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Warzone Mobile Minimum Requirements and Recommended Specifications. The minimum requirements for Android devices to run Warzone Mobile are as follows: System-on-chip: Snapdragon 7306/ HiSilicon Kirin 1000/ Mediatek Helio G98/ Exynos 2100. RAM: 4 GB.
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Throughout the 1980s, alternative rock remained mainly an underground phenomenon. While on occasion a song would become a commercial hit, or albums would receive critical praise in mainstream publications like Rolling Stone, alternative rock in the 1980s was primarily featured on independent record labels, fanzines and college radio stations. Alternative bands built underground followings by touring constantly and by regularly releasing low-budget albums. In the United States, new bands would form in the wake of previous bands, which created an extensive underground circuit filled with different scenes in various parts of the country.[28] College radio formed an essential part of breaking new alternative music. In the mid-1980s, college station KCPR in San Luis Obispo, California, described in a DJ handbook the tension between popular and "cutting edge" songs as played on "alternative radio".[38]
Other forms of alternative rock developed in the UK during the 1980s. the Jesus and Mary Chain's sound combined the Velvet Underground's "melancholy noise" with Beach Boys pop melodies and Phil Spector's "Wall of Sound" production,[64][65] while New Order emerged from the demise of post-punk band Joy Division and experimented with disco and dance music.[42] The Mary Chain, along with Dinosaur Jr., C86 and the dream pop of Cocteau Twins, were the formative influences for the shoegazing movement of the late 1980s. Named for the band members' tendency to stare at their feet and guitar effects pedals[66] onstage rather than interact with the audience, shoegazing acts like My Bloody Valentine and Slowdive created an overwhelmingly loud "wash of sound" that obscured vocals and melodies with long, droning riffs, distortion, and feedback.[67] Shoegazing bands dominated the British music press at the end of the decade along with the Madchester scene. Performing for the most part in the Haçienda, a nightclub in Manchester owned by New Order and Factory Records, Madchester bands such as Happy Mondays and the Stone Roses mixed acid house dance rhythms with melodic guitar pop.[68]
The release of the Nirvana's single "Smells Like Teen Spirit" in September 1991 "marked the instigation of the grunge music phenomenon". Helped by constant airplay of the song's music video on MTV, their album Nevermind was selling 400,000 copies a week by Christmas 1991. Its success surprised the music industry. Nevermind not only popularized grunge, but also established "the cultural and commercial viability of alternative rock in general."[72] Michael Azerrad asserted that Nevermind symbolized "a sea-change in rock music" in which the hair metal that had dominated rock music at that time fell out of favor in the face of music that was authentic and culturally relevant. The breakthrough success of Nirvana led to the widespread popularization of alternative rock in the 1990s. It heralded a "new openness to alternative rock" among commercial radio stations, opening doors for heavier alternative bands in particular.[74] In the wake of Nevermind, alternative rock "found itself dragged-kicking and screaming ... into the mainstream" and record companies, confused by the genre's success yet eager to capitalize on it, scrambled to sign bands.[75] The New York Times declared in 1993, "Alternative rock doesn't seem so alternative anymore. Every major label has a handful of guitar-driven bands in shapeless shirts and threadbare jeans, bands with bad posture and good riffs who cultivate the oblique and the evasive, who conceal catchy tunes with noise and hide craftsmanship behind nonchalance."[76] However, many alternative rock artists rejected success, for it conflicted with the rebellious, DIY ethic the genre had espoused before mainstream exposure and their ideas of artistic authenticity.[77]
Labels such as Matador Records, Merge Records, and Dischord, and indie rockers like Pavement, Superchunk, Fugazi, and Sleater-Kinney dominated the American indie scene for most of the 1990s. One of the main indie rock movements of the 1990s was lo-fi. The movement, which focused on the recording and distribution of music on low-quality cassette tapes, initially emerged in the 1980s. By 1992, Pavement, Guided by Voices and Sebadoh became popular lo-fi cult acts in the United States, while subsequently artists like Beck and Liz Phair brought the aesthetic to mainstream audiences.[93] The period also saw alternative confessional female singer-songwriters. Besides the aforementioned Liz Phair, PJ Harvey fit into this sub group.[94]
American rock band Red Hot Chili Peppers entered a new-found popularity in 1999 after the release of their album Californication (1999), with continued success throughout the 2000s. Thirty Seconds to Mars experienced a notable rise in popularity during the latter half of the 2000s.[114]
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Legião Urbana was a Brazilian rock band formed in Brasilia in 1982. The band was formed by Renato Russo (vocals, guitar, and keyboard), Dado Villa-Lobos (guitar), and Marcelo Bonfá (drums). Legião Urbana was known for its politically charged lyrics, and its unique blend of rock, folk, and Brazilian rhythms. The group released their first album, the self-titled Legião Urbana, in 1985. This was followed by Dois (1986), which garnered further acclaim and featured singles such as "Eduardo e Mônica," which earned the band a greater following. In 1987, they released their third album Que País É Este?, which found the group further refining their sound. Over the course of the next few years, Legião Urbana continued to release critically acclaimed albums such as V (1991), Música P/ Acampamentos (1992), A Tempestade ou O Livro dos Dias (1996), and Uma Outra Estação (1997), all of which helped cement the band's reputation as one of the most celebrated Brazilian rock bands of all time. The group also toured extensively throughout Brazil. In 1996, Renato Russo, the band's frontman, passed away due to complications from AIDS. There would be several posthumous releases in the decades that followed, including their 1998 best-of compilation Mais do Mesmo, which includes various career highlights such as “Tempo Perdido.” In 2024, Legião Urbana made a comeback with a new lineup, playing songs from all throughout the band’s history to thousands of fans.
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