The Internet Archive discovers and captures web pages through many different web crawls.
At any given time several distinct crawls are running, some for months, and some every day or longer.
View the web archive through the Wayback Machine.
Web wide crawl with initial seedlist and crawler configuration from March 2011. This uses the new HQ software for distributed crawling by Kenji Nagahashi.
What’s in the data set:
Crawl start date: 09 March, 2011
Crawl end date: 23 December, 2011
Number of captures: 2,713,676,341
Number of unique URLs: 2,273,840,159
Number of hosts: 29,032,069
The seed list for this crawl was a list of Alexa’s top 1 million web sites, retrieved close to the crawl start date. We used Heritrix (3.1.1-SNAPSHOT) crawler software and respected robots.txt directives. The scope of the crawl was not limited except for a few manually excluded sites.
However this was a somewhat experimental crawl for us, as we were using newly minted software to feed URLs to the crawlers, and we know there were some operational issues with it. For example, in many cases we may not have crawled all of the embedded and linked objects in a page since the URLs for these resources were added into queues that quickly grew bigger than the intended size of the crawl (and therefore we never got to them). We also included repeated crawls of some Argentinian government sites, so looking at results by country will be somewhat skewed.
We have made many changes to how we do these wide crawls since this particular example, but we wanted to make the data available “warts and all” for people to experiment with. We have also done some further analysis of the content.
If you would like access to this set of crawl data, please contact us at info at archive dot org and let us know who you are and what you’re hoping to do with it. We may not be able to say “yes” to all requests, since we’re just figuring out whether this is a good idea, but everyone will be considered.
TIMESTAMPS
The Wayback Machine - https://web.archive.org/web/20110420003703/http://unheard78.blogspot.com/
Okay, I know I said I wasn't going to be posting anything, but this isn't really a standard post. I'm picking up my copy of Portal 2 tonight and was wondering if anyone else would be getting theirs as well. If yes, and you'd like to play the multiplayer campaign with me, I'll be doing so this Wednesday and would love to hear from you. Send me an e-mail if you're interested and we'll figure it out. I don't know if it matters but I'm getting the PS3 version, though I thought I read somewhere that PS3 and PC users could play together online, though I don't know about 360 users. Anyway, hit me because I'd love to play some Portal 2 with you!
By the way, if you're on the fence about buying the game, take my word that you'll be pleased and you should simply rush out and buy it! It's simply wonderful and I know I'm going to be replaying it A LOT.
Hey everyone, I wasn't planning on taking a break but I'm a bit backed up at the moment and, to be honest, exhausted by some things happening in my personal life. With that said, I've decided to take the week off from the site and get things caught up and such. I haven't spoken with David Williams, Rom and some other fine folks in a few weeks so I wanna get back in touch with them, get some posts that have been lingering in a state of incompleteness ready for prime time and, in general, catch some extra sleep. I promise that we'll be back next Monday, the 25th, so we won't be gone for too long. Sorry this is happening with such short notice but I'm really beat and need to get caught up. I'll still be responding to e-mails and messages so don't hesitate to contact me if you'd like to talk, have a question or something on the site needs to be updated. Everybody take care and I'll see you all in a week!
Dave3
PS - I haven't gotten to thank you yet via e-mail, Nathan. Got the package on Saturday. I'll write you later today or tomorrow. Thanks again!
Marilyn Manson is one of those artists/bands that I have a very mixed relationship with. I love the early stuff, I like some of the mid-period stuff (Mechanical Animals is good but an example of where the direction tapered off) and the last few albums haven't done much for me. Manson's image has always been more important than the music. I don't mean for that to sound any worse than it does, but Manson's music has never been as consistent as his performances, which isn't to say the music is unimportant, but the visuals and controversy are what drives his art. It's rare that a Manson album maintains musical stability all the way through, as Portrait did with Scott Putesky's accompaniment and Antichrist Superstar with Trent Reznor basically joining the band in the studio. It should be easy then, at least in theory, to compare Ethyl Meatplow to Manson, what with their heavily burlesque influenced stage shows, constant barrage of sexual imagery and explicit lyrical content, except that Ethyl Meatplow had only one full length album and everything the band members have participated in since has been consistently strong, with Carla Bozulich's work receiving the most attention and her performances becoming less theatrical and far more musical.
