Some context: Fastball is an American rock band that formed in Austin, Texas in 1995. The band originally called themselves "Magneto U.S.A." but changed their name after signing with Hollywood Records. In 1998, their album All the Pain Money Can Buy reached platinum sales within six months of its release, and stayed on the Billboard 200 chart for a year. In addition, the group has been nominated for two Grammy Awards - Best Rock Performance by a Duo or Group with Vocal for "The Way", and Best Long Form Music Video for their promotional video "The Way".
The group headed back into the studio to record their third album, The Harsh Light of Day. Produced by Julian Raymond and Fastball, the album was released in September 2000. The release included "You're an Ocean", which featured the piano stylings of Billy Preston (who previously collaborated with The Beatles). Singer-guitarist Brian Setzer also contributed to the album with Latin guitar on "Love Is Expensive and Free." "Instead of tailoring the music for short attention spans, we tried to make an album that holds up well to extensive listening... kind of cinematic, where you notice new themes entering the frame each time you see the film," Zuniga said in the band's record company bio. Although The Harsh Light of Day sold less than 85,000 copies (compared to All The Pain Money Can Buy's 1,000,000+), the trio didn't lose steam and chalked it up to lacking a musical category to fit into. "You can't write down what we do in a sentence," Zuniga told Mac Randall at Launch.com. "Marketing us is a problem. But in a way, that's our saving grace also, because you can't find an easy angle to summarize us and exploit us. We might sell more records if you could, but at the same time, it forces people that really want to be interested in us to pay a little more attention to what we're doing." In October 2000, Fastball began touring in support of The Harsh Light of Day in Amsterdam. Despite the slowed success, the members of the group didn't regret any of their creative decisions, and their aim remained true. "It makes me feel proud that we're one of these song-oriented guitar bands," Scalzo told Richard Skanse in Rolling Stone. "I think there's a couple of bands that are still putting out real good quality guitar rock songs, and I think we're one of them."
Are there any other interesting aspects of this article?
A: In October 2000, Fastball began touring in support of The Harsh Light of Day in Amsterdam.
Some context: Odissi (Odia: odd'ishii Odisi), also referred to as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha - an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath). Odissi performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism). The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Odissi Hindu temples, and archeological sites related to Hinduism, Buddhism and Jainism.
The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE. According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures. Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar. The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.
Have there been any manuscripts or artifacts obtained or discovered?
A:
Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance.