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Radio format and music genre
Celine Dion, referred to as the "Queen of Adult Contemporary",[1] is one of the biggest international stars in music history, selling more than 220 million albums worldwide.[2]
In North American music, adult contemporary music (AC) is a form of radio-played popular music, ranging from 1960s vocal and 1970s soft rock music[3] to predominantly ballad-heavy music of the present day, with varying degrees of easy listening, pop, soul, rhythm and blues, quiet storm, and rock influence.[4][5][6] Adult contemporary is generally a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music.[7]
Adult contemporary tends to have lush, soothing and highly polished qualities where emphasis on melody and harmonies is accentuated. It is usually melodic enough to get a listener's attention, and is inoffensive and pleasurable enough to work well as background music. Like most of pop music, its songs tend to be written in a basic format employing a verse-chorus structure.[8] The format is heavy on romantic sentimental ballads which mostly use acoustic instruments (though bass guitar is usually used) such as acoustic guitars, pianos, saxophones, and sometimes an orchestral set. The electric guitars are normally faint and high-pitched. However, recent adult contemporary music may feature synthesizers (and other electronics, such as drum machines).[9]
An AC radio station may play mainstream music, but it excludes hip hop, dance tracks, hard rock, and some forms of teen pop, as these are less popular among adults, the target demographic. AC radio often targets the 25-44 age group,[10] the demographic that has received the most attention from advertisers since the 1960s. A common practice in recent years of adult contemporary stations is to play less newer music and more hits of the past. This de-emphasis on new songs slows the progression of the AC chart.[11]
Over the years, AC has spawned subgenres including "hot AC", "soft AC" (also known as "lite AC"), "urban AC", "rhythmic AC", and "Christian AC" (a softer type of contemporary Christian music). Some stations play only "hot AC", "soft AC", or only one of the variety of subgenres. Therefore, it is not usually considered a specific genre of music; it is merely an assemblage of selected tracks from musicians of many different genres.
1960s: Early roots; easy listening and soft rock
Johnny Mathis concentrated on romantic readings of jazz and pop standards for the adult contemporary audience of the 1960s and 1970s.[12]
Adult contemporary traces its roots to the 1960s easy listening format, which adopted a 70--80% instrumental to 20-30% vocal mix. A few offered 90% instrumentals, and a handful were entirely instrumental. The easy listening format, as it was first known, was born of a desire by some radio stations in the late 1950s and early 1960s to continue playing current hit songs but distinguish themselves from being branded as "rock and roll" stations. Billboard first published the Easy Listening chart July 17, 1961, with 20 songs; the first number one was "Boll Weevil Song" by Brook Benton. The chart described itself as "not too far out in either direction".[13]
Initially, the vocalists consisted of artists such as Frank Sinatra, Doris Day, Johnny Mathis, Connie Francis, Nat King Cole, Perry Como, and others. The custom recordings were usually instrumental versions of current or recent rock and roll or pop hit songs, a move intended to give the stations more mass appeal without selling out. Some stations would also occasionally play earlier big band-era recordings from the 1940s and early 1950s.[14]
After 1965, differences between the Hot 100 chart and the Easy Listening chart became more pronounced. Better reflecting what middle of the road stations were actually playing, the composition of the chart changed dramatically. As rock music continued to harden, there was much less crossover between the Hot 100 and Easy Listening chart than there had been in the early half of the 1960s. Roger Miller, Barbra Streisand and Bobby Vinton were among the chart's most popular performers.[13]
One big impetus for the development of the AC radio format was that, when rock and roll music first became popular in the mid-1950s, many more conservative radio stations wanted to continue to play current hit songs while shying away from rock. These middle of the road (or "MOR") stations also frequently included older, pre-rock-era adult standards and big band titles to further appeal to adult listeners who had grown up with those songs.
Another big impetus for the evolution of the AC radio format was the popularity of easy listening or "beautiful music" stations, stations with music specifically designed to be purely ambient. Whereas most easy listening music was instrumental, created by relatively unknown artists, and rarely purchased (especially as singles, although Jackie Gleason's beautiful music albums sold well in the 1950s), AC was an attempt to create a similar "lite" format by choosing certain tracks (both hit singles and album cuts) of popular artists.
In terms of record sales and career longevity, Barry Manilow is one of the most successful adult contemporary singers ever and the most best-selling of the 1970s.[15]
1970s: Soft rock forms as a radio format
Late 1960s hard rock had been established as one of rock genres.[16] From the end of the 1960s, hard rock and soft rock became popular in rock scene,[7] with both emerging as major radio formats in the USA.[17]Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. Major artists included Barbra Streisand, Carole King, Cat Stevens, James Taylor[18] and Bread.[19][20]
The Hot 100 and Easy Listening charts became more similar again toward the end of the 1960s and into the early and mid-1970s, when the texture of much of the music played on Top 40 radio once more began to soften. The adult contemporary format began evolving into the sound that later defined it, with rock-oriented acts as Chicago, the Eagles, and Elton John becoming associated with the format.[13]
Soft rock reached its commercial peak in the mid-to-late 1970s with acts such as Toto, England Dan & John Ford Coley, Air Supply, Seals and Crofts, Dan Fogelberg, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade.[21] By 1977, some radio stations, notably New York's WTFM and NBC-owned WYNY, and Boston's WEEI, had switched to an all-soft rock format.[22] As Softrock 103, WEEI was famous for its promotional campaigns, featuring slogans such as "Joni, without the baloni." and "The Byrds, without the nyrds."[23] By the 1980s, tastes had changed and radio formats reflected this change, including musical artists such as Journey.[24][25]
Radio stations played Top 40 hits regardless of genre; although, most were in the same genre until the mid-1970s when different forms of popular music started to target different demographic groups, such as disco vs. hard rock. This evolved into specialized radio stations that played specific genres of music, and generally followed the evolution of artists in those genres.
By the early 1970s, softer songs by The Carpenters, Anne Murray, John Denver, Barry Manilow, and even Streisand, began to be played more often on "Top 40" radio and others were added to the mix on many AC stations. Also, some of these stations even played softer songs by Elvis Presley, Linda Ronstadt, Elton John, Rod Stewart, Billy Joel, and other rock-based artists.
Much of the music recorded by singer-songwriters such as Diana Ross, James Taylor, Carly Simon, Carole King and Janis Ian got as much, if not more, airplay on this format than on Top 40 stations. Easy Listening radio also began including songs by artists who had begun in other genres, such as rock and roll or R&B. In addition, several early disco songs, did well on the Adult Contemporary format.
1980s: Adult contemporary succeeds as radio format
"Careless Whisper" stayed at the #1 spot in the adult contemporary chart for 5 weeks.[26] The song was George Michael's first solo single.[27]
On April 7, 1979, the Easy Listening chart officially became known as Adult Contemporary,[13] and those two words have remained consistent in the name of the chart ever since. Adult contemporary music became one of the most popular radio formats of the 1980s. The growth of AC was a natural result of the generation that first listened to the more "specialized" music of the mid-late 1970s growing older and not being interested in the heavy metal and rap/hip-hop music that a new generation helped to play a significant role in the Top 40 charts by the end of the decade.
Mainstream AC itself has evolved in a similar fashion over the years; traditional AC artists such as Barbra Streisand, the Carpenters, Dionne Warwick, Barry Manilow, John Denver, and Olivia Newton-John found it harder to have major Top 40 hits as the 1980s wore on, and due to the influence of MTV, artists who were staples of the Contemporary Hit Radio format, such as Richard Marx, Michael Jackson, Bonnie Tyler, George Michael, Phil Collins, and Laura Branigan began crossing over to the AC charts with greater frequency. Collins has been described by AllMusic as "one of the most successful pop and adult contemporary singers of the '80s and beyond".[28] However, with the combination of MTV and AC radio, adult contemporary appeared harder to define as a genre, with established soft-rock artists of the past still charting pop hits and receiving airplay alongside mainstream radio fare from newer artists at the time.
The amount of crossover between the AC chart and the Hot 100 has varied based on how much the passing pop music trends of the times appealed to adult listeners. Not many disco or new wave songs were particularly successful on the AC chart during the late 1970s and early 1980s, and much of the hip-hop and harder rock music featured on CHR formats later in the decade would have been unacceptable on AC radio.
Although dance-oriented, electronic pop and ballad-oriented rock dominated the 1980s, soft rock songs still enjoyed a mild success thanks to Sheena Easton, Amy Grant,[29]Lionel Richie, Christopher Cross, Dan Hill, Leo Sayer, Billy Ocean,[30]Julio Iglesias, Bertie Higgins, and Tommy Page.[31] No song spent more than six weeks at #1 on this chart during the 1980s, with nine songs accomplishing that feat. Two of these were by Lionel Richie, "You Are" in 1983 and "Hello" in 1984, which also reached #1 on the Hot 100.
In 1989, Linda Ronstadt released Cry Like a Rainstorm, Howl Like the Wind, described by critics as "the first true Adult Contemporary album of the decade", featuring American soul singer Aaron Neville on several of the twelve tracks. The album was certified Triple Platinum in the United States alone and became a major success throughout the globe. The Grammy Award-winning singles, "Don't Know Much" and "All My Life", were both long-running #1 Adult Contemporary hits. Several additional singles from the disc made the AC Top 10 as well. The album won over many critics in the need to define AC, and appeared to change the tolerance and acceptance of AC music into mainstream day to day radio play.
1990s: Subgenre formations/radio crossovers
Latin artist Marc Anthony's self-titled English-language album released in 1999 had singles that crossed over to the AC charts.[32]
The early 1990s marked the softening of urban R&B in the shape of new jack swing, at the same time alternative rock emerged and traditional pop saw a significant resurgence. This in part led to a widening of the market, not only allowing to cater to more niche markets, but it also became customary for artists to make AC-friendly singles. At the same time, the genre began adopting elements from hard rock as tastes were shifting towards louder music, while AC stations in general began playing more rock acts. "Softer" features such as light instrumental music (carried over from the beautiful music format--many AC stations carried the format until the early 1970s), new age songs and most pre-1964 artists were gradually phased out from AC radio throughout the early-mid 1990s.
Unlike the majority of 1980s mainstream singers, the 1990s mainstream pop/R&B singers such as All-4-One,[33]Boyz II Men, Christina Aguilera,[34]Backstreet Boys and Savage Garden[34] generally crossed over to the AC charts. Latin pop artists such as Lynda Thomas,[35]Ricky Martin, Marc Anthony, Selena, Enrique Iglesias and Luis Miguel also enjoyed success in the AC charts.
In addition to Celine Dion, who has had significant success on this chart, other artists with multiple number ones on the AC chart in the 1990s include Mariah Carey, Phil Collins, Michael Bolton, Whitney Houston and Shania Twain. Newer female singer-songwriters such as Sarah McLachlan, Natalie Merchant, Jewel, Melissa Etheridge and Sheryl Crow also broke through on the AC chart during this time.[36]
In 1996, Billboard created a new chart called Adult Top 40, which reflects programming on radio stations that exists somewhere between "adult contemporary" music and "pop" music. Although they are sometimes mistaken for each other, the Adult Contemporary chart and the Adult Top 40 chart are separate charts, and songs reaching one chart might not reach the other. In addition, hot AC is another subgenre of radio programming that is distinct from the Hot Adult Contemporary Tracks chart as it exists today, despite the apparent similarity in name.
In response to the pressure on Hot AC, a new kind of AC format cropped up among American radio recently. The urban adult contemporary format (a term coined by Barry Mayo) usually attracts a large number of African Americans and sometimes Caucasian listeners through playing a great deal of R&B (without any form of rapping), gospel music, classic soul and dance music (including disco).
Another format, rhythmic AC, in addition to playing all the popular hot and soft AC music, past and present, places a heavy emphasis on disco as well as 1980s and 1990s dance hits, such as those by Amber, C&C Music Factory and Black Box, and includes dance remixes of pop songs, such as the Soul Solution mix of Toni Braxton's "Unbreak My Heart".
