title: Music of the United States

text: The government of the United States regulates the music industry, enforces intellectual property laws, and promotes and collects certain kinds of music. Under American copyright law, musical works, including recordings and compositions, are protected as intellectual property as soon as they are fixed in a tangible form. Copyright holders often register their work with the Library of Congress, which maintains a collection of the material. In addition, the Library of Congress has actively sought out culturally and musicologically significant materials since the early 20th century, such as by sending researchers to record folk music. These researchers include the pioneering American folk song collector Alan Lomax, whose work helped inspire the roots revival of the mid-20th century. The federal government also funds the National Endowments for the Arts and Humanities, which allocate grants to musicians and other artists, the Smithsonian Institution, which conducts research and educational programs, and the Corporation for Public Broadcasting, which funds non-profit and television broadcasters.


title: Music of the United States

text: Music has long affected the politics of the United States. Political parties and movements frequently use music and song to communicate their ideals and values, and to provide entertainment at political functions. The presidential campaign of William Henry Harrison was the first to greatly benefit from music, after which it became standard practice for major candidates to use songs to create public enthusiasm. In more recent decades, politicians often chose theme songs, some of which have become iconic; the song "Happy Days Are Here Again", for example, has been associated with the Democratic Party since the 1932 campaign of Franklin D. Roosevelt. Since the 1950s, however, music has declined in importance in politics, replaced by televised campaigning with little or no music. Certain forms of music became more closely associated with political protest, especially in the 1960s. Gospel stars like Mahalia Jackson became important figures in the Civil Rights Movement, while the American folk revival helped spread the counterculture of the 1960s and opposition to the Vietnam War.


title: Music of the United States

text: The United States has the world's largest music market with a total retail value of 4.9 billion dollars in 2014, The American music industry includes a number of fields, ranging from record companies to radio stations and community orchestras. Total industry revenue is about $40 billion worldwide, and about $12 billion in the United States. Most of the world's major record companies are based in the United States; they are represented by the Recording Industry Association of America (RIAA). The major record companies produce material by artists that have signed to one of their record labels, a brand name often associated with a particular genre or record producer. Record companies may also promote and market their artists, through advertising, public performances and concerts, and television appearances. Record companies may be affiliated with other music media companies, which produce a product related to popular recorded music. These include television channels like MTV, magazines like "Rolling Stone" and radio stations. In recent years the music industry has been embroiled in turmoil over the rise of the Internet downloading of copyrighted music; many musicians and the RIAA have sought to punish fans who illegally download copyrighted music.


title: Music of the United States

text: Radio stations in the United States often broadcast popular music. Each music station has a format, or a category of songs to be played; these are generally similar to but not the same as ordinary generic classification. Many radio stations in the United States are locally owned and operated, and may offer an eclectic assortment of recordings; many other stations are owned by large companies like Clear Channel, and are generally formatted on smaller, more repetitive playlists. Commercial sales of recordings are tracked by "Billboard" magazine, which compiles a number of music charts for various fields of recorded music sales. The "Billboard" Hot 100 is the top pop music chart for singles, a recording consisting of a handful of songs; longer pop recordings are albums, and are tracked by the "Billboard" 200. Though recorded music is commonplace in American homes, many of the music industry's revenue comes from a small number of devotees; for example, 62% of album sales come from less than 25% of the music-buying audience. Total CD sales in the United States topped 705 million units sold in 2005, and singles sales just under three million.


title: Music of the United States

text: Though the major record companies dominate the American music industry, an independent music industry ("indie music") does exist. Most indie record labels have limited, if any, retail distribution outside a small region. Artists sometimes record for an indie label and gain enough acclaim to be signed to a major label; others choose to remain at an indie label for their entire careers. Indie music may be in styles generally similar to mainstream music, but is often inaccessible, unusual, or otherwise unappealing to many people. Indie musicians often release some or all of their songs over the Internet for fans and others to download and listen. In addition to recording artists of many kinds, there are numerous fields of professional musicianship in the United States, many of whom rarely record, including community orchestras, wedding singers and bands, lounge singers, and nightclub DJs. The American Federation of Musicians is the largest American labor union for professional musicians. However, only 15% of the Federation's members have steady music employment.


title: Music of the United States

text: Music is an important part of education in the United States, and is a part of most or all school systems in the country. Music education is generally mandatory in public elementary schools, and is an elective in later years.


title: Music of the United States

text: The scholarly study of music in the United States includes work relating music to social class, racial, ethnic and religious identity, gender and sexuality, as well as studies of music history, musicology, and other topics. The academic study of American music can be traced back to the late 19th century, when researchers like Alice Fletcher and Francis La Flesche studied the music of the Omaha peoples, working for the Bureau of American Ethnology and the Peabody Museum of Archaeology and Ethnology. In the 1890s and into the early 20th century, musicological recordings were made among indigenous, Hispanic, African-American and Anglo-American peoples of the United States. Many worked for the Library of Congress, first under the leadership of Oscar Sonneck, chief of the Library's Music Divisions. These researchers included Robert W. Gordon, founder of the Archive of American Folk Song, and John and Alan Lomax; Alan Lomax was the most prominent of several folk song collectors who helped to inspire the 20th century roots revival of American folk culture.


title: Music of the United States

text: Early 20th scholarly analysis of American music tended to interpret European-derived classical traditions as the most worthy of study, with the folk, religious, and traditional musics of the common people denigrated as low-class and of little artistic or social worth. American music history was compared to the much longer historical record of European nations, and was found wanting, leading writers like the composer Arthur Farwell to ponder what sorts of musical traditions might arise from American culture, in his 1915 "Music in America". In 1930, John Tasker Howard's "Our American Music" became a standard analysis, focusing on largely on concert music composed in the United States. Since the analysis of musicologist Charles Seeger in the mid-20th century, American music history has often been described as intimately related to perceptions of race and ancestry. Under this view, the diverse racial and ethnic background of the United States has both promoted a sense of musical separation between the races, while still fostering constant acculturation, as elements of European, African, and indigenous musics have shifted between fields. Gilbert Chase's "America's Music, from the Pilgrims to the Present", was the first major work to examine the music of the entire United States, and recognize folk traditions as more culturally significant than music for the concert hall. Chase's analysis of a diverse American musical identity has remained the dominant view among the academic establishment. Until the 1960s and 1970s, however, most musical scholars in the United States continued to study European music, limiting themselves only to certain fields of American music, especially European-derived classical and operatic styles, and sometimes African American jazz. More modern musicologists and ethnomusicologists have studied subjects ranging from the national musical identity to the individual styles and techniques of specific communities in a particular time of American history. Prominent recent studies of American music include Charles Hamm's "Music in the New World" from 1983 and Richard Crawford's "America's Musical Life" from 2001.


title: Music of the United States

text: Music is an important part of several American holidays, especially playing a major part in the wintertime celebration of Christmas. Music of the holiday includes both religious songs like "O Holy Night" and secular songs like "Jingle Bells". Patriotic songs like the national anthem, "The Star-Spangled Banner", are a major part of Independence Day celebrations. Music also plays a role at many regional holidays that are not celebrated nationwide, most famously Mardi Gras, a music and dance parade and festival in New Orleans, Louisiana.


title: Music of the United States

text: The United States is home to numerous music festivals, which showcase styles ranging from the blues and jazz to indie rock and heavy metal. Some music festivals are strictly local in scope, including few or no performers with a national reputation, and are generally operated by local promoters. The large recording companies operate their own music festivals, such as Lollapalooza and Ozzfest, which draw huge crowds.


title: 1983 in film

text: The following is an overview of events in 1983 in film, including the highest-grossing films, award ceremonies and festivals, a list of films released and notable deaths.


title: Second British Invasion

text: The Second British Invasion consisted of music acts from the United Kingdom that became popular in the U.S. during the early-to-mid 1980s primarily due to the cable music channel MTV. The term derives from the similar British Invasion of the U.S. in the 1960s. These acts primarily brought with them synth-pop and new wave styles of music to the US charts, and according to "Rolling Stone", brought a "revolution in sound and style".


title: Second British Invasion

text: In the late 1970s and early 1980s, music from the United Kingdom was informed by the after-effects of the "punk/new wave" revolution. In early 1979 "Sultans of Swing" by Dire Straits and "Roxanne" by the Police cracked the American Top 40, followed by the more modest chart successes of Elvis Costello, Sniff 'n' the Tears, the Pretenders, Gary Numan, Squeeze, and Joe Jackson, the latter scoring a new wave hit with "Is She Really Going Out with Him?" Scripps-Howard news service described this success as an early stage of the invasion.


title: Second British Invasion

text: Music videos, having been a staple of British music television programmes for five years, had evolved into image-conscious short films. At the same time, pop and rock music in the U.S. was undergoing a creative slump due to several factors, including audience fragmentation and the effects of the anti-disco backlash that reached its peak with Disco Demolition Night. Videos did not exist for most hits by US acts, and those that did were usually composed of footage from concert performances. When the cable music channel MTV launched on 1 August 1981, it had little choice but to play a large number of music videos from British new wave acts. The Buggles' 1979 hit "Video Killed the Radio Star" was the first music video shown on MTV in the U.S. To the surprise of the music industry, when MTV became available in a local market, record sales by acts played solely on the channel increased immediately and listeners phoned radio stations requesting to hear them. Also in 1981, Los Angeles radio station KROQ-FM began the "Rock of the '80s" format, which would make it the most popular station in that city. With British artists featuring heavily on the station, Rick Carroll of KROQ states, "There wasn't American product worthy of being played every three hours, so we had to look and listen to British imports to fill the void." In 2011, "The Guardian" felt that the launch of MTV (one of the paper's "50 key events in the history of pop music") played "a huge part" in the second British invasion.


title: Second British Invasion

text: More hints of the impending invasion were observed in 1981 on the dance charts. Only seven of the top thirty groups of the dance rock chart Rockpool were of American origin, while later in the year, 12-inch singles by British groups began appearing on the "Billboard" Disco chart. The trend was particularly strong in Manhattan where import records and the British music press were convenient to obtain and where the "New York Rocker" warned that "Anglophilia" was hurting US underground acts.


