prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who started out his career on adult contemporary radio along with the performer of All That Echoes?

The following are given passages.
Context 1: Passage 1:
CJRL-FM
CJRL-FM is a Canadian radio station, broadcasting at 89 5 FM in Kenora, Ontario  The station broadcasts an adult contemporary format branded as 89 5 The Lake 
The station was originally launched in 1938 as CKCA 1420 kHz  In 1941, CKCA moved to 1450  In 1943, Kenora Broadcasting Co  Ltd  took ownership of CKCA and changed the frequency to 1220 with a new callsign CJRL 
CJRL went through different ownerships over the years 
In 2004, CJRL was given approval by the CRTC to convert to 89 5 FM and began broadcasting in November 2004 as 89 5 Mix FM  Following the flip to FM, the station shifted format to adult contemporary from hot adult contemporary 
Formerly owned and operated by Fawcett Broadcasting, the station was acquired in 2007 by Acadia Broadcasting Limited of Saint John, New Brunswick 
As of June 30, 2011, CJRL was rebranded 89 5 The Lake, continuing as an adult contemporary station, the station's playlist now primarily includes pop and rock hits from the 1970s to today  Following the unexpected passing of Charlie Tuna in early 2016, the 70's Show that aired on weekends was replaced with the Totally Awesome 80's show with Kent Jones 
Passage 2:
KLAG
The following is a list of full-power radio stations, HD Radio subchannels and low-power translators in the United States broadcasting K-Love programming, which can be sorted by their call signs, frequencies, city of license, state and broadcast area 

Blue background indicates a low-power FM translator 
Gray background indicates an HD Radio subchannel 

External links
Master Station List
Passage 3:
WAJI
WAJI (95 1 FM) is a commercial radio station broadcasting an adult contemporary format  Licensed to Fort Wayne, Indiana, United States, the station is owned by Bloomington–based Sarkes Tarzian, Inc WAJI broadcasts in HD, with its HD2 channel simulcasting sister station WGBJ, and its HD3 channel broadcasting a "Top 20" CHR format 

History
WAJI was known as WPTH throughout the 1960s and 1970s as a sister station to WPTA television, and in the summer of 1974 branded themselves as "Rock 95", using TM Productions' "Stereo Rock" Top 40 reel to reel automation package  The station went live in 1979, and changed calls in 1981 to WFWQ (95Q), continuing to do battle with 97 3 WMEE for the Top 40 audience in Fort Wayne  The station mellowed to Adult Contemporary, eventually changing to its current WAJI calls and imaging in 1985  "Majic 95" soon once again became one of Fort Wayne's top-rated stations, reaching #1 in the market several times during the late 1980s 
On March 20, 2014, the first day of spring WAJI changed names to BEST FM 95 1 WAJI reflecting the music they play today 
The station lineup consisted of "The BEST-FM Morning Show" with Sid Kelly, Angie Nash and James Raggi   Mandi Michaels, Program Director Dan Kennedy and Dave B  Goode (who also serves as the station's Promotions Director) 
Angie Nash spent the previous ten years of her career at cross-town WJFX Hot 107 9 before joining the morning show   Afternoons were handled by Dan Kennedy who also serves as the stations Director of Programming   Kennedy was VP/Programming for five station Grenax Broadcasting in Arizona prior to his arrival in Fort Wayne in 2012  Dave B  Goode hosts weeknights after spending several years at stations such as crosstown WBTU and WNHT  Dave also serves as the station's Promotions Director 
After changing formats, BEST-FM has brought in several new staff members  On June 23, 2014 it was announced that James Raggi would join Angie Nash for mornings after spending three years as an intern/producer in Boston on Kiss 108 
In September 2014 Mandi Michaels joined the staff as the new mid-day personality 
On October 24, 2014 Best FM announced the hiring of Sid Kelly  Sid was brought in to be the new host of the morning show, joining Angie and James  Sid Kelly came to WAJI after spending 3 and-a-half years at WVKS 92 5 Kiss FM in Toledo 
In July 2015 Program Director/afternoon personality Dan Kennedy announced he was leaving the station after 4 years to take a job outside of radio 
In September 2015 Captain Chris (Didier) Program Director of sister station WLDE, Fun 101 7 was named Program Director for WAJI and Operations Manager for the all 3 Fort Wayne, IN, Sarkes Tarzian radio stations 
On September 4, 2015, 95 1 rebranded back to "Majic 95 1"  The new Majic is being positioned as “Songs You Can Sing Along To” and comes with the exit of several staffers over the previous few weeks, with the first song being "You and Me" by Lifehouse  Program Director Dan Kennedy left in July for a non-radio industry position  Morning host Sid Kelly, producer James Raggi, and middayer Mandi Michaels were let go earlier that week leading up to the change  Later on, they changed their slogan to "Songs that make you feel good" 
The current WAJI line-up consists of Angie Nash, Andy Beckman, and Katrina Walburn live in mornings  According to WAJI, Katrina Walburn helps you through the Afternoons, and Andy and "Kat" in the morning do a live podcast from 5:30 AM to 10 AM EDT and EST 
On September 8, 2022, WAJI moved its CHR format and "The Twenty FM" branding from its HD2 subchannel to its HD3 subchannel 