It is with great sorrow that I find Ethyl Meatplow's sole album, Happy Days, Sweetheart, to be completely out of print and mostly forgotten. Worse yet, they're generally remembered for their early nineties, industrial sound, getting them compared to the NIN/Manson camps despite their style being unique and their sound more influenced by experimental noise and abstract performances than the industrial and dance scenes most often associated with the WaxTrax! label and its many artists. I'm sure some of this has to do with the band's members, Carla Bozulich of the Geraldine Fibbers and her own solo work, Harold Barefoot Sanders III of Eric Avery'sPolar Bear, and John Napier of E. Coli, not maintaining its legacy, although it's unclear why they wouldn't want to do so. Well...
I once read that one of the band's final shows was an all ages gig in Texas where, during their performance, a couple hopped on stage and started having full blown anal sex in front of the audience. The band, having seen things like this happen at their shows before, and being unaware that it was an all ages show, allowed the act to continue, only to find out that the cops were on their way to arrest them after the performance, forcing them to pack up their goods and get gone rather quickly. Problems like those, especially when you don't have the high-powered legal support that Marilyn Manson or other similarly "shocking" performers of the nineties had, could make it a little easier for one to disown its legacy, at the least out of respect for their current happenings.
Regardless of the reasons for the band not being remembered as fondly as they should be, Happy Days, Sweetheart, should be acknowledged for what it is: nearly an hour of pounding industrial grooves, pop covered in shrouds of darkness, and most of all, soul destroying honesty and sorrow. All of this is achieved with the assistance of Barry Adamson's production and their cumulative attention to detail, as demonstrated on tracks like their frenzied cover of The Carpenter'sClose To You, what with strings and a solid groove working together to create a dirge on the dance floor. Devil's Johnson could pack a club, all the while underscoring its might with lyrics comparing Satan's cock to a crack pipe. Queenie is, without a doubt, one of the most powerful uses of obscenities in a lyric I can think of, with Bozulich working up her anger against the title character, singing in an almost spoken manner that Queenie is a "f#*king b%^ch c%&t;, f#*king death Queenie death", all the while sounding like she has nothing to prove, knowing she's holding the reigns. There are also moments of haunting beauty, like the peaceful Ripened Peach, or the listed closing track, Sad Bear, which sounds like an announcement of intent to release all the anger in one's soul, all the while tearing everything else out at the same time. And when you think it's all over, there is a final, unlisted track of what sounds like Bozulich's cries and shrieks, processed into ear-bleeding noise and feedback. It's the type of stuff nightmares are made of, and for people that like nightmares, it's a wonder to behold!
Ethyl Meatplow's short existence may have less to do with controversy or individual band member's problems and more about knowing they'd taken it as far as they could. If that's the case, they made the right decision. I don't want them to reform, they do wonderfully on their own and Happy Days, Sweetheart, as well as their singles and EPs, is more than enough to give proof of their short but inspired life. It's only sad because it's mostly forgotten. Grab this and inform yourself and others. Ethyl Meatplow will leave scars, but every mark tells a tale and some tales should never be forgotten.
01 Opening Precautionary Instructions 02 Suck 03 Devil's Johnson 04 Car 05 Queenie 06 Close To You 07 Tommy 08 Mustard Requiem 09 Abazab 10 Ripened Peach 11 Feed 12 Rise 13 For My Sleepy Lover 14 Sad Bear 15
PS - Gary Kail, if you haven't called Carla yet, do it already!
What the hell happened Monie Love? Your first album, the wonderful Down To Earth, was awash in Native Tongues positive vibes and sweet production from Afrika Baby Bam and FYC, giving it a retro sound while staying totally funky and danceable. Your rhymes were intelligent and well put, giving the perspective of a conscious young woman who was on the right track. So why did you decide to record an album with skeezy rap songs like Wheel Of Fortune and Greasy? Was it in the plan to record sappy R&B; with Prince? Why is the best song on the album a holdover from the Class Act soundtrack of all things? These are all questions I've never heard the answers to, nor do I expect answers, but it's an interesting example of how artists, scenes and careers can change over the course of three short years, which is all it was between 1990 and 1993.
