Always Here).

In late 2005, bassist Mon Legaspi amicably left the band to pursue other projects and was replaced by Buddy Zabala, formerly of the Eraserheads. The revamped quartet has been writing new material which will be included in a twentieth anniversary package. They will also be featured in a Cinemalaya sponsored movie slated for release July or August(?). Most recently, The Dawn contributed to the Apo Hiking Society tribute album kami nAPO muna with a cover of Bawat Bata (Every Child).

The band’s immortal hits include: Enveloped Ideas, Salamat (Thank You), Iisang Bangka (One Boat) and Tulad ng Dati (Just Like Before). These songs still continue to be played by many radio stations in the Philippines.

2006 has seen the following highlights: the band’s indie movie, Tulad Ng Dati[2] (Just Like Before, as it’s titled in the Pusan International Film Festival) won Best Editing, Best Sound, and Best Picture in the Cinemalaya Independent Film Festival. Their 20th anniversary album of the same title was released mid-October and is a 2-disc set: disc 1 contains re-recordings of their hits through the years and the carrier single “Ang Iyong Paalam” (Your Farewell) while disc 2 contains videos including a rare footage of Teddy Diaz doing a guitar solo[3]. It is also the country’s entry to the Hawaii International Film Festival.

On October 2006, “Enveloped Ideas” was voted as the greatest New Wave song of all time by the listeners of DWXB-FM, which was revived on the Internet with its original DJs broadcasting from Manila.

If You Have DISK KNIGHT Use This Step To Remove…

1. Temporarily Disable USB Drive to autorun (Windows XP):
a. Open Windows Explorer or press the Windows + “e” key.
b. Right-click the drive of the USB Drive. Then select Properties. Drive Properties will appear.
c. Select the AutoPlay tab.
d. Choose Select an Action to Perform
e. At the bottom of the selection, click Take no Action, then click Apply.
f. Click OK to exit Drive Properties.

2. Show Hidden Files
a. Open Windows Explorer
b. Go to Tools > Options
c. On View tab, mark Checked the “Show Hidden Files and Folders and “Hide Protected OPerating System Files” Unchecked.

3. Delete the files manually
a. Go the USB Drive and delete autorun.inf
b. Go to C: Drive and delete autorun.inf
c. Go to C:\Windows and delete Disk Knight.exe

4. Modify Windows Registry
a. Go to Start > Run then type regedit
b. On Registry Editor, go to Edit > Find and type “knight”
c. Delete all entries it found.

5. Connect to Internet and update your AntiVirus

6. Reboot your computer in SafeMode
a. During BootUp process Press F8 continuously until selection appears
b. Use Arrow Up+Down to select SafeMode on the selections menu.
c. Hit Enter to proceed.

7. Scan your computer with an updated AntiVirus and delete all infections it founds.

TOP COMPUTER Virus Threats in 2008

Computer Virus threats are neither surprising nor new on the Web. They are stepping towards newer technologies such as VoIP and instant messengers. With advancement in the features available on the Internet, hackers continue to drive malware. This underlines an importance of being aware and secure when traversing the Web. Antivirus Installation is must in each and every computer attached to Internet.

Predictions for top security threats in 2008 are:

• Increase in Password Staling Websites: There will certainly be a rise in the number of attacks seeking to capture a user’s ID and password by displaying fake sign-in pages. Online services will primarily be targeted to spread virus and malware. As opposed to this, the attacks on ISPs are likely to decline, while those aimed at the financial sector will move with the same pace.

• Increase in Spamming: Spamming will continue to grow, accounting for 40 per cent of the total spam received as compared to 10 per cent a year ago. There has been a significant rise in the incidence of image spam and others such as pump-and-dump stocks, pharmacy, and degree spam.

• Increase in IM Attacks: Instant messaging client is gaining wide popularity among Internet-savvy. They are always in search of better messengers to communicate on the web. Since instant messengers feature a number of exclusive features such as file transfer & webcam support, the virus attacks on these applications may increase in near future.

• Increase in Online Gaming Attacks: Online gaming is both the source of entertainment and money for several companies which allow their registered members to buy virtual goods to continue the game. The computer virus attackers may try to target these virtual goods to make real money.

• Increase in Windows Vista Attacks: The attackers and hackers generally seek to take advantage of flaws present in the operating systems. Since Windows Vista, the latest version of Microsoft Windows is believed to be affected by critical vulnerabilities, the hackers may try to inject virus into the affected systems.

• Increase in Phishing Attacks: Phishing attacks are expected to be one of the top 10 threats in 2008. With growth in number of incidence of using copies of original websites to trick the users to get their sensitive data, the phishing attacks can increase.

so beware when downloading in internet^_^

history of the neworleans hornets

1985-1988: Birth of the Charlotte Hornets

In 1985, the NBA announced plans to expand by four teams. George Shinn, an entrepreneur from Charlotte, North Carolina, announced plans to bring an NBA team to the Charlotte area. He assembled a group of prominent local businessmen to head the prospective franchise.

Charlotte had long been a hotbed for college basketball, home to the Charlotte 49ers, Davidson Wildcats, and the large and loyal alumni and fan bases from the four North Carolina schools in the Atlantic Coast Conference. Charlotte was also one of the fastest-growing cities in the United States. It had also previously been home to the American Basketball Association’s Carolina Cougars, from 1969 to 1974.

However, some critics still doubted Charlotte could support an NBA team. In fact, one Sacramento Bee columnist joked, “The only franchise Charlotte is going to get is one with golden arches.”[1] However, Shinn’s ace in the hole was the Charlotte Coliseum, a state-of-the-art arena under construction that would seat almost 24,000 spectators–the largest basketball-specific arena ever to serve as a full-time home for an NBA team. On April 5, 1987, NBA Commissioner David Stern called Shinn to tell him that his group had officially become the 24th member of the NBA, to begin play in 1988. Franchises were also granted to Miami (the Heat), Minneapolis-Saint Paul (the Timberwolves) and Orlando (the Magic).