In its early years of existence, the smooth jazz format was considered to be a form of AC, although it was mainly instrumental, and related a stronger resemblance to the soft AC-styled music. For many years, George Benson, Kenny G and Dave Koz had all had crossover hits that were played on both smooth jazz and soft AC stations.
2000s-present: AC music goes mainstream and mainstream music goes AC
A number of Michael Bublé's singles and albums topped the AC charts in the 2000s and 2010s.[37]
During the 2000s, the AC market gained an increased presence in the music industry, as its radio formats were popular nationwide--Smooth jazz and "Urban AC" stations were ubiquitous in the East Coast, while Soft rock and "adult standards" stations were common in the Midwest, and pop-oriented "Hot AC" and "world music"/Hispanic AC stations were easily found in the West Coast and the "Sun Belt". This led to the presence of numerous genres on the AC charts, often crossing to the "pop" charts, winning over many critics in the need to define AC, and increased the tolerance and acceptance of AC music into mainstream day-to-day radio play.
Josh Groban's single "You Raise Me Up" and Michael Bublé's "Fever" are often considered to be key examples of the high production values and ballad-heavy sound that defined 2000s-era AC,[13] often dubbed as "jazz-pop", heavily carrying classical, jazz and traditional pop influences. Artists such as Nick Lachey, James Blunt, Jamie Cullum, John Mayer, Jason Mraz, Norah Jones, Diana Krall, Amy Winehouse and Susan Boyle also achieved great success during this period. During most of the 2000s, country music/countrypolitan musicians such as Kelly Clarkson, Clay Aiken, Faith Hill, Garth Brooks, Shania Twain, LeAnn Rimes and Carrie Underwood scored hits on soft AC. A popular trend in the late 1990s and 2000s was remixing dance music hits into adult contemporary ballads, especially in the US, (for example, the "Candlelight Mix" versions of "Heaven" by DJ Sammy, "Listen To Your Heart" by D.H.T., and "Everytime We Touch" by Cascada).
Key to the success of AC in the 2000s was the 25-34 demographic which had outgrown the pop music offerings of the time, most new rock became too alternative and harsh for AC radio and most new pop was now influenced heavily by dance-pop, hip-hop and electronic dance music.[38] At the same time, the music industry also began to focus on older audiences and markets generally considered "niche".
During the late 2000s, certain pop songs began entering the AC charts instead, generally after the songs had fallen off the Hot 100. Adrian Moreira, senior vice president for adult music for RCA Music Group, said, "We've seen a fairly tidal shift in what AC will play". Rather than emphasizing older songs, adult contemporary now began playing many of the same songs as top 40 and adult top 40, but only after the hits had become established.[13] An article on MTV's website by Corey Moss describes this trend as: "In other words, AC stations are where pop songs go to die a very long death. Or, to optimists, to get a second life."[39] As adult contemporary has long characterized itself as family-friendly, "clean" versions of pop songs began appearing on the AC chart, as were the cases of "Perfect" by P!nk, and "Forget You" by Cee Lo Green, both in 2011.[13]
AC radio's shift into more mainstream pop was a result of the changes on the broadcasting landscape following the 2005-2007 economic downturn and eventual recession, as advertisers preferred more profitable chart-based formats, which meant the demise of many AC-based formulas, primarily those aimed at older audiences, with tastes changing towards more modern music among all age groups. Diminishing physical record sales throughout the 2010s also proved a major blow to the AC genre, and there are concerns that the portable people meter, a device being used to determine radio listenership, may be incompatible with AC songs and may not accurately pick up that a person is listening to an AC station because of the pitches and frequencies used in the style.[40]
Key AC artists of the 2010s include Bruno Mars, Adele and Ed Sheeran, featuring a mostly pop-influenced sound, faster-paced and more energetic than the typical AC fare of previous years. The earlier years of the decade also saw alternative and indie rock acts such as Coldplay, Wilco, Feist, The 1975, Imagine Dragons, Mumford & Sons, Of Monsters and Men, The Lumineers and Arcade Fire quickly becoming AC mainstays.[41][42]
Artists like CeeLo Green, One Republic, Adele, Ed Sheeran, Rachel Platten, Christina Perri, Andy Grammer, James Bay, Meghan Trainor, Sara Bareilles, Shawn Mendes,Maroon 5, Bruno Mars, Sia, Sam Smith, Gavin Degraw, Charlie Puth and Colbie Caillat had major hits on the Adult top 40 chart during the 2010s. These artists incorporated soul and pop rock into their music.
AC stations began replacing artists like Britney Spears and Christina Aguilera that were popular in the 1990s and early 2000s and added more indie and alternative rock bands like Panic at the Disco, Neon Trees X Ambassadors, Sheppard, Bastille, American Authors, Fitz and the Tantrums, Foster the People, Twenty One Pilots, Walk the Moon and Milky Chance. These artists only had at least 1 or 2 hits throughout the 2010s.[]
Rhythmic artists like Rihanna, Lady Gaga, Ellie Goulding, Taio Cruz, and Pitbull were also being played more alongside EDM artists like Calvin Harris, David Guetta, The Chainsmokers, Zedd. Younger artists like Camilla Cabello, Justin Bieber, Selena Gomez, Ariana Grande, Nick Jonas and the Jonas Brothers and Halsey that were popular in the late 2010s were also added to AC stations.[]
Adult contemporary formats
In radio broadcasting, adult contemporary is divided into several sub-formats, each with their own musical direction and demographic targeting. Hot adult contemporary formats generally feature an uptempo selection of recent hits that appeal to a wide adult audience,[43] soft adult contemporary formats have a more conservative sound oriented primarily towards adult women, urban AC focuses on R&B and soul music that appeal to African American adults, and rhythmic AC focuses on dance music and other rhythmic genres. A station formatted as adult contemporary with no qualifier, also referred to as "mainstream" adult contemporary, generally has a similar playlist to hot AC stations, but are broader in their playlists--especially in their inclusion of classic hits from past decades.
Hot adult contemporary radio stations play a wide range of popular music that appeals towards the 18-54 age group,[44] cherry-picking uptempo songs from pop, pop rock, alternative, and indie rock genres, while excluding more youth-oriented music such as hip-hop. It serves as a middle ground between the youth-oriented contemporary hit radio and harder modern rock formats, and adult contemporary formats (such as "mainstream" and "soft" AC) that are typically targeted towards a more mature demographic.[45][43]
The "hot AC" designation began to appear in the 1990s, to describe adult contemporary stations with a more energetic presentation and uptempo sound than their softer counterparts.[46] The launch of the "Mix" branding and format by Houston's KHMX was a notable milestone for the burgeoning format. Seeking to fill a void in the market as determined by focus groups, the station focused on pop-rock music targeting young adult women, as well as emphasizing community involvement. In the six months after its launch, KHMX slowly climbed from 14th place in the market to 3rd, and its format and branding was widely replicated by other stations.[47]
The hot AC format leans towards hit music with wide appeal, with recurrents usually reflecting familiar and youthful music that adults had grown up with. Initially focused more on pop rock, the format has evolved to reflect changes in the composition of this audience; by the mid-2000s, the format had evolved to include more uptempo pop music.[48][43] This shift helped to expand the demographic reach of hot AC stations, especially among younger listeners such as millennials; Nielsen Audio ranked hot AC as the third most-popular format among millennials, behind pop and country music.[43][45] Of the format's expanding demographic reach, WOMX-FM program director Dana Taylor stated that hot AC stations "may not be the radio station that everybody agrees on, but it's a radio station that everybody goes, 'I'm okay with that'."[43] Many hot AC outlets are among the top stations in their respective market.[43]
Hot AC stations typically keep a larger body of recent hits in rotation than those with rigid, chart-driven formats like contemporary hit radio (CHR) or urban contemporary. As these stations' playlists have become concentrated towards airing only the current hits at a given time, hot AC airplay can build and sustain a song's popularity over a long-term period. This effect has been credited in helping build an audience for early singles from new acts such as Adele, James Arthur, Rachel Platten ("Fight Song", which achieved mainstream popularity after its use during Hillary Clinton's 2016 presidential election campaign), and Max Schneider (whose 2016 single "Lights Down Low", over a year after its original release, became a sleeper hit on the Billboard Mainstream Top 40 and Hot 100 due in part to strong hot AC promotion and airplay).[43][49][50]
Rolling Stone noted that hot AC has been a popular outlet for matured pop artists, such as the Backstreet Boys, Jason Mraz, John Mayer, and Pink, as well as alternative and indie rock crossovers (such as Foster the People, Imagine Dragons, Lovelytheband, Portugal. The Man, and Twenty One Pilots).[43] The format has also appealed towards listeners alienated by the downtempo direction of recent mainstream pop music, in contrast to the more familiar and uptempo direction of hot AC.[45] The popularity of the hot AC format prompted mainstream adult contemporary stations to evolve in a similar direction, displacing softer songs in favor of the uptempo adult pop associated with hot AC, while still featuring older recurrents than those typically played by hot AC stations.[45][43]
Modern adult contemporary
Modern adult contemporary refers to AC formats with a modern rock-based presentation. In the 1990s and early 2000s, this format was typically oriented towards pop rock, and often targeted women. In 2001, Time noted that the format gave prominent airplay to female pop rock vocalists, including Indigo Girls, Jewel, Sarah McLachlan, Shawn Colvin, and Sheryl Crow (all of whom also associated with McLachlan's all-female Lilith Fair tour), as well as folk-influenced bands such as Counting Crows and The Wallflowers.[51][52][53] In 1997, Mike Marino of KMXB in Las Vegas described the format as reaching "an audience that has outgrown the edgier hip-hop or alternative music but hasn't gotten old and sappy enough for the soft ACs."[54]
The Soft adult contemporary format typically targets women 25-54 and at-work listening. Soft AC playlists are generally conservative in comparison to hot AC, focusing on pop and power ballads, soft rock, and other familiar, light hits.[55] Upon its establishment in the 1980s, the soft AC format was positioned as being a more upbeat version of easy listening that would appeal better to a younger audience, mainly by excluding instrumental beautiful music. Easy listening stations had begun shifting to the format out of concern that their existing programming would not appeal to the current generation of listeners.[46]
In a 1990 article, James Warren of the Chicago Tribune characterized soft AC stations as being "as middle-of-the-road and unthreatening as modern media get", with personalities that were encouraged to be as inoffensive and "low-profile" as possible, and a more conservative music library than hot AC-leaning stations. In particular, Chicago's WLIT did not have its airstaff talk over the beginning and endings of songs (in contrast to the hot AC-leaning WFYR), and played Bob Seger's "We've Got Tonite" but not "Old Time Rock and Roll" (which was part of WTMX's playlist). The director of a soft AC station in Connecticut, WEZN-FM, told Warren that he had barred the reading of top-of-hour news headlines, so that listeners wouldn't be tempted to tune away to an all-news station to learn more.[46]
Soft AC stations tend to be more selective in their music libraries than other adult contemporary stations, preferring proven songs over current hits.[46] Upon the onset of the format's popularity, core artists typically included singers such as Nat King Cole, Perry Como, Neil Diamond, Barry Manilow, Johnny Mathis, and Barbra Streisand. By the 1990s, to improve their appeal among changing demographics, some soft AC stations began to widen their playlist to include selections from contemporary acts such as Bon Jovi, Mariah Carey, Eric Clapton, Phil Collins, Elton John, and Whitney Houston. On the other hand, by 1996, New York's WLTW had begun to phase out its softer music in favor of a more uptempo direction.[46][56][57][58]
In 2017, Inside Radio reported that soft AC had the third-largest decrease in U.S. stations offering the format over the past decade (at 128), ranking behind only adult standards and oldies -- a shift credited to aging demographics and a major boom in the wider-appealing classic hits format (which saw the largest overall increase over the same period). Consultant Gary Berkowitz argued that the soft AC format had become increasingly irrelevant in comparison to mainstream and hot AC, due to PPM markets preferring uptempo music.[59]
At the same time, however, soft AC began to experience a resurgence. In April 2016, iHeartMedia flipped its San Francisco classic soul station KISQ to soft AC as The Breeze; as of November 2018, it was the top station in the Bay Area. The trend continued into 2017 and 2018, with iHeartMedia extending its Breeze brand to other soft AC flips, and the brand (among others) being adopted by competitors such as Entercom.[23][55] Industry analyst Sean Ross argued that older demographics were becoming more lucrative due to changes in listening habits among younger audiences, which prefer digital platforms such as music streaming services over linear terrestrial radio, and also noted how mainstream AC was dependent on the Top 40 charts to break new songs.[55]