Record label politics were most likely part of the problem for Monie as the US and UK versions of the album, while featuring mostly the same tracks, had their sides flipped for unspecified reasons, although it was probably a regional detail. In the UK you get the positive, conscious tracks first, starting with the commercial house of Full Term Love, followed by the R&B-tinged; Born 2 B.R.E.E.D., the first of two collaborations with Prince, and after that the title cut, a quiet-storm love jam with Monie whisper-speaking the lyrics. Full Term Love, while dated as hell, is still catchy and bouncy, whereas the Prince tracks are of that generic era when he seemed to give songs to anyone with a pulse. It's worth noting that Monie contributed lyrics to Carmen Electra'sPrince-produced album, notably Everybody Get On Up which contains the suspect lyric "My name is Carmen Electra and I ain't in the middle". The rest of this side are songs about improving the world and blah blah blah. Nothing wrong with saving the world, but who wants to drive around listening to it? As if Swiney Swiney wasn't bad enough.
The other side of the album, definitely the focus in the US, is an attempt at purely American hip-hop stylings with Marley Marl providing the beats, but it comes off like Monie is a split personality rather than a strong, independent woman. Wheel Of Fortune finds her looking for a man although she already seems ready to turn down every option coming her way. Not saying that ignoring the drug dealer is a bad idea but still, there isn't a positive view to the song at all. Greasy finds her backpedaling only to start giving passes to men with no game that have tons of cash. She does all of this without giving the listener a moment to catch their breath as the choruses are quickly repeated phrases and there is practically no dead space until the end of the track, giving them the feel that she picked a few cuts from one of Marley's beat tapes and just kept rhyming till the record was done. What passes as hooks couldn't survive in any listening environment. Some tracks are better than others, with Sex U All being a funky attack on a rumor spreading woman scheming to take her man, but overall the hard stuff feels soft.
Whatever the reasons behind Monie's split-personality, her label people, at least in the US, did a crap job of promoting her. Check out the astonishingly awful cover art! I'd love to know who gets the blame for it and what Monie thought about it at the time. The album was also promoted with the infinitely ridiculous tag line, "This Mother Wears Combat Boots!" (see page 159 of ego trip's Book Of Rap Lists for this and other ridiculous, no bonus this year, first at the unemployment line, Lyor Cohen won't return your calls examples). This album's failure effectively ended Monie's rap career with her returning to DJ status on radio and MTV's Lip Service. She didn't record again until around the end of the decade. Monie can be great but I have no idea what went wrong here. If you want to hear the Prince songs or are a Marley Marl collector, grab this for completist reasons, but if you're hoping for classic Monie you're gonna be heartbroken. Monie, no hate here, we love you, come back and bring that classic flow with you!
01 Wheel Of Fortune 02 Greasy 03 Sex U All 04 Mo' Monie 05 I'm A Believer 06 Let A Woman B A Woman 07 Full Term Love 08 Born 2 B.R.E.E.D. 09 In A Word Or 2 10 There's A Better Way 11 4 The Children 12 Born 2 B.R.E.E.D. (Hip-Hop Mix)
And for your viewing pleasure...
This last video is an incredible interview with Monie about the origins of Monie In The Middle. This is the Monie that I love and I know everyone else does too. Take care Monie and love your life! And if you are reading this, I hope you don't take offense to any of the text here, I'm just calling it as I see it. A lot of people I've spoken with aren't even aware this album exists!
Here are a few more gems that I've been sitting on for a while. Technically speaking, the only thing here that has received an official release is the regular version of the self-titled Prick album. The version of Smells Like Children included here is the one that includes all the uncleared Willy Wonka samples and the abuse tapes that were deemed too extreme for release. Whether those abuse tapes are real or not, the intended atmosphere of terror is achieved. As for the Mossiman tapes, they were leaked by an interviewer after receiving them from Scott Putesky, pka Daisy Berkowitz. I'm not 100% convinced of their legitimacy, but that's not to say I think the material contained therein is fake, rather I'm not sure they're really finished mixes as the samples are so far in the back of the mix that they're often unnoticeable unless you know what you're listening for. These are clearly professional recordings and some of the performances are the same ones used on the finished version of Portrait Of An American Family, they simply might be rough mixes though rather than Mossiman's intended finished products. Being that they're clearly unmastered and transferred from a commercial-grade audio cassette, it's understandable that they don't sound as good as they could sound, so who really knows. They're probably legit, but unless Trent, Manson, Twiggy or someone else involved in the sessions confirms their legitimacy we'll probably never know for certain.
Ladies and Gentlemen, for your listening pleasure, here are some of the albums that have been posted in lossy formats that people have requested in FLAC. Enjoy!
All around great person and excellent blogger, That Girl With A Blog, pointed out that Fiona Apple's next album got a story on Billboard's website last year. You can check it here. It says the album is expected in Spring, but since we haven't heard anything new I'm sure it's been pushed back, but this also means it's almost assuredly happening! Very good news indeed! Also, That Girl... has a really good post comparing both versions of Extraordinary Machine that's well worth your time to read.
Another all around great person and regular visitor here, Irish Craig, is also an excellent blogger and has a killer site called Hot As Balls which you should examine immediately! He's got an incredible video from MTV circa 1988 where hip-hop producers explain how to sample music and make new records from them, as well as showing then-contemporary artists sharing their views on sampling. Debbie Gibson sounds a little ignorant, Steve Winwood looks incredibly young, Tommy Boy has a terribly inept lawyer and LL Cool J gives a great analogy about sampling and artists receiving credit for their work. Go check that video and the rest of his site because it's great stuff!
I've gotta write R.U. Sirius back about Mondo Vanilli. Heard the album and it's very good stuff! I'm sure the powers that were in charge of Interscope and Nothing Records circa 1995 thought their record wasn't deserving of a release due to it's being a niche market item, but that's what was so great about Nothing Records, Trent Reznor's aesthetic and so many other things of that era. Did anyone really expect The Downward Spiral to be a hit? First time I heard it I thought to myself, "gee, this is really weird. there's some good stuff here but damn this is strange. why would anyone want to write a song where they basically kill themselves? are my speakers alright or did they just do a crappy job of mastering this album?" Yeah, I thought ALL of that. I'm sure Trent had less to do with the MV's album's non-release than John"are you sure I owe you money?"Malm Jr. and Jimmy"will.i.am is a genius!"Iovine did. That's just the kind of world Interscope/WEA/Universal and all of those labels lived in circa 95. New Music from Death Row? GREAT!Marilyn Manson will scare the shit out of people? GREAT!The Downward Spiral is so dark that most people will think Trent Reznor is a satanist? GREAT! Cyberpunks and comic book writers are leading legendary movements that are changing the world as we know it and have something to say? WHO WANTS THAT CRAP?
Okay, time for a Dave3 certified, TRUE STORY! For my sophomore year in high school, my family moved to a small country town. A few weeks before school began I visited a little record shop in that town, easily the most unique thing to be found and also the place most likely to shut down, which it did about two years later since they charged $12 dollars for samplers with $5 stickers printed on them. Anyway, while I was there I bought a NINBroken t-shirt as I wanted to, how do you say it?, represent my favorite band. Every kid in my school told me that NIN were devil worshipers and that I was going to hell for wearing their shirt. The next year, when Closer was released to video and radio, every kid in school wanted to let me know that NIN were the best band ever and that Closer was awesome! I was glad people would finally hear NIN, but I wanted all those kids to eat the flat, circular pizza like food that looked similar to vomit and get minor cases of food poisoning, enough to remind them NOT TO BE POSEURS. And yes, my description of the pizza-like substance that was passed off as food is accurate. It was actually a very popular lunch option.
Anyway, it's a glorious Sunday, I'm not working at my job which devours my soul when 80 year old people try to convince me I'm an awful human being, and that makes everything alright. And tomorrow... FLAC PARTY!
Oh yeah, go here and have a laugh! It's where I stole the above image from.