Originally, the new team was to be named the Charlotte Spirit, but another name-the-team contest yielded “Hornets” as the winning choice. The name derived from the city’s fierce resistance to British occupation during the Revolutionary War, which prompted Lord General Cornwallis to refer to it as “a veritable nest of hornets.” The name had been used for Charlotte teams before; the city’s minor league baseball teams had been called the Hornets from 1901 to 1972; there was a short-lived team in the short-lived World Football League; and NCAA basketball’s Charlotte 49ers and Davidson Wildcats play annually for the Hornets’ Nest Trophy.

The team received a lot of attention when they chose teal as their primary color, setting off a fashion craze in sports in the late 1980s-early 90s. The San Jose Sharks, Jacksonville Jaguars, Florida Marlins, and other pro and amateur clubs soon followed with similar colors. Even the Detroit Pistons briefly switched to teal, away from their traditional blue and red, in the mid 90s. The Grizzlies also used it as their primary color during their days in Vancouver.

Despite some concerns that the new Coliseum was too big, Shinn thought that the area’s long-standing support of college basketball would easily transfer to the Hornets. These hopes were more than validated as the city and region fell in a state of unbridled love with the team. After initially selling 15,000 season tickets, sales exploded and the team eventually capped the season ticket base at 21,000. Hornets tickets were among the toughest tickets in North America; for example, they once sold out 358 consecutive games–the equivalent of almost nine consecutive seasons.

Shinn hired Carl Scheer, a longtime NBA executive, as general manager. Scheer decided to put together a roster of veteran players in hopes of putting together a competitive team as soon as possible, with a view toward making the playoffs in five years. Former college coach and veteran NBA assistant Dick Harter was tapped as the team’s first head coach.

[edit] 1988-1992: Growing Pains

The 1988-89 team was led by ex-Pistons guard Kelly Tripucka, who provided instant offense. Tripucka was Charlotte’s top scorer for the franchise’s first two seasons. The team also had sharpshooting rookie – and first-ever draft choice – Rex Chapman, who was a long-distance scoring threat. The team’s floor general was Muggsy Bogues, the shortest player in NBA history. However, as is typical for most NBA expansion teams, the Hornets struggled, finishing with a 20-62 record–never winning more than two games in a row.

The 1989-90 season was a struggle from start to finish. Harter was fired in January after the players rebelled against his defense-oriented style. He was replaced with assistant Gene Littles. A 3-31 stretch from January through March ended any hopes for the Hornets, who finished 19-63.

For the 1990-91 season, the team picked up guard Kendall Gill in the NBA Draft, and got slightly better, but still managed to win the draft lottery and the rights to the number one overall pick in the following year’s draft. The Hornets also hosted the All-Star Game. Littles was fired at the end of the season and replaced by general manager Allan Bristow.
Charlotte Hornets logo, 1988-2002. Differences from the current logo include motion lines around the hornet, Charlotte across its chest, the purple color of the “H” on the chest, the name around it, and the ball being a darker shade of orange.
Charlotte Hornets logo, 1988-2002. Differences from the current logo include motion lines around the hornet, Charlotte across its chest, the purple color of the “H” on the chest, the name around it, and the ball being a darker shade of orange.

For the 1991-92 season, the Hornets drafted power forward Larry Johnson from UNLV with the number one overall pick. Johnson had an impact season, finishing among league leaders in points and rebounds, and winning the 1992 NBA Rookie of the Year Award. Kendall Gill led the club in scoring, with over 20 points per game. The team stayed in contention for a playoff spot until March.

[edit] 1992-1999: Rise to Prominence

In 1992-93, the team won the second pick in the draft, using it to select Georgetown center Alonzo Mourning. The Hornets now had two 20-10 threats in Johnson and Mourning, who with Gill formed perhaps the league’s top young trio. It was good enough for the team’s first-ever winning record, at 44-38, and the first playoff berth in franchise history. They finished fifth in the Eastern Conference and upset the Boston Celtics in the first round. Mourning won the series with a 20-footer[2] in game four. However, they lacked the experience and depth to defeat the New York Knicks.

The next few years were marked by injuries to Johnson and Mourning, though they did get back to the playoffs in 1994-95, notching the first 50-win season in franchise history–only to be beaten by the Chicago Bulls.

In the offseason the team dealt Mourning to the Miami Heat for guard Glen Rice and center Matt Geiger and guard Khalid Reeves. Geiger and Johnson tied for the team lead in rebounds, while Johnson and Rice provided balanced but high-powered scoring, with all-star guard Kenny Anderson running the point for the injured Muggsy Bogues. Despite the changes, the Hornets failed to qualify for the playoffs during the 1995-96 season. Bristow resigned at the end of the season and was replaced by NBA legend Dave Cowens.

The offseason was again marked by vast changes: Anderson declined to re-sign, Johnson was shipped to the Knicks for power forward Anthony Mason, and center Vlade Divac was acquired from the Los Angeles Lakers for the 13th pick in the draft (Kobe Bryant). The new-look Hornets were apparently even better, with Divac and Geiger providing the best center combo in the league, Mason averaging a double-double and all-NBA third team honors, Bogues back at the point, and Rice having the finest season of his career, finishing third in the league in scoring and earning all-NBA second team honors. Rice was also the All-Star game MVP, setting several scoring records. The team also sported the second best season in their history to date (54 victories), making it back to the playoffs. However, they went down rather meekly to the Knicks in three straight games.

1997-98 was also successful. The team picked up a new free-agent backcourt in point guard David Wesley and shooting guard Bobby Phills. With Wesley, Phills, Rice, Mason and Divac, the Hornets romped through the regular season, with Rice finishing sixth in scoring and earning all-NBA third team honors and the team making it all the way to the second round of the playoffs for the second time in franchise history, again being stopped by the Bulls. 1998-99 was also turbulent, with Rice being traded to the Lakers for Eddie Jones and Elden Campbell. Cowens resigned midway through the lockout-shortened season, and was replaced by former Celtics teammate Paul Silas.