Current soft AC stations have continued to feature recurrents such as Michael Bolton, Celine Dion, Elton John, Fleetwood Mac, Hall & Oates, and Whitney Houston, while contemporary musicians such as Adele and Michael Bublé have also become modern fixtures of the format.[60][61][55][59] In addition, the soft AC sound has diversified to include more songs that are "safe and universal" and not necessarily "soft", with Ross presenting examples such as "Don't You (Forget About Me)", as well as the retroactively-defined genre of yacht rock.[55] Over time, some stations have gradually adjusted their playlists to include more recurrents from the 1980s and 1970s (although not to the same extent as other "soft oldies" formats, such as MeTV FM, which have also grown in popularity).[62]
Urban adult contemporary
The Urban adult contemporary format focuses primarily on current and classic R&B and soul music. The format typically targets African-American adults: July 2018 numbers from Nielsen Audio recorded it as the top format among African-Americans 25-54 and 35-64.[63] It also has a sizable popularity among younger listeners, ranking behind urban contemporary as the second-most popular format among African-American adults 18-34 in the same report, with an 18.9 audience share.[63]
The format typically excludes youthful rhythmic music, such as hip-hop and rap, that are usually associated with the urban contemporary format.[64][65][66] The urban AC format is also associated with programming typically referred to as the "quiet storm", which focuses on mellower R&B ballads and slow jams -- often in a jazz-influenced style.[67][68][69][70]
As urban contemporary stations prefer hit-driven hip-hop songs, labels typically service R&B songs to the urban AC format only. Current R&B musicians have complained that this has created an artificial divide that prevents them from reaching a wider, mainstream audience (citing the relatively smaller number of urban AC outlets in comparison to urban and rhythmic), even with attempts to give some singles a hip-hop-influenced sound to improve the potential for crossover appeal. Some acts, such as FKA Twigs (who has been known for blending various electronic and rhythmic genres in her work)[71] have attempted to disassociate themselves from "R&B" to reduce the effect of this stigma. However, the growth of music streaming services has helped to expose R&B music to a wider audience beyond urban AC radio.[72][73]
Rhythmic adult contemporary
The Rhythmic adult contemporary format generally focuses on a variety of current and classic dance music, such as dance-pop, hip-hop, and R&B (often resembling a blend of the Classic hits and hot AC formats in practice). The exact composition of current and recurrent content can vary between stations, and recurrent content can also depend on factors such as the history and heritage of rhythmic formats in the market, ranging from late-80s/early-90s dance hits (including freestyle), to disco and Motown. Rhythmic Hot AC has also been used as a format, popularized by stations such as New York's WKTU and Seattle's KQMV.[74][75][76][77][78]
Smooth adult contemporary
Smooth Adult Contemporary was evolved from smooth jazz stations, in order to attract more younger listeners (particularly in the important 25-54 age demographic) without completely alienating jazz fans. Smooth AC stations played more of the vocalists popular on smooth jazz stations, such as Luther Vandross, Sade, Anita Baker, and Basia, Diana Krall,[79] while incorporating more mainstream and urban AC material from artists such as Celine Dion, Mary J. Blige and limiting instrumentals to two or three cuts an hour (and usually restricting airplay of instrumentals to artists such as Kenny G and Chuck Mangione who had crossover pop success). In markets where they existed, Smooth AC stations were meant to fill a void for soft music created by the mainstream Adult Contemporary format's overall move toward more uptempo adult Top-40 musical fare.
One of the first high-profile stations to adopt the Smooth AC approach was pioneering smooth-jazz station KTWV in Los Angeles ("The Wave"), under new program director Jhani Kaye. KTWV's transition was successful in improving the station's 25-54 ratings. Other stations followed suit, including the late WLFM-LP in Chicago; WXJZ in Gainesville, Florida; KIFM in San Diego; and WNWV in Cleveland, which relaunched under its former "107-3 The Wave" identity as a Smooth AC on January 4, 2012. However, the Smooth AC format for the most part did not succeed: WLFM, WXJZ and KIFM have switched to other formats, WNWV has evolved back into smooth jazz, and KTWV has continued to progressively downplay (while not entirely eliminating) instrumental music in its shift to a "Smooth R&B" Urban AC format. The Smooth AC format is now virtually extinct on commercial radio, with one exception being KJZY in the Santa Rosa, California market, which continues as a hybrid of smooth jazz and adult standards.
Contemporary Christian music (CCM) has several subgenres, one being "Christian AC". Radio & Records, for instance, lists Christian AC among its format charts. There has been crossover to mainstream and hot AC formats by many of the core artists of the Christian AC genre, notably Amy Grant, Michael W. Smith, Kathy Troccoli, Steven Curtis Chapman, Plumb, and more recently, MercyMe, for KING & COUNTRY and Lauren Daigle.
Since the 1990s it has become common for many AC stations, particularly soft AC stations, to play primarily or exclusively Christmas music during the Christmas season in late November and December. While these tend mostly to be contemporary seasonal recordings by the same few artists featured under the normal format, most stations will also air some vintage holiday tunes from older pop, MOR, and adult standards artists - such as Nat King Cole, Bing Crosby, Dean Martin, the Carpenters, Percy Faith, Johnny Mathis and Andy Williams - many of whom would never be played on these stations during the rest of the year.
These Christmas music marathons typically start during the week before Thanksgiving Day and end after Christmas Day, or sometimes extending to New Year's Day. Afterwards, the stations usually resume their normal music fare. Several stations begin the holiday format much earlier, at the beginning of November. The roots of this tradition can be traced back to the beautiful music and easy listening stations of the 1960s and 1970s.[]
Syndicated radio shows and networks carrying the adult contemporary format
Delilah - One of the USA's most popular radio shows, Delilah airs primarily in the evening.
Intelligence for Your Life - Hosted by John Tesh, this show also airs evenings and also on weekends.
American Top 40 with Ryan Seacrest - One version of AT40 airs on USA hot AC stations, which is a little different from its Top-40/CHR counterpart.
Rick Dees Weekly Top 40/Weekly Top 30 - Began offering Hot AC versions of the popular countdown show in June 1996. These shows feature the top 20 Hot AC songs in the USA along with about 10 past hits from the 1980s, 1990s and early 2000s (decade). A softer "AC" version was added in July 2009 to try to fill in the void left by Casey Kasem ending his AC countdown.
Radio Disney Music Top 30 Countdown, One version is for Hot AC stations, the other version is for Mainstream AC stations. Plays the USA Top 30 songs of the week according to Mediabase and a music rating service called ratethemusic.com. This show, like Rick Dees' show, is distributed by Compass Media Networks.
Backtrax USA with Kid Kelly - Weekend programs focusing on the '80s and '90s, targeted for hot AC stations.
ABC and Dial Global both offer AC 24-hour networks programming soft and hot AC.
Tom Joyner and Steve Harvey have popular morning shows that air on urban AC (and sometimes Hip-Hop) stations. Both shows are often heard on competing stations in the same city, such as St. Louis, Philadelphia and Atlanta. Joyner's show is syndicated by ABC Radio, and Harvey's show by Premiere Radio Networks.
Retro Rewind with Dave Harris is weekend based radio show highlighting a massive playlist of songs from the '80s and '90s, interviews, spotlights and contests. The show is done LIVE across the USA on Saturday nights, taking audience requests. The show is targeted towards HOT AC and AC radio stations.
The EZ Rock network is a brand/network of soft AC heard in Canada.
Heart FM Network A radio network in the UK that grew throughout 2009 as more stations were rebranded as "Heart".
Smooth Radio - A UK-wide radio network that formed from six regional Smooth Radio stations.
Smoothfm - A network of two Australian commercial radio stations (based in Sydney and Melbourne) that are focused on providing an eclectic easy-listening playlist, usually featuring ballads.
Nova (radio network) - A network of five Australian commercial radio station (based in Sydney, Melbourne, Brisbane, Adelaide and Perth) that are very similar to Smoothfm.
The Breeze - A group of New Zealand adult contemporary radio stations owned by MediaWorks Radio. There are 20 stations currently broadcasting throughout New Zealand.
The Bob and Sheri Show - American morning drive show based in Charlotte, North Carolina. Heard on more than 50 AC stations and the American Forces Network
Former syndicated programming includes Dick Clark's US Music Survey (1996-2005), Casey's Hot 20/Casey's Countdown/American Top 20/10 (1992-2009) and Top 30 USA.
Adult Contemporary, a chart appearing in Billboard since 1961. This chart is typically (but not exclusively) closer to soft AC.
New-age music
Yacht rock
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^ Proefrock, Stacia. "Celine Dion - Music Biography, Credits and Discography". AllMusic. Retrieved 2012.
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^ "Journey: The band who did not stop believing". BBC News. November 12, 2010. Retrieved 2010.
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^ "Careless Whisper - Wham!". Billboard.com. Retrieved 2012.
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^ Whitburn, Joel (2007). Billboard Top Adult Songs 1961-2006 (Record Research Inc.), page 373.
^ "Never A 'Bad Day' -- Adult-Contemporary Radio, Where Pop Hits Live Strong", from mtv.com Retrieved February 26, 2009.
^ Boudway, Ira (June 14, 2016). "The Queen of FM Fights for Her Throne". Bloomberg Business Week. Retrieved 2016. It's destroying radio in general, and especially shows that don't play for the meter.
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^ Kelley, Frannie (October 26, 2011). "Has 'Indie' Become 'Adult Contemporary'? : The Record". NPR. Retrieved 2012.
^ a b c d e f g h i Leight, Elias (October 20, 2018). "Adult Radio Was Once the Butt of Jokes. Now It's the Hottest Radio Format". Rolling Stone. Retrieved 2018.
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^ "MAX's 'Lights Down Low,' Featuring gnash, Shines at No. 1 on Adult Pop Songs Chart". Billboard. Retrieved 2018.
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^ a b c d e Ross, Sean (November 15, 2018). "Why Soft AC Is Booming Now". RadioInsight. Retrieved 2018.
^ Elliott, Stuart. "THE MEDIA BUSINESS: ADVERTISING; WLTW-FM finds success with an ever-evolving definition of 'soft' adult contemporary music". Retrieved 2018.
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^ AC Dominates Arbitrons. Billboard. Nielsen Business Media. January 18, 1986.
^ a b "Here Are The Biggest Format Gainers And Losers Of Past Decade". Insideradio.com. Retrieved 2018.
^ "Westwood One To Launch Soft AC Network". RadioInsight. June 16, 2016. Retrieved 2018.
^ "Best Kept Secret? Stations Appealing To Boomers Flourish". Insideradio.com. Retrieved 2018.
^ "Fresh Listen: KISQ (The Breeze) & WFEZ (Easy 93.1)". RadioInsight. November 8, 2019. Retrieved 2019.
^ a b "Urban AC Expands Its Dominant Share Of Black Listeners". Insideradio.com. Retrieved 2019.
^ Leight, Elias (March 21, 2019). "In a 'Restrictive' World, Leela James Sings Whatever She Wants". Rolling Stone. Retrieved 2019.
^ Stroud, Court. "Everything You Need To Know About Urban Radio". Forbes. Retrieved 2019.
^ Foley, Aaron (October 24, 2011). "The death of 107.5, or why urban radio in Detroit continues on its downward spiral". mlive.com. Retrieved 2019.
^ Beamon, Todd (February 19, 1987). "Durable Radio Format Survives Shift in Tastes". The New York Times. ISSN 0362-4331. Retrieved 2019.
^ "Clear Channel Chicago intros new evening programs on two urban outlets". Chicago Business Journal. Retrieved 2019.
^ Coscarelli, Joe (September 6, 2018). "A Champion, a Critic, a Therapist: Dyana Williams Is Hip-Hop's Artist Whisperer". The New York Times. ISSN 0362-4331. Retrieved 2019.
^ Caramanica, Jon (August 7, 2009). "K'Jon, Maxwell and More Offer a Newly Mature Soul Music". The New York Times. ISSN 0362-4331. Retrieved 2019.
^ Taylor, Elise. "The 5 Must-See Coachella Acts, from Drake to FKA Twigs". Vanity Fair. Retrieved 2019.
^ Leight, Elias; Leight, Elias (October 13, 2017). "How Hip-Hop Edged Grittier R&B Singers Out of the Mainstream". Rolling Stone. Retrieved 2019.
^ Leight, Elias; Leight, Elias (October 13, 2018). "The Return of Quiet Storm". Rolling Stone. Retrieved 2019.
^ Buhler, Brendan (September 12, 2006). "Can't find your doo-wop, try Whoopi in mornings". Las Vegas Sun. Retrieved 2019.
^ French, Alex (July 17, 2015). "How Hip-Hop Is Becoming the Oldies". The New York Times. ISSN 0362-4331. Retrieved 2019.
^ "Intriguing Stations of 2018". RadioInsight. February 28, 2019. Retrieved 2019.
^ "I101 Chicago Shifts To Rhythmic Hot AC". RadioInsight. December 9, 2013. Retrieved 2019.
^ Ross, Sean (August 24, 2006). "Rhythmic AC: In Search Of The Funky Cold Medina". Edison Research. Retrieved 2019.
^ http://www.radio.net/s/calmjazzvocals
Artists | Ambition Entertainment
Rebirth Music Productions
GAD Music Company
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JOEL PLASKETT - ONE LOOK (BalconyTV)
Simon & Garfunkel "Bridge Over Troubled Water" {Subtitulos Esp.}.**
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Drive | Chris Le Blanc & Andy Jonas
Human Nature - Michael Jackson / Guitar - Vladan Zivancevic
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Hot_Adult_Contemporary