title: Second British Invasion

text: On 3 July 1982, the Human League's "Don't You Want Me" started a three-week reign on top of the "Billboard" Hot 100. The song got considerable boost from MTV airplay and has been described by "The Village Voice" as "pretty unmistakably the moment the Second British Invasion, spurred by MTV, kicked off". "Tainted Love" by Soft Cell spent a record-breaking 43 weeks on the Hot 100. The September 1982 arrival of MTV in the media capitals of New York City and Los Angeles led to widespread positive publicity for the new "video era". By the fall, "I Ran (So Far Away)" by A Flock of Seagulls, the first successful song that owed almost everything to video, had entered the "Billboard" Top Ten. Duran Duran's glossy videos would come to symbolise the power of MTV. Billy Idol became an MTV staple with 1983's "White Wedding" and 1984's "Eyes Without a Face", and his second studio album "Rebel Yell" (1983) sold two million copies. Pop rock songs that topped the charts included Bonnie Tyler's "Total Eclipse of the Heart", John Waite's "Missing You", and Robert Palmer's "Addicted to Love". Spandau Ballet's ballad "True" became one of the most played songs in US history. Girl group Bananarama had hits with "Cruel Summer" and "Venus", the latter reaching number one.


title: Second British Invasion

text: New Music became an umbrella term used by the music industry to describe young, mostly British, androgynous, and technologically oriented artists such as Culture Club and Eurythmics. Many of the Second Invasion artists started their careers in the punk era and desired to bring change to a wider audience, resulting in music that, while having no specific sound, was characterized by a risk-taking spirit within the context of pop music. Rock-oriented acts that knew how to use video, such as Def Leppard, Big Country and Simple Minds, became part of the new influx of music from Britain.


title: Second British Invasion

text: Early in 1983 radio consultant Lee Abrams advised his clients at 70 album-oriented rock stations to double the amount of new music they played. Abrams stated, "All my favorite bands are English ... It's a more artistic place. Experimentation thrives there. Everything over here is more like McDonald's." During 1983 30% of US record sales were from British acts. On 16 July 1983, twenty of the top forty singles were British, surpassing the previous record of 14 set in 1965; this tally was equaled the weeks ending 31 May - 7 June 1986. Culture Club, Spandau Ballet, and Duran Duran created a teen "hysteria" similar to Beatlemania during the first British Invasion. "Newsweek" magazine ran an issue which featured Annie Lennox and Boy George on the cover of its issue with the caption "Britain Rocks America – Again", while "Rolling Stone" would release an "England Swings" issue in November 1983. The following April, 40 of the top 100 singles were by acts of British origin. In 1983, the Police's "Synchronicity" (1983) was number one on the "Billboard" 200 for 17 weeks and traded the top spot with Michael Jackson's "Thriller" (1982) three times. Also, their song "Every Breath You Take" was number one on the "Billboard" Hot 100 for 8 weeks and was the best selling single in the US in 1983.


title: Second British Invasion

text: U.S. radio stations that catered to black audiences also played Second Invasion acts. Music critic Nelson George ascribed this "reverse crossover" to the dancibility of the songs. Another music journalist, Simon Reynolds, theorized that, just as in the first British Invasion, the use of African-American influences by British acts such as Eurythmics, Spandau Ballet, Culture Club, Paul Young, and Wham! helped to spur their success. George Michael's band Wham! released the 1984 US chart topper, "Wake Me Up Before You Go-Go"; its music video featured oversized message T-shirts created by Katharine Hamnett, starting a craze covered in the 2002 VH1 series "I Love the 80s". Released afterward in 1984, "Careless Whisper" by George Michael also scaled the Hot 100.


title: Second British Invasion

text: At the Second Invasion's height, during a five-month period UK acts claimed nine out of the eleven Hot 100 number-one hits, from Simple Minds' "Don't You (Forget About Me)" through to Dire Straits' "Money for Nothing". During the second week of that period, the week ending 25 May 1985, eight of the top ten singles were by UK acts. Tears for Fears' "Shout" spent three weeks at number one. "Don't You (Forget About Me)" (featured in "The Breakfast Club") represented the first of three British acts to provide the theme song for a Brat Pack film, followed by John Parr's Hot 100 number-one charting single "St. Elmo's Fire" and the Psychedelic Furs "Pretty in Pink".


title: Second British Invasion

text: During the Second British Invasion, established British acts such as Queen, David Bowie, Paul McCartney, Phil Collins, Rod Stewart, Elton John, and the Rolling Stones saw their popularity increase; a few acts that dated to the era of the original British Invasion, including George Harrison, the Kinks, the Hollies, the Moody Blues, and Eddy Grant, had their last major hits in this time frame. Counting his work with Genesis, Collins had more top forty hits on the "Billboard" Hot 100 chart during the 1980s than any other artist. British progressive rock artists would achieve major chart success in the U.S during the 1980s, such as Genesis ("Invisible Touch" reaching #1), Yes ("Owner of a Lonely Heart" achieving the same), and the Alan Parsons Project ("Sirius"), which would be used as entrance music by various US sports teams, notably the Chicago Bulls.


title: Second British Invasion

text: Explaining why another British Invasion was taking place, one record-industry insider stated, "For whatever psychological reason, there is a very vocal and influential Anglophile rock audience that salivates to hits from abroad." All of this activity and the unusually high turnover of artists in the charts caused a sense of upheaval in the US. Commentators in the mainstream media credited MTV and the British acts with bringing color and energy back to pop music that had been missing since the 1960s, while rock journalists were generally hostile to the phenomenon because they felt it represented image over content and that the "English haircut bands" had not paid their dues. As the birthplace of glam rock the UK was always more theatrical than its US counterpart. Parke Puterbaugh for "Rolling Stone" writes, "The runaway success in early '82 of 'I Ran (So Far Away)' by A Flock of Seagulls was the icing on the cake. Fronted by a singer-synth player with a haircut stranger than anything you'd be likely to encounter in a month of poodle shows, A Flock of Seagulls struck gold on the first try. The message seemed abundantly clear: America was ready for anything—the stranger, the better. And Britain, home of the brave new world of pop, has kept lobbing them over."


title: Second British Invasion

text: With the emergence of MTV, Jerry Jaffe, head of A&R at Polygram, stated, "I think the kids who watched it felt that there was something more than what they were being spoon-fed on local radio stations. Radio stations, for the first time, were getting requests for songs they were not playing." Puterbaugh writes, "The British won out here, hands down. Next to the prosaic, foursquare appearance of the American bands, such acts as Duran Duran seemed like caviar. MTV opened up a whole new world that could not be fully apprehended over the radio. The visual angle played to the arty conceits of Britain's young style barons, suggesting something more exotic than the viewer was likely to find in the old hometown."


title: Second British Invasion

text: The commercial burnout of corporate rock around 1979 opened the door for new music, most of which was from the UK. Giving a theory why this was the case, Polygram's Jaffe stated, "often bands you see in America are an amalgam of what they've heard on AOR radio. The motivation for American kids is, 'We want to be the next Van Halen and get rich'". Bob Currie, manager of A&R for EMI, added, "Bands in America want to be signed to make money, while bands in the UK want to be signed to communicate."


title: Second British Invasion

text: The UK initially embraced what was called "New Pop". However, by 1983, the song "Rip It Up" by Scottish rock band Orange Juice and "kill ugly pop stars" graffiti were expressions of both a backlash against the Second Invasion groups and nostalgia for punk. "Instant Club Hit (You'll Dance to Anything)", which became an underground hit for Philadelphia punk group the Dead Milkmen, took a satirical shot at the American subculture that followed British alternative/new wave.


title: Second British Invasion

text: According to music journalist Simon Reynolds, a majority of acts that signed to independent labels in 1984 mined various rock influences and became an alternative to the Second Invasion. Reynolds named the Smiths and R.E.M. as the two most important "alt rock acts" among this group noting that they "were eighties bands only in the sense of being against the eighties".


title: Second British Invasion

text: The Second British Invasion had its most direct impact on US country music, which immediately prior to the Invasion was enjoying a brief renaissance of mainstream popularity buoyed by country pop crossover artists. By 1984, country's mainstream popularity had fallen to a level not seen since disco, and Music Row publishers responded by retrenching, promoting neotraditional country artists popular with country's fan base but with less appeal outside it. Country's crossover appeal would not recover until 1991.


title: Second British Invasion

text: As the 1980s wore on, US rock, heavy metal, and pop music acts learned how to market themselves using video and making catchy singles. Martin Fry of the Second British Invasion group ABC says that "The reality was that Madonna, Prince and Michael Jackson did it better, bigger and more global than a lot of British acts." From 1983 to 1985, several glam metal acts dented the US charts and received some airplay on MTV, but heavy metal was still seen as a genre limited in popularity to teenage boys. In the spring and summer of 1986, acts associated with the Second Invasion continued to have chart success, with eight records reaching the Hot 100's summit. That fall, Bon Jovi's third studio album "Slippery When Wet" topped the "Billboard" 200 and spent eight non-consecutive weeks there, and the leadoff single "You Give Love a Bad Name" displaced the Human League's "Human" atop the Hot 100. Such developments eventually led to decreased visibility of New Music. 1987 saw only seven British acts on the Hot 100's top 40 in January, and New Music exposure on MTV was limited to the program "The New Video Hour". In 1988, British acts rebounded with twelve singles topping the chart that year.


title: Second British Invasion

text: As late as the mid-1990s, the Spice Girls were identified as part of the Second British Invasion; and prominent British acts such as Oasis, Blur, Take That, and the Verve (some of whom were associated with the Britpop movement in their native United Kingdom) had some limited success in the U.S., albeit less than their 1980s predecessors. US hits from these bands included "Wannabe" (Spice Girls), "Wonderwall" (Oasis), "Song 2" (Blur), "Back for Good" (Take That), and "Bitter Sweet Symphony" (The Verve). Over time British acts became less prevalent on the US charts, and on 27 April 2002, for the first time in almost forty years, the Hot 100 had no British acts at all; that week, only two of the top 100 albums, those of Craig David and Ozzy Osbourne, were from British artists.


title: Marilyn Monroe performances and awards

text: Marilyn Monroe (June 1, 1926 – August 4, 1962) was an American actress who appeared in 29 films between 1946 and 1961. After a brief career in modeling she signed short-term film contracts, first with 20th Century Fox, then Columbia Pictures, and appeared in minor roles for the first few years of her career. In 1950, she made minor appearances in two critically acclaimed films, "The Asphalt Jungle" and "All About Eve". The parts in the two films were against many of the roles into which she was typecast, that of the dumb blonde. Margot A. Henriksen, her biographer with the "American National Biography", considers the typecast "an unfair stereotype that bothered her throughout her career".