[edit] 1999-2002: End of an Era

1999-2000 was a return to prominence, with the addition of free agent Derrick Coleman and third overall draft pick, point guard Baron Davis. The lineup of Wesley, Jones, Mason, Coleman and Campbell tore through much of the season, but on January 12, 2000 Bobby Phills was killed in an automobile accident. His number was retired on February 9. The team returned to the playoffs, where they succumbed to the Philadelphia 76ers. Jones led the league in steals, but in the offseason he and Mason were shipped to the Heat in exchange for Jamal Mashburn and P.J. Brown.

The season, however, was overshadowed by events off the court. The team’s popularity had begun to sag due to fan discontent with Shinn’s personnel moves; he had reportedly traded Mourning and several other stars out of an unwillingness to pay them market value. Michael Jordan, a North Carolina native, began negotiations to become part-owner of the team, but talks collapsed when Shinn refused to grant Jordan total control over the basketball side of the operation.

However, the event that generated the most headlines came when a woman claimed that Shinn had raped her in 1997. While he was able to fend off a civil suit, the trial severely tarnished his reputation in the city. The team’s attendance dropped off even further and never recovered; the consensus was that while Charlotte was as basketball-crazy as ever, fans took out their anger at Shinn on the team.

In 2000-01 the Hornets, with the lineup of Davis, Wesley, Mashburn, Brown and Campbell made it back to the playoffs, where they upset the third-seeded Heat and made it to the conference semifinals for the third time in franchise history, before losing to the Milwaukee Bucks in seven games. They returned the following season by beating the Orlando Magic, but were upended by the New Jersey Nets. Many thought this was because of Jamal Mashburn missing the playoffs.

[edit] Leaving Charlotte

While the Hornets continued to put a competitive team on the court, the team’s attendance fell dramatically, in large part because Shinn was now a pariah in the city.[3] For much of the early part of the 21st century, the Hornets ranked at or near the bottom of the league in attendance–a marked contrast to their first years in the league.

Shinn had become increasingly discontented with the Coliseum, which had a limited number of luxury boxes. He finally issued an ultimatum–unless the city built a new arena at no cost to him, the Hornets would leave town. The city initially refused, leading Shinn to consider moving the team to either Norfolk, Louisville, St. Louis or Memphis. It should be noted that of the four cities, only St. Louis was a larger media market than Charlotte at the time.

Finally, a new arena in Uptown (what would eventually become the Charlotte Bobcats Arena) was included in a nonbinding referendum for a larger arts-related package, and Shinn withdrew his application to move the team. Polls showed the referendum on its way to passage. However, just days before the referendum, Mayor Pat McCrory vetoed a living wage ordinance. The veto prompted many of the city’s black ministers to oppose the referendum; they felt it was immoral for the city to build a new arena when city employees couldn’t afford to make a living.[4]

After the failed referendum, city leaders then devised a way to build a new arena in a way that didn’t require voter support, but let it be known that they would not even consider building it unless Shinn sold the team. While even the NBA acknowledged that Shinn had alienated fans, league officials felt such a demand would anger owners.[5] The city council refused to remove the statement, leading the Hornets to seriously consider a move to New Orleans. Although New Orleans was a smaller television market, a deal was quickly made to play at the New Orleans Arena, next door to the Louisiana Superdome. Before the Hornets were eliminated from the playoffs, the NBA approved the deal. As part of a deal with the city, the NBA promised that Charlotte would get a new team, which took the court two years later as the Charlotte Bobcats.

[edit] New Orleans

[edit] 2002-2004: NBA Returns to the Big Easy
New Orleans Hornets logo, 2002-present
New Orleans Hornets logo, 2002-present

The Hornets opened their inaugural season in New Orleans on October 30, 2002, against the Utah Jazz, who were originally in New Orleans and called the New Orleans Jazz, with a 100-75 win; “Pistol” Pete Maravich had his number retired during halftime. It was the first regular season NBA game played in New Orleans in over 17 years[6] (there were a few exhibition games played through the years including the then Charlotte Hornets in New Orleans in 2000). They qualified for the playoffs for the fourth straight year in 2002-03, but were beaten by Philadelphia again. Jamal Mashburn also missed most of these playoffs.

There was some concern at first about sluggish ticket sales; the Hornets were only able to sell 11,000 season tickets. However, Shinn remained committed to the area.

After the season, the team unexpectedly fired Silas. He was replaced by Tim Floyd. The Hornets got off to a 17-7 start, but sputtered at the end and finished 41-41, narrowly missing out on home court advantage in the first round of the Eastern Conference playoffs. They played the Miami Heat in the first round, but Dwyane Wade’s last second shot sunk the Hornets in Game One of the series. The teams ended up winning all their respective home games after that, but Wade’s shot was the difference as the Heat won 4-3.

[edit] 2004-2005: Early Struggles in the West

After the season, Floyd was fired and the team hired Byron Scott to be their head coach. Because of the expansion, the Hornets were now forced to play in the Southwest Division of the Western Conference which included four playoff teams in the San Antonio Spurs, Dallas Mavericks, Houston Rockets, and Memphis Grizzlies. The team was not expected to compete for a playoff spot with such tough competition. In a season marred by injury to the team’s three all-stars (Baron Davis, Jamaal Magloire, and Jamal Mashburn) an 0-8 start quickly became a 2-29 record (including a one-point loss in overtime to their replacements, the expansion Charlotte Bobcats, in the team’s first game back in Charlotte since relocating). This started a watch of how bad their record could get, threatening the Philadelphia 76ers’ record of a 9-73 season. The team performed better in January and February with the emerging play of fan favorite Dan Dickau, but the season was essentially over before it started with the horrendous start. As a result of the lack of success, the team’s roster was reshaped, with older veterans Baron Davis and Jamal Mashburn traded to facilitate a rebuilding process. The team found stronger support for their younger, scrappier players than they did the previous year. They also acquired Jimmy Jackson from the Houston Rockets, but Jackson never reported to the team (which surprisingly was supported by leading NBA analysts on radio shows and TV networks) and was traded again, this time to the Phoenix Suns for Maciej Lampe, Casey Jacobsen, and Jackson Vroman, none of whom made a significant impact. The Hornets finished 18-64–tied for the second-worst record in the league, and the franchise’s first losing season in 15 years. They were initially in the NBA draft lottery when their pick slid to fourth. Despite the bad luck, the Hornets got their man in Chris Paul.