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This report documents and quantifies delays in the diagnosis of DVT and PE. Delays in the diagnosis of DVT and PE were common and substantial. Most of the delay in the diagnosis of DVT represented the delay from symptom onset to the date of medical evaluation. The delays from the date of medical evaluation to the occurrence of the confirmatory test were generally brief, perhaps reflecting the widespread availability of compression ultrasonography and a sense of urgency on the part of health-care providers. Furthermore, if treatment was begun prior to obtaining the confirmatory test, then the effective delay in diagnosis was less than we reported. However, it is unlikely that patients were treated for several days prior to obtaining a confirmatory objective test; therefore, our findings that there were substantial numbers of patients who experienced delays in diagnosis appears to be valid. Conversely, the delays were longer from the time of medical evaluation to time of the confirmatory diagnostic test for acute PE. This may occur because other common disorders mimic PE and because diagnostic algorithms for PE are more complex than those for DVT. It is also possible that there was limited access to pulmonary angiography or spiral CT scanning at the time of this study held with My Canadian Pharmacy.
Our findings appear to be valid and generaliz-able. We enrolled a large number of consecutive patients at 70 medical centers throughout North America. Diagnoses were confirmed by widely accepted objective imaging tests. The characteristics of the patient population were similar to those in other large studies of patients with DVT or PE.
The present study has limitations. We do not provide outcome data to link delays in diagnosis to clinically important outcomes such as death, recurrent PE, or post-phlebitic syndrome. However, previous studies have shown that delays in achieving an adequate anticoagulant effect are linked to increased rates of recurrent thromboembolism among patients who present with proximal DVT.
Public and professional education represents a critical step for the early diagnosis and treatment of other common and serious disorders such as myocardial infarction and stroke. In the case of DVT, delays in diagnosis may abate by increasing public awareness of common symptoms and signs such as leg pain and swelling. Unexplained shortness of breath should trigger the suspicion of PE by lay persons and health-care professionals. The widespread implementation of protocols for CT pulmonary angiography may reduce the time to diagnosis of acute PE.