title: Marilyn Monroe performances and awards

text: Her major breakthrough came in 1953, when she starred in three pictures: the film noir "Niagara", and the comedies "Gentlemen Prefer Blondes" and "How to Marry a Millionaire". Sarah Churchwell, Monroe's biographer, notes that "unconscious, rather than conscious, sexuality would become the Marilyn hallmark after 1953", and the actress became one of the most popular and recognizable people in America. In 1955 Monroe appeared in the Billy Wilder–directed comedy "The Seven Year Itch", in which she becomes the object of her married neighbor's sexual fantasies. In it, Monroe stands on a subway grate with the air blowing up the skirt of her white dress; it became the most famous scene of her career.


title: Marilyn Monroe performances and awards

text: After appearing in "Bus Stop" (1956), Monroe founded her own production company, Marilyn Monroe Productions, in 1955; the company produced one film independently, "The Prince and the Showgirl" (1957). Monroe then appeared in "Some Like It Hot" (1959) and "The Misfits" (1961). She was suspended from the filming of "Something's Got to Give" in June 1962, and the film remained uncompleted when she died in August. Although she was a top-billed actress for only a decade, her films grossed $200 million by the time of her unexpected death in 1962.


title: Marilyn Monroe performances and awards

text: Monroe won, or was nominated for, several awards during her career. Those she won included the Henrietta Award for Best Young Box Office Personality (1951) and World Film Favorite (1953), and a Crystal Star Award and David di Donatello Award for "The Prince and the Showgirl" (1958). She was inducted to the Hollywood Walk of Fame in 1960, and a Golden Palm Star was dedicated at the Palm Springs Walk of Stars in 1995. In the 1999 American Film Institute's list of AFI's 100 Years...100 Stars, she was ranked as the sixth greatest film actress; three of the films in which she appeared—"Some Like It Hot", "All About Eve", and "The Asphalt Jungle"—have been added to the Library of Congress's National Film Registry, and the former earned her a Golden Globe for Best Actress. She continues to be considered a major icon in American popular culture in the decades following her death.


title: Marilyn Monroe performances and awards

text: Monroe completed 29 films in her career. In 1962, she was filming her thirtieth film, "Something's Got to Give", when she was fired by the studio; she died before it was completed with others in the role.


title: Lake Balaton

text: Lake Balaton () is a freshwater lake in the Transdanubian region of Hungary. It is the largest lake in Central Europe, and one of the region's foremost tourist destinations. The Zala River provides the largest inflow of water to the lake, and the canalised Sió is the only outflow.


title: Lake Balaton

text: The mountainous region of the northern shore is known both for its historic character and as a major wine region, while the flat southern shore is known for its resort towns. Balatonfüred and Hévíz developed early as resorts for the wealthy, but it was not until the late 19th century when landowners, ruined by "Phylloxera" attacking their grape vines, began building summer homes to rent out to the burgeoning middle classes.


title: Lake Balaton

text: In distinction to all other Hungarian endonyms for lakes, which universally bear the suffix "-tó" 'lake', Lake Balaton is referred to in Hungarian with a definite article; that is, "a Balaton" 'the Balaton'. It was called "lacus Pelsodis" or "Pelso" by the Romans. The name is Indo-European in origin, derived from Slavic *"bolto" (Czech "bláto", Slovak "blato", Polish "błoto"), meaning 'mud, swamp' (from earlier Proto-Slavic "boltьno", cf. , ).


title: Lake Balaton

text: In January 846, the Slavic prince Pribina began to build a fortress as his seat of power and several churches in the region of Lake Balaton, in the territory of modern Zalavár surrounded by forests and swamps along the Zala River. His well-fortified castle and capital of the Lower Pannonian Principality became known as "Blatnohrad" or "Moosburg" (literally, 'Swamp Fortress'), and it served as a bulwark against both the Bulgarians and the Moravians.


title: Lake Balaton

text: The German name for the lake is '. It is unlikely it was given that name for being shallow because the adjective ' is a Greek loanword that was borrowed via French and entered general German vocabulary in the 17th century. It is also noteworthy that the average depth of Balaton () is not extraordinary for the area (cf. the average depth of the neighbouring Neusiedler See, which is roughly ).


title: Lake Balaton

text: Lake Balaton affects precipitation in the local area. The area receives approximately more precipitation than most of Hungary, resulting in more cloudy days and less extreme temperatures. The lake's surface freezes during winters. The microclimate around Lake Balaton has also made the region ideal for viticulture. The Mediterranean-like climate, combined with the soil (containing volcanic rock), has made the region notable for its production of wines since the Roman period two thousand years ago.


title: Lake Balaton

text: While a few settlements on Lake Balaton, including Balatonfüred and Hévíz, have long been resort centres for the Hungarian aristocracy, it was only in the late 19th century that the Hungarian middle class began to visit the lake. The construction of railways in 1861 and 1909 increased tourism substantially, but the post-war boom of the 1950s was much larger.


title: Lake Balaton

text: By the turn of the 20th century, Balaton had become a center of research by Hungarian biologists, geologists, hydrologists, and other scientists, leading to the country's first biological research institute being built on its shore in 1927.


title: Lake Balaton

text: The last major German offensive of World War II, Operation Frühlingserwachen, was conducted in the region of Lake Balaton in March 1945, being referred to as "the Lake Balaton Offensive" in many British histories of the war. The battle was a German attack by Sepp Dietrich's Sixth Panzer Army and the Hungarian Third Army between 6 March and 16 March 1945, and in the end, resulted in a Red Army victory. Several Ilyushin Il-2 wrecks have been pulled out of the lake after having been shot down during the later months of the war.


title: Lake Balaton

text: During the 1960s and 1970s, Balaton became a major tourist destination due to focused government efforts, causing the number of overnight guests in local hotels and campsites to increase from 700,000 in July 1965 to two million in July 1975. Weekend visitors to the region, including tens of thousands from Budapest, reached more than 600,000 by 1975. It was visited by ordinary working Hungarians and especially for subsidised holiday excursions for labor union members. It also attracted many East Germans and other residents of the Eastern Bloc. West Germans could also visit, making Balaton a common meeting place for families and friends separated by the Berlin Wall until 1989.


title: Lake Balaton

text: The major resorts around the lake are Siófok, Keszthely, and Balatonfüred. Zamárdi, another resort town on the southern shore, has been the site of Balaton Sound, a notable electronic music festival since 2007. Balatonkenese has hosted numerous traditional gastronomic events. Siófok is known for attracting young people to it because of its large clubs. Keszthely is the site of the Festetics Palace and Balatonfüred is a historical bathing town which hosts the annual Anna Ball.


title: Lake Balaton

text: The peak tourist season extends from June until the end of August. The average water temperature during the summer is , which makes bathing and swimming popular on the lake. Most of the beaches consist of either grass, rocks, or the silty sand that also makes up most of the bottom of the lake. Many resorts have artificial sandy beaches and all beaches have step access to the water. Other tourist attractions include sailing, fishing, and other water sports, as well as visiting the countryside and hills, wineries on the north coast, and nightlife on the south shore. The Tihany Peninsula is a historical district. Badacsony is a volcanic mountain and wine-growing region as well as a lakeside resort. The lake is almost completely surrounded by separated bike lanes to facilitate bicycle tourism.


title: Lake Balaton

text: Although the peak season at the lake is the summer, Balaton is also frequented during the winter, when visitors go ice-fishing or even skate, sledge, or ice-sail on the lake if it freezes over.


title: Lake Balaton

text: Sármellék International Airport provides air service to Balaton (although most service is only seasonal).


title: Lake Balaton

text: Balatonfőkajár - Balatonakarattya - Balatonkenese - Balatonfűzfő - Balatonalmádi - Alsóörs - Paloznak - Csopak - Balatonarács - Balatonfüred - Tihany - Aszófő - Örvényes - Balatonudvari - Fövenyes - Balatonakali - Zánka - Balatonszepezd - Szepezdfürdő - Révfülöp - Pálköve - Ábrahámhegy - Balatonrendes - Badacsonytomaj - Badacsony - Badacsonytördemic - Szigliget - Balatonederics - Balatongyörök - Vonyarcvashegy - Gyenesdiás - Keszthely


title: Lake Balaton

text: Balatonakarattya - Balatonaliga - Balatonvilágos - Sóstó - Szabadifürdő - Siófok - Széplak - Zamárdi - Szántód - Balatonföldvár - Balatonszárszó - Balatonszemes - Balatonlelle - Balatonboglár - Fonyód - Fonyód–Alsóbélatelep - Bélatelep - Balatonfenyves - Balatonmáriafürdő - Balatonkeresztúr - Balatonberény - Fenékpuszta


title: Hue Jackson

text: Hue Jackson (born October 22, 1965) is an American football coach who is the head football coach at Grambling State University. An offensive assistant at both the collegiate and professional levels, he held coordinator positions in the National Football League (NFL) with the Washington Redskins in 2003, the Atlanta Falcons in 2007, the Oakland Raiders in 2010, and the Cincinnati Bengals from 2014 to 2015. He also served as the head coach of the Raiders in 2011 and Cleveland Browns from 2016 to 2018. Jackson compiled a 3–36–1 record with the Browns, including a winless season in 2017, which is the worst record among coaches who presided over an NFL team for at least 40 games.


title: Hue Jackson

text: Jackson, a native of Los Angeles, was a quarterback at Dorsey High School in his hometown, where he also lettered in basketball. He starred in football at Glendale (CA) Community College in 1983 and 1984, where he earned his associate degree in 1984.


title: Hue Jackson

text: Jackson played quarterback at Pacific in the mid-1980s under Bob Cope. As a junior, Jackson had 1,595 yards of total offense, including 502 yards rushing, second-most on the team. In his senior season, he passed for 1,455 yards and rushed for 417 yards. As a quarterback at University of the Pacific from 1985 to 1986, Jackson threw for 2,544 yards and 19 touchdowns and the Tigers went 9–14 in Jackson's two seasons. He also lettered in basketball in 1986 and earned his degree in physical education.


title: Hue Jackson

text: Jackson began his coaching career in 1987 at Pacific, his alma mater. Jackson spent three years there from 1987 to 1989. From 1990 to 1991, Jackson was the running backs coach and special teams coordinator at Cal State Fullerton. In the spring of 1991, he coached the running backs, receivers and special teams for the World League’s inaugural year champion London Monarchs. Later on, he spent four years (1992–1995) at Arizona State, where he was running backs coach for the first three years (1992–1994), then he handled the Sun Devil quarterbacks in 1995. He led California’s high-powered offense in 1996 as its offensive coordinator and quarterbacks coach, he helped lead the Golden Bears to an Aloha Bowl berth. Jackson served as University of Southern California's offensive coordinator from 1997 to 2000, helping to recruit and develop players, including quarterback Carson Palmer, with whom he was later reunited in Cincinnati and Oakland.