[edit] 2005-2007: Hurricane Katrina and Oklahoma City
Hornets alternate logo, 2002-present
Hornets alternate logo, 2002-present

Due to the catastrophic devastation brought by Hurricane Katrina upon the communities of southeastern Louisiana, the New Orleans Hornets temporarily relocated their base of operations to Oklahoma City from 2005-2007. In these 2 seasons, they played a split schedule, with home games at the Ford Center and the New Orleans Arena. Their practice facility while in Oklahoma City was the Sawyer Center on the campus of Southern Nazarene University (SNU).[7] and the team held its 2006 training camp at their New Orleans practice facility, the Alario Center, in Westwego, Louisiana.

For the 2005-06 season, the team played 36 games in Oklahoma City, with one game taking place at the Lloyd Noble Center on the campus of the University of Oklahoma due to a conflict at the Ford Center; three in New Orleans; and one at the Pete Maravich Assembly Center on the campus of LSU. The intent had been to play 5 games in all at Baton Rouge, but strong progress made on restoring the New Orleans Arena made the return to New Orleans a better option.

The Hornets started off the 2005-06 NBA season better than expected, but did not make the playoffs. When Chris Andersen was kicked out of the league for two years due to a drug violation, it seemed to spark the Hornets to a hot streak, vaulting the team briefly into the sixth seed in the West. Eventually, however, the Hornets went cold, losing 12 out of 13 games to drop out of the playoff race, setting an ignominious NBA record in the process when they scored 16 points in the second half of a game in Los Angeles versus the Clippers. The Hornets rebounded to make one final push at the end of the season for a playoff spot, but last second losses to the Cleveland Cavaliers and Utah Jazz sank those hopes, and the team finished 38-44, 10th place in the Western Conference and 6 games out of a playoff spot. Despite the losing record, the season was a success. Chris Paul won the NBA Rookie of the Year Award in a landslide, and several Hornets were also in the running for other individual awards.

On June 28, the New Orleans Hornets selected Hilton Armstrong and Cedric Simmons in the first round of the 2006 NBA Draft. They also selected Marcus Vinicius from Brazil in the 2nd round.

Shinn and the NBA brass decided to stay in Oklahoma City another year because the area had not fully recovered. The Hornets opted to keep their base of operations in Oklahoma City for the 2006-07 season, but had promised to return to New Orleans full time, possibly as early as 2007.

The Hornets made major roster changes after the 2005-2006 season in hopes of advancing to the Western Conference postseason for the first time ever. They traded J.R. Smith and P.J. Brown to the Chicago Bulls for Tyson Chandler. They let Speedy Claxton sign with the Atlanta Hawks, but filled their backup PG position with free agents Bobby Jackson and Jannero Pargo. They also inked Peja Stojakovic from the Indiana Pacers.

The Hornets played 35 home games in Oklahoma City and 6 in New Orleans during the season. Due to substantial injuries, the team finished the regular season with a 39-43 record, one more win than the 2005-2006 season.

[edit] 2007-present: March Back to the Big Easy

Main article: 2007-08 New Orleans Hornets season

“Fleur de Bee”, Hornets alternate logo, 2007-present
“Fleur de Bee”, Hornets alternate logo, 2007-present

Personnel-wise, the Hornets stood largely pat heading into the 2007-2008 season. They did however sign free agents Morris Peterson and Melvin Ely, while letting go of former first round draft pick Cedric Simmons. Further, the club extended the contract of reserve guard Jannero Pargo, and selected Kansas forward Julian Wright with the 13th pick in the 2007 NBA Draft.

Healthier than previous seasons, the Hornets stormed to a 29-12 record at the halfway mark. Having the best record in the Western Conference on February 3rd meant that Byron Scott would coach the 2008 Western Conference All-Stars at home in the New Orleans Arena. Scott was joined by two of his players, as both Chris Paul and David West were selected as All-Star reserves. On February 21st the Hornets made an in-season trade with the Houston Rockets acquiring swingman Bonzi Wells and backup point guard Mike James for veteran guard Bobby Jackson.

The Hornets completed the regular season with a record of 56-26, marking the season the most successful ever in terms of number of wins. The Hornets also won their first ever division title, winning the Southwest Division ahead of the San Antonio Spurs. Having clinched the 2nd overall seed for the Western Conference, the Hornets beat the Dallas Mavericks in the first round. Next up for the Hornets are the 3rd seed San Antonio Spurs in the Western Conference Semi-finals.

[edit] Progress on the Business Side

The Hornets announced on January 31, 2007 that they would decline to renew an option to continue playing in Oklahoma City under its relocation agreement for a third season. The Hornets franchise returned to New Orleans full-time for the 2007-2008 season, with all 41 home games to be played in the New Orleans Arena.
2008 NBA All-Star Game Logo
2008 NBA All-Star Game Logo

League officials had stressed from the beginning the desire for the franchise to return to New Orleans once it proved feasible and that they would make a good-faith effort to assist with the recovery. To that end, the 2008 NBA All-Star Game and its accompanying festivities were awarded to New Orleans and a serious marketing campaign was commenced in February 2007. Subsequently, various corporate sponsorship agreements were signed (under the umbrella of the Crescent City Champions), with Cadbury Schweppes, Capital One, and Cox Communications being the first of them. Attendance at the New Orleans Arena, while tepid at first, picked up considerably in the months of March and April 2008 with the team registering sell-outs in 12 of its last 17 regular season home

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suns and new orleans in semi-final of the playoffs

The new orleans meet the san antonio spurs in 2nd round of the playoff this a exciting matchup between the two great point guard chris paul and tony parker…..who will be rise above it will be hornets or spurs?