text:
Bouïra is the capital of Bouïra Province, Algeria. The city is also called "Garanda" by the locals.

Demographics
It has 75,086 inhabitants as of the 1998 census, which gives it 15 seats in the PMA.

Geography
It is located in the geographical heart of the province. It borders the municipality of Ait Laziz in the north, Aïn Turk in the north-east (home to the largest aqueduct in Africa), Aïn El Hadjar in the east, El Hachimia in the south-east, Oued El Berdi in the south, El Asnam in the south-west, Haizer in the west, and Taghzourt in the north-west.

References

External links

Kabylie
Populated places in Bouïra Province
Province seats of Algeria
Algeria

redpajama_set_name: RedPajamaWikipedia


text:
31/03/2011 | Libya crisis - Gaddafi forces adopt rebel tactics
Ras Lanuf has now changed hands for the fourth time in three weeks. BBC world affairs editor John Simpson in Tripoli has been assessing the fighting.
Colonel Gaddafi's forces have changed their tactics.
The Libyan army has not always been known for its efficiency or its high morale.
Now though, it has shown a remarkable degree of flexibility, and has chosen to adopt tactics used by the rebels only a few days ago, when they were sweeping along the coastal road, apparently unstoppably, in the direction of Sirte.
The sudden turnaround of fortune is the result of several factors.
The first is that Colonel Gaddafi's army has decided to follow methods which the rebels have used so successfully.
Great panic
Its men are racing forward in the ordinary flat-bed trucks known elsewhere in Africa as 'technicals', with heavy machine-guns or anti-aircraft guns mounted on the back.
Others are equipped with mortars. Though these are quite light, they often cause great panic among the rebels, and are quick and easy to move forward.
Once the pro-Gaddafi forces managed to regain momentum, there was another shift in morale, and the rebels lost the confidence they had built up during the previous days.
The rebels have no perceptible command structure.
Individual gunners and their crews decide to go forward, if and when they choose, and vanish from the front line once they have had enough fighting.
Their morale has often been very high indeed, but when they are being beaten, it is easy for a retreat to turn into a rout.
The same is not true of Colonel Muammar Gaddafi's army.
Their skills are not particularly impressive, and their morale until recently was noticeably lower than that of the rebels.
But when they are forced to withdraw, as they were at the start of the week, their training means that they can halt and regroup much more effectively than the rebels can.
And they have officers to urge them back into the fighting. The rebels have few, if any, officers.
In the past, too, the rebels became used to the sight of Col Gaddafi's soldiers manoeuvring into positions from which they could surrender and come over to the other side.
But by now, most of the pro-Gaddafi forces who want to switch will probably have done so.
Here in Tripoli, government officials are noticeably relieved and happy.
Just a few days ago they had to come to terms with the possibility that the rebels would capture Sirte and then advance up the coastal road to Tripoli itself.
There is another problem for the rebels. After the big advances which the pro-Gaddafi forces started making towards Benghazi 10 days ago, intervention by the coalition turned things round.
But it was fairly easy to destroy tanks and artillery from the air, even though, as we now know, the coalition's aircraft and missiles had difficulty dealing with tanks that had been well camouflaged or were stationed in narrow streets between houses, where ordinary civilians live.
Now the pro-Gaddafi forces have largely switched to the use of "technicals" of the kind the rebels use, the coalition will have much more difficulty identifying which ones belong on which side.
If the rebels try to mark their vehicles in some way, the pro-Gaddafi forces can be expected to follow suit.
The best that the rebels can probably hope for now is that the situation will stabilise and a stalemate can be established at some point along the coastal road to the east of Sirte.
That would make it far easier for coalition planes to identify the pro-Gaddafi troops.
But for that to happen, the rebels will have to overcome their terror of Col Gaddafi's mortars and the light motorised guns which his officers have copied from the rebels' own, and make a stand.
There may well be more changes of fortune to come along the coastal road.
20/04/2013 Is Libya's Energy Future Green?
30/12/2012 Año de convulsiones severas en Oriente Medio
06/12/2012 U.S.-Approved Arms for Libya Rebels Fell Into Jihadis' Hands
01/11/2012 'Troubling' Surveillance Before Benghazi Attack
13/09/2012 Opinion - Libya's spiral of violence
13/09/2012 US - Congressman: Embassy attack in Libya was coordinated
12/09/2012 Libya - U.S. ambassador to Libya killed in Benghazi attack
12/09/2012 Libia - Muere el embajador estadounidense en Libia tras el asalto al consulado en Bengasi
06/07/2012 Africa - Libya's election takes oil-rich nation closer to democratic rule after decades of Gadhafi rule
10/05/2012 Libyan missiles on the loose
Mexico arrests senior Sinaloa drugs cartel suspect