title: Hue Jackson

text: Jackson also held three NFL summer coaching internships, in 1990 with the Los Angeles Rams, 1992 with the Phoenix Cardinals and 1995 with the Washington Redskins.


title: Hue Jackson

text: From 2001 until 2002, Jackson was the Redskins' running backs coach under Marty Schottenheimer and Steve Spurrier. In 2001, under Jackson's tutelage, running back Stephen Davis rushed for 1,432 yards, breaking the record he had set in 1999 for most rushing yards in a season by a Redskin. In 2002, Davis was on pace for another 1,000-yard rushing season before suffering a season-ending injury. Jackson was promoted to offensive coordinator in Washington by head coach Steve Spurrier in 2003 and handled the team's offensive play-calling, becoming the only coach to perform that duty other than Spurrier.


title: Hue Jackson

text: Jackson was the wide receivers coach for the Cincinnati Bengals for three seasons. Under Jackson's tutelage in Cincinnati, Chad Johnson and T. J. Houshmandzadeh became one of the most prolific wide-receiving tandems in the NFL. In 2005, the Johnson-Houshmandzadeh tandem combined to total 175 receptions for 2,388 yards, while helping the team secure the AFC North title and a playoff berth for the first time in 15 years. In 2006, Johnson (1,369 yards) and Houshmandzadeh (1,081 yards) became the first pair of Bengals to eclipse the 1,000-yard receiving mark in a single season. In each of Jackson's three years in Cincinnati, Johnson was named to the Pro Bowl.


title: Hue Jackson

text: In 2007, after leaving Cincinnati, Jackson was an NFL offensive coordinator for the second time when he served in that capacity for the Atlanta Falcons under Bobby Petrino and interim head coach Emmitt Thomas.


title: Hue Jackson

text: From 2008 until 2009, Jackson was Baltimore's quarterbacks coach under head coach John Harbaugh. In 2008, Jackson tutored Joe Flacco, who became the first rookie quarterback to win two playoff games in NFL history as the Ravens advanced to the AFC Championship game. He helped the Ravens advance to the postseason in both seasons.


title: Hue Jackson

text: In 2010, under Jackson's guidance as offensive coordinator, the Raiders' offense finished fourth in the AFC and sixth in the NFL in scoring (25.6 points per game). They also finished fifth in the AFC and 10th in the NFL in total offense (354.6 yards per game), and second in the NFL and AFC in rushing (155.9 yards per game). The Raiders more than doubled their scoring output from the previous year, totaling 410 points. Under Jackson's offense, running back Darren McFadden finished the season with 1,157 yards rushing on 223 carries for a 5.2 average yards/carry and 7 rushing touchdowns. McFadden also had 47 receptions for 507 yards and 3 touchdowns. His end of year numbers were 1,664 total yards and 10 total touchdowns for the 2010 NFL season, making McFadden the NFL's 5th leader in total yards from scrimmage for the 2010 season.


title: Hue Jackson

text: Jackson was fired by the Oakland Raiders on January 10, 2012, after one season as head coach, by new general manager Reggie McKenzie. In his lone season as head coach, the Raiders finished with a record of 8–8 and missed the playoffs after starting the season 7–4.


title: Hue Jackson

text: On February 17, 2012, Jackson returned to the Cincinnati Bengals working as an assistant defensive backs coach as well as assisting on special teams. The Bengals finished 10–6 in 2012 and made the playoffs, losing in the wild card round to the Houston Texans on the road. On January 14, 2013, Jackson interviewed for the offensive coordinator position with the Carolina Panthers. On January 30, 2013, Jackson became the Bengals running backs coach, replacing the retired Jim Anderson. He was promoted to offensive coordinator in January 2014, replacing Jay Gruden. Jackson spent seven years with the Bengals.


title: Hue Jackson

text: On January 13, 2016, Jackson was hired as head coach of the Cleveland Browns. On December 18, 2016, Jackson became the first NFL coach since Rod Marinelli in 2008 to start a season 0–14. Jackson got his first win with the Browns in a 20–17 victory over the San Diego Chargers on December 24, 2016. The Browns finished the season with a 1–15 record, finishing last in the NFL. The Browns finished the 2017 season without a single win, making the Browns the second team in league history to finish with a 0–16 record, after the Detroit Lions in 2008.


title: Hue Jackson

text: On October 29, 2018, the Browns announced that they had fired Jackson, who had amassed a record of 3–36–1 during his tenure with the team, including a 2–5–1 start to the 2018 season. He also never won a road game during his tenure with Cleveland (0-20).


title: Hue Jackson

text: On November 12, 2018, Jackson joined the Cincinnati Bengals coaching staff in an unspecified role. The following day, it was confirmed that he would serve as an assistant to head coach Marvin Lewis. On January 11, 2019, Jackson was released by the Bengals.


title: Hue Jackson

text: On November 14, 2019, it was reported that Jackson would lead the drills during the NFL sanctioned workout for free agent quarterback Colin Kaepernick on November 16, 2019. However, on November 16, the location of the workout was changed and Jackson was unable to oversee the event.


title: Hue Jackson

text: On March 29, 2021, in an interview with 850 ESPN Cleveland, Jackson stated he was writing a book about his time with the Cleveland Browns, which would be released later in the year. He said that he was "lied to" by Browns owner Jimmy Haslam regarding the state of the franchise and the team's impending rebuild that took place following his firing. He also said he received a one-year contract extension halfway through the Browns' 0-16 campaign in 2017 that the team decided not to make public. In early 2022, after former Miami Dolphins coach Brian Flores said that Miami's owner paid him to lose games, Jackson made similar allegations against Browns owner Jimmy Haslam.


title: Hue Jackson

text: On April 15, 2021, Jackson joined Tennessee State's coaching staff as the new offensive coordinator for the 2021 season, under new coach Eddie George. The Tigers finished with a 5–6 record and an average of 19.7 points per game for the 2021 season.


title: Hue Jackson

text: On December 10, 2021, Jackson was hired to be the 14th head coach of the Grambling State Tigers. It marks his first time serving as a head coach in college football.


title: Revival (Selena Gomez album)

text: Revival is the second studio album by American singer Selena Gomez. It was released on October 9, 2015, by Interscope Records, her first album released through that label. Preparation for the album began in 2014, when Gomez left her previous label Hollywood Records. The record was influenced by a range of artists, particularly Christina Aguilera and her album "Stripped" (2002). Gomez co-wrote twelve of its sixteen tracks. The album reflects her journey since 2013, including the media scrutiny surrounding her personal life. As executive producers, Gomez, Danny D and Tim Blacksmith collaborated with Hit-Boy, Rock Mafia, and Stargate to achieve Gomez's new desired sound. "Revival" is primarily a dance-pop and electropop record, connected by a tropical beach sound, with lyrical themes revolving around love and confidence.


title: Revival (Selena Gomez album)

text: Upon its release, "Revival" received positive reviews from music critics, many of whom praised its production, lyrical content, and sultry sound. The album was included in several year-end best music lists by publications. "Revival" debuted at number one on the "Billboard" 200, marking Gomez's second consecutive number-one album in the United States, following "Stars Dance" (2013). Elsewhere, the album also charted within the top ten of twenty territories, including Canada, Brazil, France, Mexico and Australia. It was certified platinum by the Recording Industry Association of America (RIAA), denoting one million album-equivalent units (including albums sales, streaming and track-equivalent units) sold in the United States.


title: Revival (Selena Gomez album)

text: With its singles "Good for You" (featuring rapper ASAP Rocky) and "Same Old Love" both reaching number five and "Hands to Myself" charting at number seven on the "Billboard" Hot 100, "Revival" is further distinguished as Gomez's first record to house multiple top ten singles in the United States; all of which became her first three number-one singles on the Mainstream Top 40 chart.


title: Revival (Selena Gomez album)

text: To promote the album, Gomez performed the songs in several televised appearances, including "The Today Show", the 2015 American Music Awards and the Victoria's Secret Fashion Show. Furthermore, Gomez embarked on a concert tour, titled Revival Tour in May 2016, which visited North America, Asia and Oceania, before it was canceled in August 2016 following Gomez facing health issues stemming from her lupus diagnosis.


title: Revival (Selena Gomez album)

text: In July 2013, Gomez released her debut solo album, "Stars Dance." The album was well received commercially, debuting at number one on the "Billboard" 200. Gomez embarked on the Stars Dance Tour later that year, which was set to cross several continents, including dates in Asia and Oceania. These concerts would not materialize as Gomez canceled the remainder of the tour in late 2013, citing personal reasons: "It has become clear to me and those close to me that after many years of putting my work first, I need to spend some time on myself in order to be the best person I can be." Gomez entered a rehab treatment facility for her lupus diagnosis in May 2014. Publications began to speculate her intent in fulfilling contractual obligations by releasing a final compilation album for her longtime label, Hollywood Records. Later reports published in September suggested that she had secured a new recording contract with Interscope chairman John Janick. At that time, Gomez had already sold around 2.8 million albums and 18.1 million singles in the United States, including three studio albums with her band Selena Gomez & the Scene.


title: Revival (Selena Gomez album)

text: In November 2014, Gomez captioned an Instagram post with: "As I have a last listen, I thought a lot about my year. I thought a lot about my voice. And after a year of holding on. I think it's time to start sharing." She later released her compilation album "For You", representing her final project with Hollywood Records as Gomez officially announced her change in labels the following month. After performing its lead single "The Heart Wants What it Wants" at the 2014 American Music Awards, Gomez revealed that she had begun work on her next studio album. She cited the single as a reference point, stating, "It's exciting for me to start off with something like [it]. And then start leading into writing about all the other things that are going on in my life and have gone on in the past year or so. Even if it's things that people may not necessarily know about. So I'm excited to kind of put more of my heart and soul into the next chapter of music." The same month, Gomez commented that she had been recording new music, and suggested a possible partnership with producer and disc jockey Zedd, On February 23, 2015, a collaboration between Gomez and Zedd titled "I Want You to Know" was released.


title: Revival (Selena Gomez album)

text: Gomez discussed that her new material would reflect upon the "journey" she experienced since 2013, with Christina Garibaldi from MTV News assuming her comments were referencing her former relationship with Justin Bieber, and a period spent in rehab in 2014, among other subjects. In an interview with Ryan Seacrest in June, Gomez stated, it is about her "new-found confidence". Her voice coach also commented that the album was going to be "more adult, more feminine and more about Selena's experiences."