WILD ABOUT GADGET(TOP GADGET FOR ME)

The Nokia N95 (N95-1, internally known as RM-159) is a flagship smartphone produced by Nokia. It is part of the company’s Nseries line of smartphones. The N95 runs on Symbian OS v9.2, with an S60 3rd Edition platform with Feature Pack 1. The phone uses a two-way slider to access either media playback buttons or a numeric keypad. Three newer versions have also been released: the upgraded N95 8GB (N95-2), the N95-3, which adds 3G support for North America, and the N95-4 which is an America-targeted version of the N95-2.

History

The phone was unveiled in September 2006 and was released at the end of March 2007. Nokia heavily promoted this phone using the tagline “It’s what computers have become”, along with similar lines such as “It’s what cameras have become”. They also used the slogan “There’s a thing in my pocket” in both television adverts and on the phone’s Nseries website.

On March 22, 2007 Nokia announced that the N95 had started shipping in key European, Asian and Middle Eastern markets.^[1]

On April 7, 2007, the N95 went on sale in the United States through Nokia’s Flagship stores in New York and Chicago and through Nokia’s nseries.com website. No US carriers are expected to offer this phone.

On August 29, 2007, two updated versions of the N95 were announced at a press event in London; first, the N95-3, specifically created for the North American market (thus being called N95 NAM, standing for “North American Model”) with support for AT&T Mobility‘s 850/1900 MHz W-CDMA (3G/UMTS, 3.5G/HSDPA) bands instead of the original European/Asian 2100 MHz frequency; second, the N95 8GB, an updated version for the European/Asian markets with 8GB of onboard flash memory, slightly larger screen (up from 2.6 inches to 2.8 inches), and a black faceplate instead of the original silver. Both the new versions have additional changes, such as the removal of the sliding lens cover for the camera, improved battery life, and doubling of runtime memory (RAM) from 64 to 128 MB. ^{[2] [3] [4] [5]} The U.S. version started retailing without carrier branding or discounts in Nokia’s flagship stores in New York and Chicago on September 26, 2007^{[6] [7]}; however it is unclear whether this phone will eventually be carried by AT&T Mobility. Also, there is no word yet on a version for the T-Mobile U.S. 1700/2100 MHz W-CDMA bands.

Later, on January 7, 2008, Nokia announced the N95-4, which is the inevitable 8Gb version of the N95-3. The phone got its FCC approval in January 30, and is slated to be launched some time in February 2008.

Nokia N95 handsets supplied by Orange and Vodafone in the UK have the VoIP facility disabled from the phone by installing their own firmware and not using the Nokia generic software. Vodafone’s reason for removing the facility was that it “does not believe it’s a mature technology”^[8]. O2, T-Mobile & 3 allow VoIP to be used on their handsets, however data charges may apply when using the service.

[edit] Features

The Nokia N95 open

[edit] Integrated GPS

The N95 contains an integrated GPS receiver which is located below the 0 key on the keypad. The phone ships with Nokia Maps navigation software. Maps are free and can be downloaded either over the air (via a carrier’s data packet network) or through the phone’s built-in WiFi. Maps can also be downloaded via a PC using the Nokia MapLoader application. To use voice navigation within Nokia Maps a license needs to be purchased from Nokia. Individual city guides are also available for purchase. A-GPS was added later, which greatly improved the initial positioning time.

[edit] Multimedia abilities

The N95′s dedicated multimedia keys are accessed via the 2-way slider

The N95 is a music player. It supports MP3, WMA, RealAudio, SP-MIDI, AAC+, eAAC+, MIDI, AMR and M4A. Its two-way slider, when slid towards the keypad, allows access to its media playback buttons. A standard 3.5 mm jack is located on the left side of the phone and allows the user to connect any standard headphones to the unit; a user can also use Bluetooth for audio output using A2DP. The device features built-in stereo speakers. The N95 is also capable of playing videos through the included RealPlayer application. Videos can also be played through the TV-out feature. TV-out is a special graphics chip and companion utility that allows users to connect the smartphone using the supplied composite cable to any TV or audiovisual device. Its aim is to let you demo your photos and videos on a large screen, but internet, video games and music can also be used. The N95′s built in UPnP capabilites allow the user to share the phones’ digital media over a WLAN network. This provides easy access to the photos, music and videos stored on the phone and also enables media to be downloaded from other UPnP capable devices on the network.

[edit] Internet

The N95 has built-in Wi-Fi, with which it can access the Internet (through a 802.11b/g wireless network). The N95 can also connect to the Internet through a carrier packet data network such as UMTS, HSDPA, or EDGE. The web browser displays full web pages as opposed to simplified pages as on most other phones. Web pages may be viewed in portrait or landscape mode and automatic zooming is supported. The N95 also has Bluetooth built in and works with wireless earpieces that use Bluetooth 2.0 technology and for file transfer.

It should be noted that the original N95 does not support US based versions of UMTS/HSDPA; UMTS features in this version of this phone are disabled by default as sold in the US (but can be reactivated if needed). Likewise, the forthcoming N95 U.S. will only support AT&T’s 850/1900 MHz UMTS/HSDPA bands, not the 1700 MHz T-Mobile USA band or the 2100 MHz band used internationally.

The phone can also act as a WAN access point allowing a tethered PC access to a carrier’s packet data network. VoIP software and functionality is also included with the phone (though some carriers have opted to remove this feature).

[edit] Accelerometer

The N95 includes a built-in accelerometer. This was originally only used for video stabilization and photo orientation (to keep landscape or portrait shots oriented as taken).