redpajama_set_name: RedPajamaCommonCrawl


text:
Echoes of the traumatic events surrounding the Partition of India in 1947 can be heard to this day in the daily life of the subcontinent, each time India and Pakistan play a cricket match or when their political leaders speak of "unfinished business." Sikhs who lived through the pogrom following the assassination of Indira Gandhi recall Partition, as do, most recently, Muslim communities targeted by mobs in Gujarat.
The eight essays in The Partitions of Memory suggest ways in which the tangled skein of Partition might be unraveled. The contributors range over issues as diverse as literary reactions to Partition; the relief and rehabilitation measures provided to refugees; children's understanding of Partition; the power of "national" monuments to evoke a historical past; the power of letters to evoke more immediately poignant pasts; and the Dalit claim, at the prospect of Partition, to a separate political identity. The book demonstrates how fundamental the material and symbolic histories of Partition are to much that has happened in South Asia since 1947.
Mukulika Banerjee, Urvashi Butalia, Joya Chatterji, Priyamvada Gopal, Suvir Kaul, Nita Kumar, Sunil Kumar, Richard Murphy, and Ramnarayan S. Rawat.
Suvir Kaul, is Professor of English at the University of Pennsylvania. He is author of Thomas Gray and Literary Authority; Poems of Nation, Anthems of Empire: English Verse in the Long Eighteenth Century.
"Echoes of the traumatic events surrounding the Partition of India in 1947 can be heard to this day in the daily life of the subcontinent each time India and Pakistan play a cricket match or when their political leaders speak of "unfinished business." This collection demonstrates how foundational the material and symbolic histories of Partition are to much that has happened in South Asia since 1947, and how those divisions, or notions of those divisions, continue to structure public, institutional, and private lives."
Preliminary Table of Contents:
Introduction Suvir Kaul
Partition and the North West Frontier: Memories of Some Khudai Khidmatgars Mukulika Banerjee
Right or Charity? The Debate over Relief and Rehabilitation in West Bengal, 1947-50 Joya Chatterji
Partition Politics and Acchut Identity: A Study of the Scheduled Castes Federation and Dalit Politics in UP, 1946-48 Ramnarayan S. Rawat
Qutb and Modern Memory Sunil Kumar
Performing Partition in Lahore Richard McGill Murphy
An Archive with a Difference: Partition Letters Urvashi Butalia
Bodies Inflicting Pain: Masculinity, Morality, and Cultural Identity in Manto's "Cold Meat" Priyamvada Gopal
Children and the Partition Nita Kumar


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The Civic Si Coupe adds to or upgrades EX-T features with a limited-slip differential, 2-mode (Normal/Sport) drive system, adaptive damper system, 18-inch alloy wheels, lightweight Si sport seats with contrasting red stitching, Si-exclusive driver information interface, aluminum shift knob with leather accents, sport pedals, and available summer-only high-performance tires.
The EX-L Coupe adds to or upgrades EX-T features with a standard CVT, leather-trimmed seats, and automatic dimming rearview mirror.
And finally, the Touring trim adds to or upgrades EX-L features with LED headlights with auto on/off, rain sensing intermittent wipers, chrome door handles, Honda satellite-linked navigation with voice recognition and HD digital traffic, and Honda Sensing safety suite (collision mitigation braking, adaptive cruise control with low-speed follow, forward collision warning system, lane departure warning, lane keeping assist, and road departure mitigation system).
The exciting and innovative 2018 Honda Civic Coupe is available for your review at Millennium Honda in Hempstead Nassau County. Stop by for a look and drive away with your favorite trim!
* Based on EPA mileage ratings. Use for comparison purposes only. Your mileage depending on driving conditions, how you drive and maintain your vehicle, battery-pack age/condition, and other factors.
Fuel tank capacity : 12.4gal.


text:
Tacky Trademarks
An overview of silly sports trademarks
Teams have been trademarking words, phrases, and visuals for years, and some of them are leaving sports fans confused.
Tenley Wright
By Tenley Wright, Millard West High School
On Wednesday, Sept. 11th, The US Patent and Trademark Office (USPTO) rejected Ohio State University in its bid to trademark the word "THE" in front of its name.
Last month, the University asked the USPTO to make the three-letter word an exclusive Buckeyes right for use on T-shirts, baseball caps and other apparel. The application was discovered by trademark lawyer Josh Gerben.
"This application has issues out of the gate," Gerben said in a video posted to Twitter. "In order for a trademark to be registered for a brand of clothing, the trademark must be used in a trademark fashion. In other words, it has to be used on tagging or labeling for the products. In this case, just putting the word 'the' on the front of a hat or on the front of a shirt is not sufficient trademark use."
A spokesman for Ohio State University said they received a non-final office action from the USPTO. The school is reviewing its options and has six months to respond. The trademark office said OSU can overcome the refusal through a variety of measures. One of them being submitting various examples of how the term is being used.
Looking at OSU's plans for the trademark, It doesn't make much sense. Adding the word "The" to shirts and hats doesn't require the school to trademark it and it's pretty obvious that the USPTO would reject something as silly as this. I think this was more of a publicity stunt, rather than an actual attempt to earn the rights to the word.
However, OSU isn't the only university to attempt to trademark something as absurd as the most common word in the English language. When it dropped the "men" from "Orangemen" in 2006, Syracuse University tried to trademark "Orange" for use on all apparel. Oklahoma State and other orange-wearing colleges like Auburn, Tennessee and Boise State filed a formal opposition. While Syracuse's application for a piece of the color spectrum was rejected, they did get the rights to "Orangemen" in the end.
Colleges and universities aren't the only ones who have faced trademarking troubles. In 2008, the New England Patriots took the crown for trademarks gone wrong when they tried to trademark the phrase "19-0" before they had even finished the season. The Pats did finish the regular season with a perfect 16-0 record and went on to improve that record to 18-0 during the playoffs. However, with 35 seconds left in the fourth quarter of Superbowl XLII, the Patriots failed to protect their four-point lead and Plaxico Burress of the New York Giants scored the winning touchdown on a 13-yard reception. The New York Post hilariously responded by filing an application for "18-1."
If someone, especially a popular NFL team, is trying to trademark something they should at least wait till the trademark makes sense. In this case, applying for the rights to "19-0" before the season is over, was a stupid decision. I could understand wanting to trademark the phrase after winning the Superbowl, but the Patriots fell short of that and ended up with an imperfect season and an embarrassing trademark bid.
Johnny Manziel, who previously played two seasons for the Cleveland Browns, and his company JMan2 have filed for a total of ten trademarks with the USPTO. His most well-known trademark is of course "Johnny Football," which he won the rights to after a debate with an investment firm. In September of 2014, Manziel filed an application for "Johnny Cleveland." Given the fact that he wasn't even the starting quarterback when he filed, this seems particularly odd. Later that year, Manziel made his shockingly awful NFL debut against the Bengals. Two years later, the quarterback was released. Manziel's bid hasn't been accepted or rejected, but it's safe to say that "Johnny Cleveland" apparel won't be flying off the shelves anytime soon.
The problem with each of these examples is the fact that they weren't thought through. Attempting to trademark words such as "THE" and "Orange" isn't very practical, and jumping to conclusions like the Patriots did, can result in a hilarious turn of events.
However, sports trademarks, when thoughtfully planned out, can have major benefits for the organization, athlete, or coach who filed them. A good example of this is former Los Angeles Lakers Coach Pat Riley's "Three-Peat" and "3-peat."
In 1988, the Lakers had won two NBA Championships in a row and were going for a third. Riley registered the trademark for both phrases. His team was swept by the Detroit Pistons in the 1989 finals, but Riley's "three-peat" trademark bid wasn't wasted. Five years later, the Chicago Bulls accomplished a three-peat and Riley pocketed an estimated $300,000 on royalties when the NBA used the phrase on championship merchandise. He also cashed in on the 1998 Bulls three-peat, as well as the 2000 Yankees and 2002 Lakers.
Riley may have jumped the gun on this phrase like the patriots did, but it made sense to trademark. Since he won the rights to "Three-Peat" four major professional sports teams have won three championships in a row. The only NFL team to play a complete perfect season (Both regular season and playoffs) is the 1972 Miami Dolphins, and it hasn't been repeated. So even if the USPTO had approved the trademark, The Patriots wouldn't be cashing in on anything major.
If a team, athlete, or coach is going to trademark a word or phrase, I think they should review the possible outcomes, benefits and disadvantages to their application and decide whether the pros outweigh the cons. Most of the examples I mentioned above don't have many benefits, and I can't see why they were necessary in the first place.
This story was originally published on The Catalyst on September 25, 2019.
Cancel culture promotes mob mentality
Words: Declining in power, increasing in importance
Women's March & Feminism: "Separate But Equal"
Opinion: Your World War III memes aren't funny
The Stigma Behind Psychiatric Care and How it's Detrimental
It's time to talk about child marriage in the U.S.
Being gay is not a trend
Kentucky Needs to Expand Language Requirement
Column: Starving for hope
Integration of memes and politics


text:
export ROUTER=192.168.0.111
export SLEUTH=192.168.0.127
export SUSPECT=192.168.0.104
export REAL_ROUTER=192.168.0.1
export TABLE=111
export INTERFACE=eth0