title: Revival (Selena Gomez album)

text: Gomez stated that "Revival" offers insight into her perception of various experiences, further elaborating on its themes of kindness, having faith, heartbreak, the "passion of a relationship" as well as "being [her] own person". As the album's executive producer, she "wanted to know that every single song meant the world to me, whether I wrote it or not. For me, I had to discover what was going to separate me. I know that I'm not the world's greatest singer, but I do know that I have a unique tone. And I'm an actress—I love being able to translate everything I'm feeling inside through my voice and through the songs. [...] This whole record is extremely intimate."


title: Revival (Selena Gomez album)

text: In an interview with "Entertainment Weekly", Gomez stated that she was influenced by a wide range of artists growing up, from Janet Jackson and NSYNC. She commented that her main influence for the record was Christina Aguilera, specifically her 2002 release "Stripped", which she cites as an exemplar of a "complete" album and inspired her own decision to tell a story through "Revival". Gomez further commented on her life in the media: "Now, I'm in the place of my life where I released an album at 16—nobody's going to relate [to that]. They're going to be like, 'Great, what are you singing about?' Because of how much my life was exposed, I almost had to utilize that for this record. People can't say, 'You don't know what you're talking about. You haven't been through this.' It's like, you’ve all grown up with me at this point!"


title: Revival (Selena Gomez album)

text: Gomez first hinted at a collaboration with Australian singer Sia through a November 2014 Instagram post, and Sia later stated that she had composed some material for her. Gomez began to record songs for "Revival" in December 2014, revealing collaborations with producers Dreamlab and Ruffian and production team Stargate. She initially expected that the record would contain 15 "extremely exciting" songs. In January 2015, production duo Rock Mafia announced they were working with Gomez on the album. She explained to MTV News that "Revival" was the most she'd ever gotten creatively involved in album, "Every single thing I'm even remotely singing about is something I've related to and something I'm hitting the nail on, and I had to pick what was going to represent the album and who I am as a whole."


title: Revival (Selena Gomez album)

text: "Good for You" was one of the first tracks recorded, which was initially written by Nick Monson, Julia Michaels and Justin Tranter. In an interview with "Spin", Tranter revealed that their studio time was originally accommodated to "tweak" a different song, and the trio wrote "Good for You" in 45 minutes upon its completion. It was the third song she received since signing with her new label Interscope Records. Gomez exhausted herself prior to the recording session for "Good for You", as she had pressured herself into figuring out a sound and concept for the album. Gomez's vocals cracked due to this, and the song "took on this emotion [she] didn't realize [she] could tap into".


title: Revival (Selena Gomez album)

text: Midway through the album's recording process, Gomez went on a trip to Puerto Vallarta, Mexico with Hit-Boy and a few members of his producing team, as well as Rock Mafia and songwriters Justin Tranter and Julia Michaels. According to her, "it was all of us in one house for five or six days. We would go out, listen to live music, and go back and create in this studio – in a closet, basically." During the creative process Gomez wanted "to get out of her head." "Body Heat" was the first song that Gomez recorded on the trip; at 5. A.M. after she heard Mexican music through the night. According to her, because the "live instruments, the beats, what you feel ... It kind of represents everything that I love about who I am." While working on the album, Gomez also enlisted frequent collaborators Rock Mafia to help make her sound a reality. They assisted Gomez on the creation of six of its tracks, including "Revival" and "Kill Em with Kindness", the latter being one of the "most personal" tracks on "Revival". She told the producers that although the production was important, she wanted its focus to be the lyrics. According to Gomez, one of the main inspirations behind "Kill Em with Kindness" was the body-shaming she dealt with from the media, after photos surfaced online of her in a bikini during a trip to Mexico in April 2015. Many claimed she had gained weight, with some outlets going as far as to label her a "mess", and suggested Gomez was "going off the deep end". She commented: "I was getting a lot of hate for my body and ‘you're gaining weight,’ and so I was in Mexico and I was just feeling all of this stuff and I would be lying to you if I said it didn't kind of hurt my feelings, but I kind of channeled that into my music." Gomez called the experience "degrading", explaining that she had never been through such intense bullying before. Several songs were recorded at Casa Aramara Studios located in Punta Mita. Speaking about her experience in Mexico, Gomez stated:


title: Revival (Selena Gomez album)

text: Gomez also worked with recording team Stargate, who handled "Sober" and "Same Old Love", the latter of which was co-written by British singer Charli XCX. XCX and Gomez weren't in the physical presence of each other during the session, though XCX's manager was present throughout. Gomez was drawn to the track and she believed "Same Old Love" represented her strained relationship with her father and how it reflected on her subsequent romantic relationships. The song's recording sessions took place at Westlake Studios in Los Angeles, and Dreamlab Studios in Studio City, California. "Sober" was also developed during this time. According to Gomez, inspiration came after she and one of its writers, Chloe Angelides, discussed social awkwardness and how Gomez "would hang out with people and they would drink and they're so fun, then the next day it would be weird."


title: Revival (Selena Gomez album)

text: Following the commercial success of "Good for You" as lead single treatment, Gomez decided to collaborate for an additional four days with Michaels and Tranter despite her label's instructions for the album to be mixed at the time. Before the sessions began, Gomez felt that she had already addressed her desired themes for "Revival", but wanted additional material that would be "fresh from a female perspective", which culminated in "Hands to Myself". Recording took place at Wolf Cousins and Maratone Studios in Stockholm, Sweden, and at Interscope Studios in Santa Monica, California. In those four days, they also developed "Me & the Rhythm" which was the last song recorded for the album.


title: Revival (Selena Gomez album)

text: Musically, "Revival" is primarily a dance-pop and electropop record with R&B vibes, which has been also described as "a heady mix of electronic dance music pop". It has a "warm, tropical beach-pop sound", and as noted by AllMusic's Tim Sendra, "[it] veers away from the bubblegum nature of her early work or the genre-hopping aspects of other releases." As he continued, "the album sticks pretty close to a club bangers-and-ballads mix with a couple of R&B-inspired jams thrown in." Other critics also saw that the album has "midtempo pop", minimalist dance beats and smoldering R&B grooves. Steve Knopper of "Newsday" also highlighted that "[t]he album is frequently dark and ominous, full of torch songs, with just enough stylish electronic dance music synths and upbeat melodies to enliven the mood." Mikael Wood of "Los Angeles Times" and Mike Wass of Idolator both compared it to the works of Janet Jackson, with Wood comparing to her 2015 record, "Unbreakable" in terms of sound, and Wass to her breakthrough album, "Control" (1986) in terms of its empowering themes.


title: Revival (Selena Gomez album)

text: The album's opening track "Revival" was considered "an experimental electro-adventure" with an "uplifting chorus." Lyrically, the song deals with themes of self-care, embracing one's inner power and self-restoration. It begins with a spoken-word introduction, where she says: "I'm reborn in every moment, so who knows what I'll become?," before singing "It's my time to butterfly," where "the word 'butterfly' serv[es] as both a state of being and an intransitive verb." Gomez also explained that the song gathers everything she was feeling in the two years leading up to the album's release and the need she felt to be heard. The lines, 'I'll admit it's been painful, but I'll be honest and grateful,' is one of her favorites because "ultimately it led me and pushed me to be where I am today. Nothing has been handed to me. I've had to strive for it, and really put my all in it." The second track "Kill Em with Kindness" is described as a dance, club-banger with a "tropical house breeze" and "added bells and whistles". The song offers positive advice for dealing with critics: instead of raising the proverbial middle finger, it suggests to take the high road and kill them with kindness. For Gomez, "[i]t's kind of my motto for life. It's so much easier to be mean. It's so easy to just kind of give yourself that, but it's so hard to walk away from a situation, turn your cheek the other way, and be the bigger person."


title: Revival (Selena Gomez album)

text: "Same Old Love", an electropop and synthpop track is built on a "rickety" piano sample and backgrounded Italo synths, starting off with a "whimsical ‘60s feel, but morph[ing] into a punchy bass dance track," In terms of lyrics, "Same Old Love" is about how people perceive love, and how everyone has a cycle, whether it's friendship, family, a relationship. She further explained it: "People get uncomfortable with change, and they compromise, and I think this song is representing the angst, and the pain, and a little bit of the anger that it comes with." "Hands to Myself" is a dance-pop and synthpop number, and has influences of American recording artist Prince. It begins stripped-down with a minimal backdrop and a sparse, thumping beat. This comprises drums, bass, lightly clicking percussion and hand claps. "Hands to Myself" is a flirty and sassy song about seduction, "Sober" brings ‘80s "slamming" synthesizers to the fore and "girlie yelps", which lyrically regards social awkwardness and how a significant other doesn't know how to love unless alcohol is involved and the recognition that the boundaries in a relationship aren't so great. "Good for You" is an electro-R&B song, with pendulum-swing rhythm, swirling keyboard atmospherics and affirming ASAP Rocky rap; it also has Gomez "exploring her lower range and playing up the smokier edges of her speaking voice." The lyrics to "Good for You" explore confidence, embracing one's sexuality and feeling comfortable in your own skin. "Camouflage" is a piano-driven ballad, that addresses the end of a relationship, and even though she has 'so much shit' to say, she doesn't know how since the person that she was with is no longer recognizable."


title: Revival (Selena Gomez album)

text: "Me & the Rhythm" is a dance, disco, R&B and "breathy" synthpop song, with an "icy" Scandinavian arrangement, while the trance-inspired The song talks about losing yourself on the dance floor, while being free within that moment, being free within yourself. while "Outta My Hands (Loco)" was compared to her earlier albums, "Stars Dance" (2013) and "When the Sun Goes Down" (2011). "Survivors" mixes EDM, futuristic R&B and house revivalism. "Survivors", as emphasized by Gomez, talks about "surviving every day, in our circumstances [...] and bringing each other up instead of tearing each other down, ’cause we're all just surviving." She completed: "'Survivors' is a community thing ... What's mine is yours. It's us. It's ours together." "Body Heat" brings Latin fusion with saxophone, horns and brass, and was inspired by Mexican culture, its lyrics regards sex, while "Rise" is "an empowerment anthem encouraging perseverance and determination in tough moments." On the other hand, "Rise" contains a gospel chorus, whooping and a spoken-word prayer. "Me & My Girls" was considered a "party-jam", with a "Robert Rodriguez inspired sound," the song incorporates themes of female empowerment. "Nobody" has syncopated beats, finger snaps, it also contains a synth flute and trip hop beats, its lyrics and finds the singer paying tribute to her lover, and as she claimed, it was written about her faith and connection with God, "Perfect" is about "feeling downright obsessive as she wrestles with her man moving on to the next one," and Gomez admitted that the song is "very, very personal song, and it was extremely accurate. [...] In a way, it's a little sad. It's beautiful too." Musically, the song is a modern R&B performance that has a "dreamy, harp-smattered production." The last track from deluxe version of "Revival" is "Cologne", the song has a "mellow, midtempo" vibe. and talks about "constantly having a certain someone on her mind, and loving herself when they are not around."