Nokia Research Center has recently allowed an application interface directly to the accelerometer, allowing software to use the data from it. Nokia has released an application to demonstrate this.^{[9] [10]}

Third-party programs have already begun to appear, including RotateMe,^[11] which will automatically change the screen orientation when the phone is tilted^[12] and Lightsaber, which causes the phone to make the sounds of the Star Wars Lightsaber when waved through the air.^[13] Another third-party program which has also used the built-in accelerometer is Glogger VS2 ^[14], a camera application which can automatically detect camera shake and reduce the possibility of taking a blurry image. ^[15] Applications which use the Accelerometer include:

- RotateMe – Automatically rotates screen when phone is tilted (Landscape 180 only works on newest firmware)
- Glogger – Records a person’s entire life, taking pictures at the optimum times when camera shake is lowest.
- Nokmote – D-Pad interface when phone is tilted in D-Pad directions
- ShutUp – Silences phone when turned over. Also allows ending of calls by sliding down
- Inclinometer – Shows visual representation on screen of angles of tilt. Can be used in a car.
- Niime – Uses N95 Accelerometer to control movement of PC mouse.
- ShakeMe (Alpha 2) – Depending on its settings, it can lock the keypad, toggle bluetooth, turn on the backlight, and activate or deactivate the Silent Profile.
- ShakeLock – Locks phone when shaken (Only works on newest firmware)

[edit] Specification sheet

Feature	Specification
Form factor	Two-way slider
Operating System	Symbian OS v9.2, S60 3rd Edition, Feature Pack 1
Screen	QVGA Matrix, diagonal 2.6″, 16 million colours, 240×320 pixels (0.08 Megapixels)
CPU	2 x Texas Instruments OMAP 2420 (ARM architecture 11 based) – 332 MHz, PowerVR features (2D/3D accelerator) and High Speed Peripheral Interconnect.
Internal Dynamic Memory (RAM)	64 MB
Internal Flash Memory	160 MB
Camera	Frontal CIF video call & Main rear 5 Megapixel camera with auto-focus, Carl Zeiss optics
Video recording	Yes, MPEG-4 VGA (640×480) video capture of up to 30 fps
Graphics	Fully HW accelerated 3D (OpenGL ES 1.1, HW accelerated Java 3D)
Memory card slot	Yes, microSD/microSDHC
Bluetooth	Yes, 2.0 + EDR
Wi-Fi	Yes, with wireless LAN (802.11 b/g) and UPnP (Universal Plug and Play)
Infrared	Yes
Data cable support	Yes, USB 2.0 Full Speed via mini USB port
Email	Yes (ActiveSync, POP3, IMAP4 and SMTP, with SSL/TLS)
Music player	Yes, Stereo speakers with 3D audio
Radio	Yes, Stereo FM Radio and Visual Radio – headphones or hands-free required for aerial
Video Player	Yes
Polyphonic tones	Yes, 72 chords
Ringtones	Yes, MP3/AAC/AAC+/eAAC+/WMA/M4A, RealAudio
HF speakerphone	Yes, with 3.5 mm audio jack and A2DP wireless stereo headphone support
Offline mode	Yes
Battery	BL-5F (950 mAh)
Talk time	up to 160 min (WCDMA), up to 240 min (GSM)
Standby time	up to 215 hours

[edit] Variations

[edit] N95 8GB (N95-2)

The N95 8GB

A revision of the N95, called N95 8GB (N95-2, internally known as RM-320), was announced on August 29 2007 and began shipping on October 15 2007^[16].

The changes compared to the regular version are:

• 8 GB internal flash memory, up from 128 MB.
• Larger display (2.8″, up from 2.6″), same pixel count (320×240), lower resolution (142dpi vs 153dpi).
• MicroSD slot removed
• Demand paging (although the N95 supports this too, since firmware version 20.0.015^[17])
• 128 MB RAM, up from 64 MB
• 1200 mAh battery (BL-6F), up from 950 mAh
• Slider protecting camera lens removed to make room for the larger battery
• Cosmetic changes to media and front-panel buttons
• New model of handsfree/remote control, AD-54^[18] (as opposed to AD-43^[19] for previous N95 versions)
• New multimedia menu, with Nokia’s Ovi content integration
• Removal of built-in video editor (later added with the firmware upgrades)
• Mass: 128g, up 8g from 120g
• User Data Preservation (UDP) like in the Nokia N82 (since firmware version 20.0.016)
• Automatic Screen Rotation (ASR) without any third-party software like in the Nokia N82 (since firmware version 20.0.016)

[edit] N95 NAM (N95-3)

The Nokia N95-3 is a revision of the N95 designed specifically for the North American market (internally known as RM-160). It is also available in Australia.

The following was changed from the original version:

• 128 MB RAM, up from 64 MB.
• WCDMA (HSDPA) 850 and 1900 MHz , instead of 2100 MHz .
• 1200 mAh battery, up from 950 mAh.
• Talk time up to 190 min (WCDMA), up to 250 min (GSM).
• Slider protecting camera lens removed to make room for the larger battery.
• Cosmetic changes to media buttons.
• Height: 2.05 cm, down from 2.10 cm.
• Mass: 125 g, up from 120 g.
• White keyboard light instead blue for visibility improvement.

[edit] N95 8GB NAM (N95-4)

The Nokia N95-4 (internally known as RM-421) is the American 3G-compatible version of the N95-2.

[edit] Versions comparisons

This table lists only the specifications that differ between versions of the N95 models. (Most details in this table are from ^{[20] [21] [22]}.)