if [ "$1" = "start" ]
then
	echo "CURRENT PARAMS:"
	echo
	echo "IP RULES"
	ip rule list
	echo
	echo "IP ROUTES"
	ip route list
	echo
	echo "IP ROUTE TABLE:" $TABLE
	ip route list table $TABLE
	echo
	echo
	echo
	ip rule add from $SUSPECT table $TABLE priority 4
	ip route add default via $SLEUTH table $TABLE
	echo 1 > /proc/sys/net/ipv4/ip_forward
	echo
	echo
	echo "NEW PARAMS:"
	echo
	echo "IP RULES"
	ip rule list
	echo
	echo "IP ROUTES"
	ip route list
	echo
	echo "IP ROUTE TABLE:" $TABLE
	ip route list table $TABLE
	echo
	echo
	echo
	arpspoof -i $INTERFACE -t $SUSPECT $REAL_ROUTER
else
if [ "$1" = "stop" ]
then
	echo "CURRENT PARAMS:"
	echo
	echo "IP RULES"
	ip rule list
	echo
	echo "IP ROUTES"
	ip route list
	echo
	echo "IP ROUTE TABLE:" $TABLE
	ip route list table $TABLE
	echo
	echo
	echo
	ip rule del from $SUSPECT lookup $TABLE
	ip route del table $TABLE
	echo 0 > /proc/sys/net/ipv4/ip_forward
	echo
	echo
	echo "NEW PARAMS:"
	echo
	echo "IP RULES"
	ip rule list
	echo
	echo "IP ROUTES"
	ip route list
	echo
	echo "IP ROUTE TABLE:" $TABLE
	ip route list table $TABLE
	echo
	echo
	echo
else
	echo "Please use 'start' or 'stop' args"
fi
fi

redpajama_set_name: RedPajamaGithub


includes all the fee and wireless internet. once a week helper will help clean up the room . you can have breakfast and dinner with us which will charge 10rmb for the breakfast, and 18for the dinner per day. but we have breakfast quite early around 6:30. in our area is easy to find food and not expensive. and you can use the kitchen.
Near to fuxin park. ruijin hotel. you could check ruijin hotel on the internet. my place is just around. thanks.
in a hot area. close to huaihai road. in shanxi south road and jianguo west road also near to taikang road.
I am a chinese teacher working in a language school. we love travelling, all kinds of sports. we are friendly.
Nearby there is supermarket,tennis club,swimming pool, football field.
We would liketo help your chinese and show you around.
Room includes all the fee and wireless internet. once a week helper will help clean up the room . you can have breakfast and dinner with us which will charge 10rmb for the breakfast, and 18for the dinner per day. but we have breakfast quite early around 6:30. in our area is easy to find food and not expensive. and you can use the kitchen.


Vybz Kartel's lawyer, Christian Tavares-Finson returns to Caribbean Fever to speak in depth about Vybz Kartel's appeal that finally came through, the speculation that Kartel has been recording in prison and the legal aspects that surround that. Tavares-Finson also speaks about the media, politics and Kartel's fans affect on the case. Check out the full audio below.


Do you watch foreign language channels?
There are many international TV stations you could access these days. I do try to watch TV news broadcasts of my country of origin just so I know whats going on. Do you watch TV channels based in your native country? Or from other countries to learn another language?
Yes, I sometimes watch Cnell 30, SBS as they have German shows occasionally, and I speak German -I generally watch the movies in German, and will occasionally watch a movie with subtitles.
There are some very good foreign movies on but also some very mundane ones!
No, I'm not interested in watching or trying to understand foreign channels.
Yes, I watch channels that have programs in languages that I understand.
I used to watch French channels as a way of practicing the language but since leaving the east coast of Canada 12 years ago, I haven't had a need to use the language and there are no French channels available out here.
What colour are your partners eyes?
Where do you prefer to sit in a cafe? inside or outside?
What kind of lunch box do you buy your kids?


text:
package com.infinityraider.elementalinvocations.network;

import com.infinityraider.elementalinvocations.handler.SpellCastingHandler;
import com.infinityraider.infinitylib.network.MessageBase;
import net.minecraft.entity.player.EntityPlayer;
import net.minecraftforge.fml.common.network.simpleimpl.IMessage;
import net.minecraftforge.fml.common.network.simpleimpl.MessageContext;
import net.minecraftforge.fml.relauncher.Side;

public class MessageStopChanneling extends MessageBase<IMessage> {
    public MessageStopChanneling(){
        super();
    }

    @Override
    public Side getMessageHandlerSide() {
        return Side.SERVER;
    }

    @Override
    protected void processMessage(MessageContext ctx) {
        EntityPlayer player = ctx.getServerHandler().player;
        if (player != null) {
            SpellCastingHandler.getInstance().stopChanneling(player);
        }
    }

    @Override
    protected IMessage getReply(MessageContext ctx) {
        return null;
    }
}


When you pair a SUB with any Sonos speaker, you'll hear parts of your music that you wouldn't hear otherwise. SUB does all the heavy lifting required to deliver the low, low frequencies, letting your other speakers focus on perfecting the mid and high-range frequencies. You won't just hear the difference. You'll feel it. Sub comes in black only for this package.


If you are looking for a good carbohydrate source, the sweet potato is one of your best options. A lot of people do not consider sweet potatoes except on Thanksgiving. The thing is, sweet potato is a delightful and amazing vegetable which should not just be taken for granted. You can create baked pancakes, roasted sweet potatoes, or even a baked, plain sweet potato. Surely, there are a lot of easy and fun ways in which you can possibly enjoy healthy and deliciously sweet root crop.
Sweet potatoes are considered as native to the countries in Central America, as well as in several countries in Asia. They are also among the oldest vegetables that are known to man. It was said that it was Christopher Columbus who brought sweet potatoes back to Europe after completing his very first voyage in 1492. Even though these sweet potatoes are oftentimes referred to as yams, they are not necessarily related.
Sweet potatoes are jam packed with different nutrients. A single of baked sweet potato is complete with beta-carotene, offering about four times than the recommended daily allowance on Vitamin A, 10% or even less of the recommended amount of calcium, thiamine and iron, as well as 33% RDA on Vitamin C. Sweet potatoes are complete with complex carbohydrate compounds, making them a great source of fibre, as well as other vital minerals and vitamins, including potassium and Vitamin E.
Vitamins C and E, as well as beta-carotene, are actually antioxidants. As such, they have the capability to aid in terms of muscle recovery, helping in the protection against certain illnesses including diabetes, cancer, heart diseases, as well as macular degeneration. On the other hand, potassium also helps in maintaining electrolyte and fluid balance within the cells in the body, and at the same time aiding in maintaining blood pressure and heart function. As a matter of fact, eating the sweet potato's skin can help in providing the benefits of fibre.
In order to expect the optimal benefits of sweet potatoes, you can select the ones that com e in deep orange colour. Choose ones that are firm and smooth, without decay or wrinkles. After cleaning them, you can store them in a cool, dry place. Make sure not to place them in the refrigerator because they will only develop a strange taste. Before storing them, you may decide to clean them first from excess dirt, but it is not advisable to wash them until the time that you are already preparing them for cooking.
Indeed, sweet potatoes are delicious and comforting, not only for celebrations such as the Thanksgiving but for any regular day. It is even a perfect carb alternative too!
Heat oven to 200C/180C fan/gas 6. Using a pestle and mortar, bash together the spices, herbs, garlic and some seasoning.
Spoon into a large bowl and stir in the lemon zest and juice, and the oil. Add the potatoes and toss together. Arrange, skin-side down, on 2 baking trays and bake for 30–40 mins until soft inside and crisp on the outside.
The Asian Circle And BritBangla – Raising Awareness Against Violence Against Women.


Another 6 months consolidation, we seen movement, will there be more?
This was a pair I was monitoring in 4M class.
Even shared with students how to use TX Auto Alert orange and blue zone to judge strong support/resistance levels so that we could play these levels in 4M class.
Today we see a break out of 6 months boxes consolidation.


We write a crafty blog, so it is only natural that we gravitate towards other creative folk, we have a looonnnggg blog roll on Bloglovin of blogs we love and we have shared some of our faves here before. We love bloggers and blogs from all over the world, a lot of our favourites are from across the pond in the USA, A Beautiful Mess, Sugar and Cloth, Lovely Indeed, Paper and Stitch and the list goes on, but in this series we want to give a shout out to our favourites from right here, our home, the United Kingdom!
Caroline is a beautiful fashion/craft blogger and self confessed nail art junkie, I always love the photography styling in her posts. Her DIY's are always pretty and super chic. Our fave recent post is this one about building your own terrarium.
These two lovelies live just down the road from us in Reading, You may remember them from their guest post for us back in March or you may have popped over from our guest post on their blog. We love this recent DIY to make yourself a trimmings folder, a must have for any haberdashery hoarder.
We don't know how the lovely Claire manages to run her own (super cute) etsy shop, her blog and have a job, but she does it, and beautifully too! We are crushing hard on her Bicycle Bracelets at LiLiMi HQ.
Who are your favourites? This is the first in a series of posts about UK based craft blogs, our favourite fellow Brits doing wonders for bringing crafts out of the dark ages. Tell us in the comments about your faves so we can include them in later posts and crush on their mad DIY skills of course.
I am afraid I am biased as I know Claire in RL and she is super fab and creative!