title: Revival (Selena Gomez album)

text: "Good for You" was released as the album's lead single on June 22, 2015. Gomez created anticipation for the release of the single by posting several teasers of the song on Instagram. The song was released to warm critical reception. It debuted at number nine on the US "Billboard" Hot 100, becoming her third top 10 song on the chart and her highest charting debut. "Good for You" has reached number five on the chart, becoming her highest-charting single at the time. It sold 179,000 downloads in its first week, marking the first time Gomez topped the Digital Songs chart, and becoming her highest first-week sales of any of her songs. The song's video was released on June 26, 2015. In conclusion, the song also topped the US Mainstream Top 40 chart in September 2015, reached the top-ten in five countries and top-twenty in other four.


title: Revival (Selena Gomez album)

text: In early August, "Billboard" confirmed "Same Old Love" as the second single from the album. On August 5, 2015, Gomez was at the first day of iHeartMedia's Music Summit where she played the song. The song was made available for digital download with the pre-order of the album on September 10. The music video was shot in downtown Los Angeles on August 15 and part of it was shot at the Revival event. Fans from the event appeared at the end of the video. The music video was released to Apple Music on September 22, and to Vevo on October 7, 2015. The song has peaked on the "Billboard" Hot 100 at number five, thus tying with "Good for You" to become her highest-charting single, and has become her second number one on the Mainstream Top 40 chart. Elsewhere, it reached the top-ten in Canada and top-forty in five countries.


title: Revival (Selena Gomez album)

text: In early October, during an interview with "USA Today", Gomez admitted her desire to release "Sober" as a single from "Revival" "at some point". On October 2, Gomez released "Me & the Rhythm" as a promotional single. It reached number fifty-seven on the Canadian Hot 100.


title: Revival (Selena Gomez album)

text: "Hands to Myself" was serviced to contemporary hit radio as the third single from "Revival" in the US on January 26, 2016. The music video premiered as an Apple Music exclusive on December 21, 2015, and was released on Vevo on January 20, 2016. The song has reached number 7 on the "Billboard" Hot 100 chart. Internationally, it has reached number five in New Zealand and number nine in Slovakia, as well as the top 40 in several other countries, such as Australia and Czech Republic.


title: Revival (Selena Gomez album)

text: In March 2016, Gomez confirmed "Kill Em with Kindness" as the fourth and final single from the album. It peaked at number 39 on the "Billboard" Hot 100. The song's accompanying music video was released on June 6, 2016. It was sent to contemporary hit radio on May 3, 2016.


title: Revival (Selena Gomez album)

text: In July 2015, Gomez announced that her record would be named "Revival" and was scheduled to be released on October 9. Its track listing and black-and-white deluxe edition cover were revealed in September, the latter of which depicts Gomez dressed in high-waisted black shorts with her hair and arms crossed over covering her breasts. Gomez felt that the cover gave "a little Linda Ronstadt ’70s vibe," and described the picture as "a beautiful representation of where I am." Christina Garibaldi from MTV News highlighted similarities to the visuals for "Stripped" by Christina Aguilera (2002), a record which Gomez specified as a source of inspiration during the recording process. The original standard edition cover depicts Gomez in a sequined red dress; it's currently used by online music stores, although it was replaced by the deluxe edition cover for physical pressings released after November 30.


title: Revival (Selena Gomez album)

text: Gomez held an invitation-only "Revival Event" at the Palace Theatre in Los Angeles for 800 fans on September 16. It was advertised as an advanced screening of her music video for "Same Old Love," although Gomez delivered a previously-unannounced performance of the song to the audience before revealing that they would be included in the final clip. On October 2, Gomez confirmed that she would embark on the Revival Tour in May 2016; first-leg tour dates in the United States and Canada were announced on October 5. On October 7, snippets of the eleven songs from the standard edition of "Revival" were made available for preview.


title: Revival (Selena Gomez album)

text: On September 25, 2015, Gomez made her live debut of "Good for You" on "", where she also gave an interview. On the same day, she performed an acoustic version of the song, along with a cover of Magic!'s "Rude" on BBC's Live Lounge. Three days later, she performed the song on "Le Grand Journal". On October 12, 2015, she went to "Today" and performed "Good for You", "Same Old Love" and a medley of previous hit "Come & Get It" with "Me & the Rhythm". "Same Old Love" was also performed on "The Ellen DeGeneres Show", "The Tonight Show Starring Jimmy Fallon", 2015 American Music Awards, and at the 2015 Billboard Women in Music. During the 2015 Victoria's Secret Fashion Show, she performed "Hands to Myself" and "Me & My Girls". Gomez also made a set during the Jingle Ball Tour 2015, where she performed "Same Old Love", "Good for You", "Love You Like a Love Song," "Hands to Myself" and, for the first time, "Kill Em with Kindness". Gomez was the musical guest on "Saturday Night Live" for the episode dated January 23, 2016, where she performed a medley of "Good for You" and "Same Old Love", as well as the full television debut of "Hands to Myself".


title: Revival (Selena Gomez album)

text: At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 74, based on 9 reviews, indicating "generally favorable reviews". Writing for "Rolling Stone", Brittany Spanos stated that ""Revival" is an audacious name for a 23-year-old singer's second album, but from start to finish, Gomez earns it," noting that "[t]his is the sound of a newly empowered pop artist growing into her strengths like never before." Sal Cinquemani of "Slant Magazine" was very receptive, noting that "[s]ong for song, 'Revival' rivals Carly Rae Jepsen's 'Emotion' for breakout pop album of the year, but if it similarly falls short of greatness, it's due in large part to a lack of originality. [...] And yet, all of those songs are standouts." James Reed from "Boston Globe" opined that "Revival" is "a forthright album of pop songs that make it clear she is ready to be honest and even vulnerable in her music." Mike Wass of Idolator agreed, calling it "an immaculately curated collection that showcases the 23-year-old's ability to genre-hop and experiment, while staying true to herself." Steve Knopper from "Newsday" applauded Gomez for sounding "appealingly desperate and hungry, and this quality transcends the most familiar-sounding material," adding: "Something in Selena Gomez's pop formula is nicely soft-spoken and mysterious."


title: Revival (Selena Gomez album)

text: Mikael Wood from the "Los Angeles Times" praised the album for being "surprisingly modest, from its midtempo pacing to its thoughtful introspection," acknowledging the fact that "Gomez is finding freedom in control, kudos to her for getting there so quickly." Writing for "USA Today", Elysa Gardner noted that the album "is generally at its best when Gomez keeps her tone light and bright and her energy positive. [...] At this rate, Gomez is bound to get at least a few skeptics off of Instagram and onto the dance floor." Tim Stack wrote for "Entertainment Weekly" that "[o]n her fifth album Gomez goes for mood-setting, and the result is "a gripping batch of sultry pop jams that are more 'Netflix and chill,' less 'Let's hit the curb,'" claiming that it is "as fresh and forward-thinking as the music of indie darlings Tove Lo and FKA twigs." Christina Jaleru of "The Washington Times" was positive, commending it for "breez[ing] through to the finish line – the dance floor -with 11 nearly impeccable tracks that skip from the 1960s to the ‘80s to right this minute."


title: Revival (Selena Gomez album)

text: While seeing some "generecism" on the album, Jia Tolentino of "Spin" highlighted that "[a]t its high points, 'Revival' is marked by this lush, sphinx-like readiness: as if, after a decade and a half of being nonstop front and center, Gomez has finally figured out what it means to center herself." Katherine St. Asaph of "Time" emphasized that "[w]here she falters most is what 'Revival' is ostensibly about: bratty confidence," noticing that "[m]usically, though, Revival is most interesting when it's still in the cocoon." Tim Sendra from AllMusic, however, gave the album a mixed review, writing that "["Revival"] makes for a solid pop album overall, but it's a little too formulaic and predictable to rate among her best work." Emily Mackay of "The Observer" also gave a mixed review, perceiving that "[t]he most surprising thing about "Revival" is its understatement, despite the hit-making co-writers."


title: Revival (Selena Gomez album)

text: "Revival" was featured on several year-end list of best albums. It was listed at number 43 on "Rolling Stone"<nowiki>'</nowiki>s "50 Best Albums of 2015" list, with the editors commenting "If Gomez started the year as one of many bright young celebrity faces, she ended it as a pop star who demands to be taken seriously."


title: Revival (Selena Gomez album)

text: In the United States, "Revival" debuted at number one on the "Billboard" 200, earning 117,000 album-equivalent units in its first week, of which 86,000 were pure album sales. It also gave her highest first week sales as of October 2015, surpassing her previous album. In its second week on the chart, "Revival" fell to number seven. As of January 2020, the album has sold over 435,000 copies in the US. The album was certified Platinum by the RIAA, for combined album sales, on-demand audio, video streams and track-sale equivalent of 1,000,000 units.


title: Revival (Selena Gomez album)

text: The album entered the New Zealand Albums Chart at number two, giving Gomez her second solo top ten album and highest-charting release. In Australia, the album debuted at number three, becoming her highest album on the chart and second to debut inside the top-ten. In Greece, the album debuted at number one, while in Brazil it reached number three, receiving a platinum certification in the latter for selling over 40,000 copies. The album also reached the top-ten in other 17 countries, including Canada, France, Ireland, Netherlands, and Sweden.


title: Buick Roadmaster

text: The Buick Roadmaster is an automobile that was built by Buick from 1936 until 1942, from 1946 until 1958, and then again from 1991 until 1996. Roadmasters produced between 1936 and 1958 were built on Buick's longest non-limousine wheelbase and shared their basic structure with the entry-level Cadillac Series 65, the Buick Limited, and after 1940, the Oldsmobile 98. Between 1946 and 1957 the Roadmaster served as Buick's flagship.


title: Buick Roadmaster

text: When it was resurrected for the 1991 through 1996 model years, it became the marque's largest vehicle. The Roadmaster sedan, a C-body vehicle over its eight previous generations, shared the B-body for the first time in its history. It was longer with a greater wheelbase than the C-body Buick Park Avenue. It was also larger both in wheelbase () and overall length () than the K-body Cadillac DeVille.