Feature	N95 (N95-1)	N95 8GB (N95-2)	N95 NAM (N95-3)	N95 8GB NAM (N95-4)
Release date	March 2007	August 2007	September 2007	Jan 2008
WCDMA frequencies	2100 MHz	2100 MHz	850/1900 MHz	850/1900 MHz
North / Latin America	no	no	yes	yes
Internal Dynamic Memory (RAM)	64 MB	128 MB	128 MB	128 MB
Internal Flash Memory	160 MB	8 GB	160 MB	8 GB
Memory card slot	micro SD	none	micro SD	none
Battery	950 mAh	1200 mAh	1200 mAh	1200 mAh
Talk time (GSM)	4 hr	5 hr	5 hr
Standby time (GSM)	9.3 days	11.6 days	10.4 days
Screen	diagonal 2.6″	diagonal 2.8″	diagonal 2.6″	diagonal 2.8″
Dimensions	99x53x21 mm	99x53x21 mm	99x53x20.5 mm
Mass	120 g	128 g	124 g
Camera lens cover	sliding	none	none	none

EMO FASHION(If you dont know the emo fashion)

Emo (pronounced /ˈiːmoʊ/) is a style of rock music which describes several independent variations of music with common stylistic roots. As such, use of the term has been the subject of much debate. In the mid-1980s, the term emo described a subgenre of hardcore punk which originated in the Washington, D.C. music scene. In later years, the term emocore, short for “emotional hardcore”, was also used to describe the emotional performances of bands in the Washington, D.C. scene and some of the offshoot regional scenes such as Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and later, Moss Icon. (In more recent years, the term “emotive hardcore” entered the lexicon to describe the period.)

Starting in the mid-1990s, the term emo began to refer to the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate and Texas Is the Reason had a more indie rock style of emo, more melodic and less chaotic. The so-called “indie emo” scene survived until the late 1990s, as many of the bands either disbanded or shifted to mainstream styles. As the remaining indie emo bands entered the mainstream, newer bands began to emulate the mainstream style. As a result, the term “emo” became a vaguely defined identifier rather than a specific genre of music.

History

First wave (1985-1994)

In 1985 in Washington, D.C., Ian MacKaye and Guy Picciotto, veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye’s Embrace and Picciotto’s Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (Hüsker Dü‘s 1984 album Zen Arcade is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as “Revolution Summer”.^[1]

Where the term emo actually originated is uncertain, but members of Rites of Spring mentioned in a 1985 interview in Flipside Magazine that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as emo-core, though it’s unclear when the term shifted.

Within a short time, the D.C. emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Soulside, Shudder to Think, Fire Party, Marginal Man, and Gray Matter, many of which were released on MacKaye’s Dischord Records. The original wave of DC emo finally ended in late 1994 with the collapse of Hoover.

As the D.C. scene expanded, other scenes began to develop with a similar sound and DIY ethic. In San Diego in the early 1990s, Gravity Records released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common.

At the same time, in the New York/New Jersey area, bands such as Native Nod, Merel, 1.6 Band, Policy of 3, Rye Coalition, Iconoclast and Quicksand^[2] were feeling the same impulse. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed screamo.

By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as Four Hundred Years and Yaphet Kotto. Also, a handful of modern bands continue to reflect emo’s hardcore origins, including Circle Takes the Square, Hot Cross, City of Caterpillar, Funeral Diner, and A Day in Black and White.

Following the disbanding of Embrace in 1986, MacKaye established the influential group Fugazi, and was soon joined by Picciotto. While Fugazi itself is not typically categorized as emo, the band’s music is cited as an influence by popular second-wave bands such as Sunny Day Real Estate,^[3] Braid,^[4] and Jimmy Eat World.^[5]

Early influence

In California – particularly in the Bay Area – bands such as Jawbreaker and Samiam began to incorporate influences from the “D.C. sound” into a poppier framework; The former’s music was described by Andy Greenwald as “a sonic shot-gun marriage between the bristly heft of hardcore, the song-writing sensibility of Cali pop-punk, and the tortured artistry of D.C. emo”.^[6] Other bands soon reflected the same sense of rough melody, including Still Life and Long Island’s Garden Variety.

Also in the early 90s, bands like Lifetime reacted in their own way to the demise of youth crew styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be melodic hardcore. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime’s sound, lyrics, and style were a virtual blueprint for later bands, including Saves the Day, Taking Back Sunday, and The Movielife.

Second wave (1994–2000)

As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the post-punk influences of Mission of Burma and Hüsker Dü, a new genre of emo emerged.

Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop‘s then-recent success with Nirvana and Soundgarden, the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in Rolling Stone. The heavier label support allowed the band to secure performances on TV shows, including The Jon Stewart Show. As a result, the album received widespread national attention.

As more and more people learned about the band, particularly via the fledgling World Wide Web, the band was given the tag emo. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more indie rock style of emo. It was not uncommon for Sunny Day and its peers to be labeled with the full “emo-core”. However, when pressed to explain “emo”, many fans split the genre into two brands: the “hardcore emo” practiced in the early days and the newer “indie emo”.

In the years that followed, several major regions of “indie emo” emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as “Midwestern emo” given the geographic location of the bands, with several of the best-known bands hailing from the areas around Chicago, Kansas City, Omaha and Milwaukee. The initial bands in this category included Boy’s Life and Cap’n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, Cursive, and The Get Up Kids emerged from the same scene and gained national attention.

The area around Phoenix, Arizona became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers Jimmy Eat World began stirring emo influences into their music, eventually releasing the album Static Prevails in 1996. The album was arguably the first emo record released by a major label, as the band had signed with Capitol Records in 1995.

Other bands that followed the “indie emo” model included Colorado’s Christie Front Drive, New York’s Texas Is the Reason and Rainer Maria, California’s Knapsack and Sense Field, Baltimore’s Cross My Heart, Austin’s Mineral, and Boston’s Piebald and Jejune.

As “indie emo” became more widespread, a number of acts who otherwise would not have been considered part of the “indie emo” scene began to be referred to as emo because of their similarity to the sound. The hallmark example was Weezer‘s 1996 album Pinkerton, which, years later, was considered one of the defining “emo” records of the 90s.^[7]

As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including Jade Tree Records, Saddle Creek Records, and Big Wheel Recreation. In 1997, California’s Crank! Records released a compilation titled (Don’t Forget to) Breathe, which featured tracks by notable indie emo bands such as The Promise Ring, Christie Front Drive, Mineral, Knapsack, and Arizona’s Seven Storey Mountain. In 1998, Deep Elm Records released the first installment in a series of compilations called Emo Diaries, featuring tracks from Jimmy Eat World, Samiam, and Jejune. In 1999, famed 70s compilation label K-tel released an emo compilation titled Nowcore: The Punk Rock Evolution, which included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, Braid and At the Drive-In among others.