text:
The new generations are overcoming the ethnic, national and religious identities
by: Saso Ordanoski
[dropcap font="arial" fontsize="45″]T[/dropcap]oday's generations are increasingly adopting two types of identities. One is the real identity, with which they recognize themselves, and it is quite fragmented, in their everyday life when they are socially awake, and in direct contact. However, they also live in a virtual identity, at the same time. That virtual identity becomes even more important for them, the one they foster for themselves and start to believe in, even more than in the real identities. It is all about how they look like on Facebook, Instagram, what they tweet, what their favorite Facebook pages are, what they post about themselves, for others to consider them as such, as they wish to be.
It is difficult to talk, in the old way, about what collective and personal identities mean and how they are formed nowadays. The old definitions that implied a much more static situation in the forming of these identities are obsolete. There is a new way in which these, ever more dynamic, categories are formed and developed; their mutual influence is exceptionally great, but also independent of some national stereotypes, regardless of some national frameworks in which attempts are made for developing some identities.
The definitions that the sovereignty of states, the established and only unique state systems, such as the ones on education and culture, can have an influence on the community and on the formation of common identities, thus the individual identities, are quite outdated concepts these days. Today's modern human is exposed to countless fragmentations of smaller and larger issues that are connected not only to people's life on a certain territory, and in a certain community, but they are in a permanent contact with practically limitless community that they communicate with daily, from where the modern human draws information on daily basis. This communication does not end on what is defined as someone's language, as one's official religion, as some official history from which someone originates, or the set of traditions from where one's value system originate, determinations, basic presumptions in the building of characters…
Today's generations are increasingly adopting two types of identities. One is the real identity, with which they recognize themselves, and it is quite fragmented, in their everyday life when they are socially awake, and in direct contact. However, they also live in a virtual identity, at the same time. That virtual identity becomes even more important for them, the one they foster for themselves and start to believe in, even more than in the real identities. It is all about how they look like on Facebook, Instagram, what they tweet, what their favorite Facebook pages are, what they post about themselves, for others to consider them as such, as they wish to be.
The topic about modern identities, about acquiring, about their loss…, is increasingly surpassing the debates about what a state as an organized system can offer, in the sense of some formal education, because today, the forming of identities depends less on the formal education, and more on the quality, diversity, the communicativeness of that education, in order to make people part of the world, and not just part of the national community to which they belong. At the same time, the influences that are informal and that cannot be controlled by some official systematic control, are very large and are practically out of the control of an official system. And they have an influence on the possibility in this globalized culture, in the infinite possibility to be able to communicate with the world. You cannot control the urges of building someone's identity.
The boundaries of privacy have also shifted, and privacy is an area in which a person is preoccupied with one's own identity, with the identity of the children, family, etc. In that invasion of privacy, it's not only the states that enter with their attempts to take up more space, to squeeze the space that should be considered as privacy, but also the readiness of people and individuals, to offer as much as possible information about themselves, sometimes unaware of the boundaries of what should be only their privacy…
Thus, there is sharing of contents that have always been considered as something that is someone's private life. Today, something that gets life on its own, is thrown on some public scene, and which later returns to the individual characteristics of one's identity, in a way in which it cannot be controlled. In other words, to talk about losing and acquiring identity in these modern times, is to actually talk about an increasingly better education of people, which includes involvement in what is understood as a globalized world, to talk about awareness of where the limits of privacy are in what can and cannot be used and abused in that area. To be aware that there are no longer physical, geographical limitations, the small cultures such as the Macedonian culture and other cultures that exist here, such as the Albanian cultural model, are cultures that are exposed to such great influences that you cannot defend their identity components in a traditional way anymore. Today, practically, if someone does not speak English, it's no use if he knows Macedonian perfectly, because his placement in modern times increasingly depends on the possibility of communicating with the world that does not end in Tabanovce [border crossing], but extends on the entire globe.
Today's identities are identities of confusion, identities that are frequently in a state of crisis management, in an everyday challenge to take on disputes that are not conducted on a controlling, necessary national-ethnic base, but are conducted in the sense – are you capable or not, to enter higher tertiary structures in the life of both the individuals and the community, and that means, to be sufficiently equipped with all the qualities for communicating with the entire world… In that sense, the state has its own role, because still, it is an organized system in society that controls certain flows that are important for the forming of the identities. Primarily, what I mean is that the formal structures of education, the contents that are studied there, the treatment of the family, search for a better status, social conditions in which families develop, but also the social community, which not only in its political, but also social dimensions, has an influence on the forming and changing of one's identity. Hence, the state has those opportunities, because it has resources that can influence all that, but to a certain extent only, because even the formal interventions of the state systems are no longer in a situation, nor have the possibility, to determine the dynamics of the development of identities…
It is a fact that the new generations are already in a situation when they have a considerable need to overcome their ethnic, national, religious identities. A certain kickback is that, nevertheless, even in such openness of the world's global culture, people enter with prejudices, with stereotypes and with a certain search for confirmation of what they already have as a stereotype themselves, despite the fact that the information offered globally is so great that it is practically endless. Still, they enter into more narrow demands of what will confirm their character, their identity, their scope of values, their prejudices, which they carry. Despite the limitless possibilities to choose, they are often inclined to become static, to become conservative in their choices, even to radicalize, especially in the political sense… This, of course, comes back with an increased level of insecurity, fear for both the individuals and the communities, which leads to a contraction in the political sense, which makes them ever more conservative in the levels of tolerance towards others, in the levels of accepting others' experiences…
This competition that is currently taking place between the pressure of a globalized cultural scene, globalized political-social scene and the need for some kind of personal identity's security, leads to a high dose of friction within the individuals themselves. These dozes of frictions reflect with a series of, not only social, but also other types of pathologies, mental, personal…There is an increasing prevalence of depression and phobias, which are the result of certain social circumstances in which we live in, which on the other hand, contributes to a social contraction in which, instead of offering and using the best we carry in us, we frequently are inclined to what is an unproductive way of looking at the reality of our own perspectives, of the perspectives of the community…
Hence, building, preserving, changing of modernity is something that opposes the traditional way; of how once the identity characterizes and processes of formation were defined, that this type of conflict dynamics are increasingly depending on factors that are out of the control of the formal structures of the society and of the state.
We are facing a great influx of influences for which, in order to be able to process them in a constructive way, it is necessary, as early as at the beginning of one's adolescence and post adolescence years, to have personalities who will be able – because of their education, because of their social statuses and the roles they have in society – to be stable and to be resistant to the distortion and to any social – malignant destructive directions. It is a difficult challenge for any modern society, we see that individuals, personalities in much larger cultural, state communities than Macedonia, are going through huge challenges. However, I think that, at the end, there is no other choice, no other way, but to create generations that will be resistant, to oppose the challenges they will be faced with in the short and medium-term perspective.
In this sense, in order to be politically up to date, when I look at today's arguments about how the changing of the Macedonian constitution, or about how the consequences of the Prespa Agreement will eventually influence the identity issues of the Macedonians, I have to say that an irony prevails within me. Modern identities, regardless of how they are defined in constitutions, which are the main documents of some official cultural, state-social communities, have an influence on how identities actually develop in reality. Based on what will be written in the Constitution and whether the Macedonian language will be protected with some constitutional assumptions, such as, whether the license plates of the automobiles will have this or that mark, and whether certain codes will encode your existence, the reality that is as dynamic as I am describing it, certainly has less importance than – whether we will succeed to make a good education system! Whether we will succeed to treat culture as a process, and not just as a product that will be treated only at festivals! Whether we will succeed to make sufficiently creative and capable and well-educated young generations, which will be able to cross the Macedonian border and succeed in the world, so that they can come back here as such, with new experiences they will acquire. This means that after three-four days from the adoption of certain constitutional changes, it will be a forgotten content. What will be important is whether the reforms in society will succeed, with which we will create citizens who will be able to respond to the modern offers and demands of the world, since we are part of the world. We are not living in our own, some kind of national-claustrophobic boundaries, in which we argue about some trivial topics from history, about the figures from it, turned backwards, instead of forward…
In other words, it is necessary to enter that matter boldly, because the perspective does not imply to like something and to stop and statically treat that something, but you have to be prepared for everything that means a dynamic international structure in which you develop competition with everyone else, with your own and others' identities.
The article is part of the project "Identity Loss or …?" implemented by CIVIL in cooperation with the Heirich Böll Foundation.
This post is also available in: MacedonianAlbanian
About CIVIL


The hallmark of Saint James School's academic program is our core curriculum, which is designed to provide a sound foundation in all disciplines and to prepare our students for further study at a four-year college. Both rigorous and supportive, the academic program stimulates and challenges students to develop their strengths and to cultivate and improve skills in other disciplines. All students are grounded in the basic skills and content of traditional liberal arts and sciences. Advanced Placement courses are offered for able and interested students who wish to pursue subjects in greater depth. Electives are offered to upper-form students for enrichment and the exploration of new interests.
To foster the self-discipline of effective time management and study habits, students work in their dorm rooms, the library, or the study hall room. A dedicated faculty inspires, teaches, and encourages our students to meet a particular challenge or strive for an ambitious goal. They are available to students either by appointment or informally, and students are urged to seek out a teacher whenever they need extra help. Small classes, typically 10 to 12 students, ensure that each student is engaged and actively involved in class.


Lindsay Lohan has never stopped saying that she thinks the jewelry store in her grand theft case has been manufacturing accusations in order to gain attention for their business, and it's starting to look like she's right about that. Â Last week, the store in question started working with a broker to sell the surveillance tape that's going to be used in the court case.
The tape shows Lindsay wearing the necklace around the store. Â Now, the store has decided to sell the necklace on eBay, even though it's currently being held as evidence in the case and cannot be sold yet. Â Lindsay's been saying it all along: these people are motivated by nothing but money.