title: Buick Roadmaster

text: The 1932 Series 80 was the first Buick with the OHV Buick Straight-8 engine developing at 2800 rpm. It was positioned as an upper category trim package and shared with the Series 90. The Series 80 was a new approach for Buick by marketing a luxury sedan with an eight-cylinder engine - that became expected from luxury brands - comparably as the Oldsmobile L-Series on the GM C platform. The 1932 models introduced a new high-performance engine developing . In 1933, the styling of all Buicks was updated with a new, corporate "streamlined" appearance shared with all GM cars for that year as influenced to GM's Art and Color Studio headed by Harley Earl.


title: Buick Roadmaster

text: The 1933 models were the first year all GM vehicles were installed with optional vent windows that were initially called "No Draft Individually Controlled Ventilation" that were later renamed "Ventiplanes" for which a patent application was filed on November 28, 1932. The patent was assigned to the Ternstedt Manufacturing Company, a GM subsidiary making components for Fisher Body


title: Buick Roadmaster

text: At the end of 1933, the 80 series was discontinued after 24,117 units were produced. In 1936, the model changed its name to "Series 80 Roadmaster".


title: Buick Roadmaster

text: Body style choices were limited to a 2-door coupe or 4-door sedan in 1931 capable of seating either 5- or 7-passengers, then replacing the coupe with a Victoria 5-passenger coupe in 1932. The 1933 model year saw convertibles for both the coupe and 4-door sedan convertible reviving the "phaeton" nameplate again, and additional manufacturing locations opened across the country under the Buick-Oldsmobile-Pontiac Assembly Division. The equipment levels and refinement of materials used were on par with the top-level Limited and was a contender with the Packard Eight.


title: Buick Roadmaster

text: The origins of the Roadmaster name date to 1936 when Buick added names to its entire model lineup to celebrate the engineering improvements and design advancements over their 1935 models. Buick's Series 40 was named the Special, the Series 50 became the Super, the Series 60 was named the Century and the Series 90 — Buick's largest and most luxurious vehicle — was named the Limited. The Series 50 was retired, but new for the model year was the Series 80 Roadmaster. The 1936 Buick sales brochure describes "It literally named itself the first time a test model leveled out on the open highway." The terminology "Series 60" and "Series 70" were shared with Cadillac, while "Series 60", "Series 70", "Series 80", and "Series 90" were shared with Oldsmobile.


title: Buick Roadmaster

text: The Roadmaster was introduced in a year when Buick's valve-in-head straight-eight engines were heavily revised. Buick reduced the number of engines from four sizes to two: a 233-cubic-inch, 93-horsepower version for the Special, and a 320.2-cubic inch, 120-horsepower engine for the other series. Buick also adopted an all-steel "turret top" and hydraulic brakes. Coil springs were used in the front.


title: Buick Roadmaster

text: The Roadmaster sedan weighed 4,098 pounds, about 88 pounds more than Cadillac's new Series 60. The sedan sold for $1,255 ($ in dollars ), $440 ($ in dollars ) less than the least expensive Cadillac. The only other body style was a four-door convertible phaeton, priced at $1,565 ($ in dollars ) (a total of 1,064 were produced), at a time when a Cadillac in the same body style sold was priced from $2,745 ($ in dollars ). Buick sales went from just over 48,000 to nearly 158,000 and with the new Series 80 Roadmaster contributing 16,049 units to that total.


title: Buick Roadmaster

text: Buick was the only GM car, along with the Chevrolet Standard, to retain the basic 1934 styling for 1935, thus the 1936 re-style brought Buick up with the rest of the GM marques. For 1937, Buick moved to newly re-styled bodies along with all other GM cars. The Roadmaster gained a divided grille with horizontal bars. The center section of the grille was painted to match the body of the car. Fenders became squared off and the headlight shells were streamlined. Overall height was reduced by while keeping the same interior space. A new carburetor and revised camshaft raised engine horsepower to 130. The engine also received a new intake manifold, oil pump, cooling system, and a quieter overhead valve mechanism. A Formal Sedan, featuring a roll-down glass partition between the front and rear compartments, was added to the Roadmaster line for US$1,641 ($ in dollars ), of which 452 were sold. The price of the sedan was raised to US$1,518, and that of the phaeton to US$1,856 ($ in dollars ). Overall Roadmaster sales increased to 16,129.


title: Buick Roadmaster

text: Styling changes for 1938 were modest, with a longer hood extending to a now nearly vertical grill, taller bumper guards, and redesigned hubcaps. Changes were made to both engine and chassis. The ride was improved by replacing the rear leaf springs with coil springs and incorporating double-acting shock absorbers that were four times the size of others. The frame X-member was changed from I-beam to channel construction and all wood structural elements were replaced with steel. The engine combustion chambers were redesigned and new "turbulator" pistons raised the compression ratio from 5.9 to 6.5:1, resulting in an increase in horsepower to 141.


title: Buick Roadmaster

text: The 4-door convertible phaeton changed from the built-in trunk design to a "fastback" rear appearance. The Limited continued to be offered, and a new fastback sedan was added to the line with 466 being sold. The Roadmaster sedan price was increased to US$1,645 ($ in dollars ). The overall automobile market decreased for the year, but Buicks share increased even with Roadmaster sales falling to 5,568 and now making up 3.3% of Buick's total output from its previous 7.3%.


title: Buick Roadmaster

text: Styling for 1939 featured a new two-piece “waterfall” grille with thin vertical bars. The hood was narrower, front door pillars were narrower and hubcaps were larger. The window area increased substantially with the rear window changing to a one-piece design. All the major gauges were relocated directly in front of the driver and the gear shift was changed to a steering column mount. The 4-door phaeton could now be ordered with the built-in trunk appearance or as a fastback, but only three of the latter were sold. Although prices were reduced to US$1,545 ($ in dollars ), sales only rose to 6,097, with Roadmaster's share of Buick's total sales falling to 2.9%.


title: Buick Roadmaster

text: In 1940 the Series 80 was renamed Buick Limited. The Roadmaster name was transferred to the new Series 70, which was introduced at the same time as a brand new Series 50 Super. The Roadmaster featured a cutting-edge "torpedo" C-body. The new C-body that the 1940 Buick Roadmaster shared with the Super, the Cadillac Series 62, the Oldsmobile Series 90, and the Pontiac Torpedo featured shoulder and hip room that was over wider, the elimination of running boards and exterior styling that was streamlined and 2-3" lower. When combined with a column-mounted shift lever the cars offered room for six-passengers.


title: Buick Roadmaster

text: The 1940 Roadmaster had a shorter wheelbase, was lighter, and was less expensive than the previous year's model. The formal and fastback sedans were discontinued. A 2-door coupe body style was newly introduced, and 3,991 units were sold. The coach-building firm of Brunn designed several custom-bodied Buicks for the Series 70, 80, and 90. Only one Roadmaster example is known to have been produced in 1940, an open-front town car, that was dubbed "Townmaster". Overall sales more than tripled to 18,345.


title: Buick Roadmaster

text: Styling updates for 1941 were modest, but there were mechanical changes. The compression ratio was raised from 6.6:1 to 7.0:1, the "turbulator" pistons were redesigned, smaller spark plugs were new, and "Compound Carburetion" was introduced. This Compound Carburetion was the forerunner of the modern four-barrel carburetor and consisted of twin two-barrel carburetors. One unit operated all of the time, while the other operated only under hard acceleration. The new engine delivered 165 horsepower. With five more horsepower than a senior Packard, 15 more than any Cadillac, and 25 more than the largest Chryslers, it was the most powerful engine available that year on an American car.


title: Buick Roadmaster

text: A new body style for this year was a two-door convertible, which sold 1,845 units. There was also a Brunn-designed convertible, but no orders materialized because of the $3,500 price ($ in dollars ). Overall Roadmaster sales were 15,372.


title: Buick Roadmaster

text: The 1942 Roadmaster was longer, lower, wider, and roomier than before (a Harley Earl trademark), due in part to a longer wheelbase. There was also a new vertical-bar grille and "Airfoil" fenders that swept back to the rear fenders, which in subsequent generations became the chromed "Sweepspear". Both features became a Buick icon exhibited in one way or another for years to come, and were influenced by the concept car called the Buick Y-Job. The 4-door phaeton was discontinued. Coupes adopted the Sedanet fastback style that was introduced on 1941 on the Century and Special. The new one-piece hood was double-hinged so that either side of the engine compartment could be opened, while in later updates the hood would open at the front and extend up and towards the passenger compartment.


title: Buick Roadmaster

text: At the beginning of 1942, new automobiles were available only to those in occupations deemed essential to the war effort. By mid-January, cars with no exterior chrome trim apart from the bumpers were being produced. By February passenger car production was shut down completely. Despite the abbreviated model year, a total of about 8,400 were sold.


title: Buick Roadmaster

text: When postwar automobile production resumed in the 1946 model year, chrome was more sparingly applied, swept-back fenders were fitted to sedans as well as coupes, and a war-inspired "bombsight" hood ornament was adopted. The instrument panel was two-toned with woodgrain facings except on convertibles which used body-colored panels. Series identification was found on cloisonne emblems centered in the bumper guard front and rear. Compound Carburetion was discontinued and the compression ratio was reduced to 6.60:1. The 1946 Roadmaster's horsepower rating went from 165 to 144. Torque on the other hand was not affected. Nevertheless, Roadmaster's I-8 still produced more horsepower than a top-of-the-line Chrysler's. Owing to wartime inflation, prices were substantially higher than those of pre-war models. The biggest change was in sales proportions. Roadmaster increased its share of Buick sales from 4% in 1941 to 20% in 1946, with a total of about 31,400 sold.


title: Buick Roadmaster

text: In 1947 a new stamped grille with a separate upper bar was used. The Roadmaster name appeared in red-filled script on a chrome button within the bumper guard crossbars, front, and rear. All new was an Estate wagon body style. It sold 300 units and became the top of the line in the station wagon market.


title: Buick Roadmaster

text: In 1948 a series script appeared on the front fenders and the white Tenite steering wheel that had been used previously was replaced with a black version. This also matched the change from a two-tone woodgrain instrument panel to a two-tone gray instrument panel, with silver-finished instruments. A new optional custom trim option was offered, consisting of cloth upholstery with leather bolsters with the robe cord cover and lower door panels trimmed in leatherette. Convertibles acquired power windows, seat, and top as standard equipment. The Dynaflow was introduced, the first passenger car torque converter transmission. Optional on Roadmaster in its first year, it became standard equipment for 1949. Overall sales were just under 80,000 in both 1947 and 1948, over four times greater than in any prewar year.