With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre’s popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral.

By the end of the decade, the word emo cropped up in mainstream circles. In the summer of 1998, Teen People magazine ran an article declaring “emo” the newest “hip” style of music, with The Promise Ring a band worth watching. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums.

While “indie emo” almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hüsker Dü model, including Thursday, The Juliana Theory, and Sparta.

Third wave (2000-present)

At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World.

However, towards the end of the 1990s, Jimmy Eat World had begun to shift in a more mainstream direction. Where Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had downplayed its emo influences, releasing more pop-oriented singles such as “The Middle” and “Sweetness“. As the public had become aware of the word emo and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an “emo” band, despite their objections. Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.^[8]

2003 saw the success of Chris Carrabba, the former singer of emo band Further Seems Forever, and his project Dashboard Confessional. Despite musically being more aligned to the singer songwriter school, Carraba found himself part of the emerging “popular” emo scene. Carrabba’s music featured lyrics founded in deep diary-like outpourings of emotion. While certainly emotional, the new “emo” had a far greater appeal amongst adolescents than its earlier incarnations.^[9]

With Dashboard Confessional and Jimmy Eat World’s success, major labels began seeking out similar sounding bands. Just as many bands of the early-to-mid 1990s were unwillingly lumped under the umbrella of “grunge“, some record labels wanted to be able to market a new sound under the word emo.

At the same time, use of the term “emo” expanded beyond the musical genre, which added to the confusion surrounding the term. The word “emo” became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar “emo” bands also began to be referred to as “emo”. As a result, bands that were loosely associated with “emo” trends or simply demonstrated emotion began to be referred to as emo.^[10]

In an even more expanded way than in the 90s, emo has come to encompass an extremely wide variety of bands, many of whom have very little in common. The term has become so broad that it has become nearly impossible to describe what exactly qualifies as “emo”.

The classification of bands as “emo” is often controversial. Fans of several of the listed bands have recoiled at the use of the “emo” tag, and have gone to great lengths to explain why they don’t qualify as “emo”. In many cases, the term has simply been attached to them because of musical similarities, a common fashion sense, or because of the band’s popularity within the “emo” scene, not because the band adheres to emo as a music genre.

As a result of the continuing shift of “emo” over the years, a serious schism has emerged between those who relate to particular eras of “emo”. Those who were closely attached to the hardcore origins recoil when another type of music is called “emo”. Many involved in the independent nature of both 80s and 90s emo are upset at the perceived hijacking of the word emo to sell a new generation of major label music. Regardless, popular culture appears to have embraced the terms of “emo” far beyond its original intentions.

In a strange twist, screamo, a sub-genre of the new emo, has found greater popularity in recent years through bands such as Thrice and Glassjaw.^[11] The term screamo, however, was used to describe an entirely different genre in the early 1990s, and the new screamo bands more resemble the emo of the early 1990s. Complicating matters further is that several small scenes devoted to original screamo still exist in the underground. However, the new use of “screamo” demonstrates how the shift in terms connected to “emo” has made the varying genres difficult to categorize.

The difficulty in defining “emo” as a genre may have started at the very beginning. In a 2003 interview by Mark Prindle,^[12] Guy Picciotto of Fugazi and Rites of Spring was asked how he felt about “being the creator of the emo genre”. He responded: “I don’t recognize that attribution. I’ve never recognized ‘emo’ as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it’s so stupid is that – what, like the Bad Brains weren’t emotional? What – they were robots or something? It just doesn’t make any sense to me.”
See List of emo artists

Fashion and stereotype

Long fringe (bangs) brushed to one side

Emo is also often associated with a certain fashion. The term “emo” is sometimes stereotyped with tight jeans on males and females alike, long fringe (bangs) brushed to one side of the face or over one or both eyes, dyed black, straight hair, tight t-shirts (sometimes short sleeved) which often bear the names of rock bands (or other designed shirts), studded belts, belt buckles, canvas sneakers or skate shoes or Converse.Emo fashion has changed with time. Early trends included straight, unparted hair, tightly fitting sweaters, button-down shirts, and work jackets.^{[citation needed]} This fashion has at times been characterized as a fad.^[13]

Another example of hair characteristic of emo

In recent years the popular media has associated emo with a stereotype that includes being emotional, sensitive, shy, introverted, or angsty.^[14][15][16] It is also associated with depression, self-injury, and suicide.^[17][18]

Criticism

As certain fashion trends and attitudes began to be associated with “emo”, stereotypes emerged that created a specific target for criticism. In the early 2000s, the criticism was relatively light-hearted and self-effacing. In ensuing years, the derision increased dramatically. Male fans of emo found themselves hit with homosexual slurs, largely a reflection of the style of dress popular within the “emo scene” and the purported displays of emotion common in the scene. Complaints pointed to the histrionic manner in which the emotions were expressed.^[19]

In October of 2003, Punk Planet contributor Jessica Hopper leveled the charge that the current era of emo was sexist. Hopper argued that where bands such as Jawbox, Jawbreaker and Sunny Day Real Estate had characterized women in such a way that they were not “exclusively defined by their absence or lensed through romantic-specter”,^[20] contemporary bands approached relationship issues by “damning the girl on the other side … its woman-induced misery has gone from being descriptive to being prescriptive”. Regarding the position of women listening to emo, Hopper went on to note that the music had become “just another forum where women were locked in a stasis of outside observation, observing ourselves through the eyes of others”.

Critics of modern emo have argued that there is a tendency toward increasingly generic and homogenized style.^[21] Many popular bands have attempted to disassociate themselves with the “emo” tag; some have adopted the genre designation post-hardcore. Despite the criticism, the modern version of emo has maintained mainstream popularity. However, given the disfavor of the term “emo”, the future of the genre remains unclear.

In 2008, Time Magazine reported that “anti-emo” groups attacked teenagers in Mexico City, Santiago de Querétaro, and Tijuana.