title: Buick Roadmaster

text: The Roadmaster received its first major postwar restyling in 1949. Its wheelbase and overall length were reduced but its weight was marginally increased. The biggest change was a much larger two-piece, curved glass windshield that the sales brochure described as like an “observation car.” It was also in 1949 that Buick introduced "VentiPorts." Four were displayed on each of the Roadmaster and Century's front fenders, with three on the fenders of the Super and Special to denote junior level products. The sales brochure noted that VentiPorts helped ventilate the engine compartment, and possibly that was true in early 1949, but sometime during the model year they became plugged.


title: Buick Roadmaster

text: The idea for VentiPorts grew out of a modification Buick styling chief Ned Nickles had added to his own 1948 Roadmaster. He had installed four amber lights on each side of his car's hood wired to the distributor to flash on and off as each piston fired simulating the flames from the exhaust stack of a fighter airplane. Combined with the bombsight mascot, VentiPorts put the driver at the controls of an imaginary fighter airplane. Upon seeing this, Buick chief Harlow Curtice was so delighted that he ordered that (non-lighting) VentiPorts be installed on all 1949 Buicks, with the number of VentiPorts (three or four) corresponding to the relative displacement of the straight-eight engine installed.


title: Buick Roadmaster

text: Dynaflow was now standard equipment, and engine horsepower was increased to 150 through a slight increase in the compression ratio. This contributed in conjunction with the now-standard Dynaflow in giving the new Buicks a top speed of . In the middle of the year, the Riviera joined the body style lineup selling 4,314 units. Featuring power windows as standard equipment, the 2-door Buick Roadmaster Riviera, along with the Cadillac Series 62 Coupe de Ville and the Oldsmobile 98 Holiday, was among the first hardtop coupes produced. The Riviera Hardtop was conceived by taking the convertible and welding a steel roof in place, which simplified manufacture and the appearance.


title: Buick Roadmaster

text: The Riviera was also notable for its popular optional "Sweepspear" chrome body side molding, which would soon become a Buick trademark. This chrome-plated strip started above the front wheel, after which it gently curved down nearly to the rocker panel just before the rear wheel, and then curved around the rear wheel in a quarter of a circle to go straight back to the tail-light. The "Riviera trim", as it was initially called, was also made available on the Roadmaster convertible late in the model year. With a total of 88,130 sold, the all-time annual record for Roadmaster, the model accounted for 27% of all Buick sales, a high proportion despite its price that was only slightly less than a Cadillac Series 61.


title: Buick Roadmaster

text: The 1950 restyling featured a "toothy" grille. The Sweepspear design was made standard on most body styles at the beginning of the 1950 model year, and on the station wagon and a new long-wheelbase sedan mid-year. The long-wheelbase sedan was lengthened by ). Like the convertibles, the Riviera and the long-wheelbase sedan came with power windows and power seats as standard equipment. Overall Roadmaster sales fell to 75,034, with Roadmaster's share of total Buick output plummeting to 12%.


title: Buick Roadmaster

text: In 1951 the long-wheelbase sedan was also called a Riviera although it was not a hardtop. The Sedanet and regular wheelbase sedan were discontinued.


title: Buick Roadmaster

text: Styling changes were minimal in 1951 and 1952. Power steering was added as an option in 1952 and horsepower climbed to 170 primarily to a new four-barrel carburetor. Sales continued to decrease to about 66,000 in 1951 and totaled 51,000 units in 1952.


title: Buick Roadmaster

text: A new V8 engine was introduced for 1953, Buick's Golden Anniversary year. Although the Nailhead (as it was popularly called) was nearly identical in displacement to the straight-eight Fireball (322 versus 320 cubic inches), it was shorter, four inches (102 mm) lower, and lighter, but with , it was 11% more powerful. The compression ratio increased from 7.50:1 to 8.50:1 and torque increased from .


title: Buick Roadmaster

text: The compact dimensions of the V8 engine enabled Buick to reduce Roadmaster's wheelbase by across the line, although styling differences behind the engine cowl, apart from new V-8 emblem hubcaps, were largely nonexistent. Buick also introduced a new "Twin-Turbine" Dynaflow as a companion for the V8 engine. Estimated to increase torque at the wheels by 10 percent, the new transmission provided faster and quieter acceleration at reduced engine speeds. Both power steering and power brakes were made standard. Air conditioning was a new option and, years before many other makes, a 12-volt electrical system was adopted.


title: Buick Roadmaster

text: A new body style for 1953 was the Skylark convertible. The Buick Roadmaster Skylark was one of three specialty convertibles produced in 1953 by General Motors, the other two being the Oldsmobile 98 Fiesta and the Cadillac Series 62 Eldorado. The Skylark featured open wheel wells, a drastically lowered beltline, a four-inch-chop from the standard Roadmaster's windshield, the absence of VentiPorts, and a new Sweepspear that anticipated Buick's 1954 styling. Kelsey-Hayes wire wheels and a solid boot cover were standard. At US$5,000 ($ in dollars ) only 1,690 units were produced. The following year, and for one year only, it would become its own series built on the all-new Century chassis. This was the last year for the Roadmaster Estate, and it was the last wood-bodied station wagon mass-produced in the United States. Its body was a product of Ionia Manufacturing that built all Buick station wagon bodies between 1946 and 1964. Priced at US$4,031 ($ in dollars ), the Estate was second in price only to the Skylark, with 670 being sold. Overall Roadmaster sales went up to 79,137.


title: Buick Roadmaster

text: In 1954 Buick Roadmaster and Super shared with Cadillac and Oldsmobile 98 the new General Motors C-body, adopting the new "ponton" appearance, and the addition of "Dagmar bumpers" to the front. These were large, roomy cars, as much as five and a half inches longer in wheelbase and more than nine inches (229 mm) longer overall than in 1953. Roadmaster script was placed on the rear quarter panels and within the rear deck ornament. Rear fenders had a blunted fin at the rear edge, with dual "bullet" taillamps below. A new panoramic windshield with vertical side pillars was used. Seats had chrome bands on 2-door models and rear seats had an armrest on 4-door models. The front suspension was refined and Roadmaster's horsepower was increased to 200, while the pillared coupe and the Estate wagon were no longer offered as body styles. Overall sales dropped to 50,571 (which was 11% of model year production). and the Roadmaster Convertible was listed at US$3,521 ($ in dollars ). Air conditioning was provided by Frigidaire optionally on sedans and hardtops, which consisted of a self-contained unit that was retrofitted at the customers' request.


title: Buick Roadmaster

text: In 1955 broad lower rear fender bands, gold-colored Roadmaster deck script and hood ornament, bars on the hubcaps, and a gold-accented grille were added to distinguish Roadmaster. Horsepower was increased to 236, and a new variable-pitch Dynaflow, in which the stator blades changed pitch under hard acceleration, provided quicker off-the-line getaway. Back-up lights were now standard. Overall sales were 64,527 (which was 8% of the model year production). and the Roadmaster Convertible replaced the exclusive Roadmaster Skylark convertible.


title: Buick Roadmaster

text: In 1956 Roadmaster had a shallower Sweepspear that did not dip down to the rocker panel as on other models. Twin chrome strips were on the decklid with Roadmaster spelled out between them. Roadmaster script was positioned on the doors beneath the vent windows. Fender tip dual bombsights were standard. Two stator wheels were adopted as an improvement to Dynaflow. A brand new 4-door Riviera hardtop, proved to be the most popular Roadmaster, with 24,770 units sold and beating the pillared sedan by more than two-to-one. Overall sales were 53,427 (which was 9% of model year production). A padded dash became standard.


title: Buick Roadmaster

text: A lower body graced the 1957 Roadmaster with an even more panoramic windshield equipped with reverse slanted pillars. A red-filled Sweepspear lined the bodysides and a chromed rear fender lower panel filled the area between the wheelhouse and the bumper end, continuing to offer "Dagmar bumpers" at the front. A new centered fuel filler was located in the rear bumper, the ends of which the single or optional dual exhaust passed through. Roadmaster script was placed within the deck and grille emblems. Two-door models had a trio of chevrons on the rear quarters while the four-door models had a Roadmaster emblem nestled within the Sweepspear dip. Interiors featured a padded dashboard and were broadcloth and nylon in 4-doors, nylon in 2-doors, and leather in convertibles. Front hip room was 65.3-in.


title: Buick Roadmaster

text: A new 364-cubic-inch engine was rated at 300 horsepower. A new ball-joint suspension system improved handling. The 4-door Riviera hardtop proved popular the previous year so that the pillared sedan was dropped from the model lineup. Also, new was a mid-year production (March 1957) Roadmaster designated as Model 75 that featured standard power seats and windows, carpeted lower doors, a one-piece rear window (instead of a three-piece that was a design feature of the smaller Special and Century models), Deluxe hubcaps, and a Series 75 script identification on the rear quarter body panel of the Roadmaster coupes and the rear door panels on the Roadmaster 4-doors, thus replacing the standard 3 chevrons found in the same location on the standard full model year Roadmaster model lines. Overall Roadmaster sales dropped to about 33,000. The overall economy was in a recession starting in late 1956 and extending into 1958.


title: Buick Roadmaster

text: For 1958, GM was promoting their fiftieth year of production, and introduced anniversary models for each brand; Cadillac, Buick, Oldsmobile, Pontiac, and Chevrolet. The 1958 models shared a common appearance on the top models for each brand; Cadillac Eldorado Seville, Buick Roadmaster Riviera, Oldsmobile Holiday 88, Pontiac Bonneville Catalina, and the all-new Chevrolet Bel-Air Impala.


title: Buick Roadmaster

text: In 1958, the Roadmaster was available in the well-equipped "75" version, and the body was adorned with bulkier and more heavily chromed styling while the top trim package Limited was the most expensive and fully optioned vehicle. A new "drawer pull" grille was used that Buick called "Fashion-Aire Dynastar", made up of rectangular chrome squares. For the first time since 1948, there were no distinguishing VentiPorts on the front fenders. On the rear deck, the Roadmaster name was spelled out in block lettering beneath a Buick emblem housing the trunk lock keyway. Wheelhouses had bright moldings, rocker panels had an ebbed molding and a large rear fender bright flash with ribbed inserts replaced the previous year's chromed rear fender lower panel. Four headlamps were standard. New brakes featured cast-iron liners in aluminum drums. Sales fell further to about 14,000.


title: Buick Roadmaster

text: There was a complete restyling for 1959, but this time the names of the various series were changed. Not until 1991 would there again be a big Buick known as the Roadmaster; the largest Buick models were renamed the Electra.