Awards and charitable activities
In 2002, Majic 95 1 began an annual 2-day telethon called the "Majic Riley Radiothon" to raise funds for Riley Hospital for Children in Indianapolis, Indiana  In 2006,  this fundraising effort expanded to include local Fort Wayne recording facility Sweetwater Studios  The radio station and recording studio partnered to record live, acoustic music from nationally recognized artists and bands traveling through Fort Wayne  These recordings, along with others, have been used to produce an ongoing series of "Majic Miracle Music" charity CDs  100% of proceeds from the sale of these CDs benefits Riley Hospital for Children  Artists who recorded at Sweetwater Studios for "Majic Miracle Music" CDs include REO Speedwagon, Ingrid Michaelson, Lenka, Aimee Allen, Jars of Clay, Rick Springfield, Ben Jelen, Josh Kelley, Sara Bareilles, Jon McLaughlin, Gin Blossoms, and Collective Soul In 2005, 2006 and again in 2007, WAJI won Radio&Records Hot AC station of the year for their community support and programming excellence 
In late 2010, WAJI MidDay Host Barb Richards received the Bob Lind Supporter of the Year national award from the Children's Miracle Network for her active involvement in helping Riley Hospital for Children with the Majic Riley Radiothon, Majic Miracle Music releases, and involvement in other Riley Hospital-related activities In 2011, WAJI Program Director Dan Kennedy received the distinguished Edison 30 Under 30 Award for his programming achievements under the age of 30   He was also awarded the Copper Radio Award for his service to the communities of Arizona while programming a group of stations in that state  In 2015, WAJI Program Director Dan Kennedy was awarded the Fort Wayne 40 Under 40 award for service and excellence to the community 

Previous logo
Passage 4:
WEBZ
WEBZ (99 3 FM) is a commercial urban adult contemporary radio station located in Mexico Beach, Florida (Panama City metro)  The station is owned by iHeartMedia 

External links
Official Website

WEBZ in the FCC FM station database
WEBZ on Radio-Locator
WEBZ in Nielsen Audio's FM station database
Passage 5:
Light Sings
"Light Sings" is a song written by Will Holt and Gary William Friedman and performed by The 5th Dimension   It reached #12 on the U S  adult contemporary chart, #15 on the Canadian adult contemporary chart, #22 on the Canadian pop chart, and #44 on the Billboard Hot 100 in 1971   It was featured on their 1971 album, Love's Lines, Angles and Rhymes The song was produced by Bones Howe and arranged by Bob Alcivar 

In media
The song was featured in the 1970 musical, The Me Nobody Knows 
Passage 6:
All That Echoes
All That Echoes is the sixth studio album by American singer-songwriter Josh Groban, produced by Rob Cavallo  The album debuted at number one on the Billboard 200, selling 145,000 copies in its first week  The album has sold 532,000 copies in the United States as of April 2015 

Background
On November 18, 2012, the album was announced, revealing the cover art, title, and date of release: February 5, 2013  It was available for preorder through retailer Amazon com on November 27  Groban has recorded cover songs by Stevie Wonder and Glen Hansard for the album  The first track, "Brave", was released as a single on December 18, 2012  Groban promoted the album with the All That Echoes World Tour 

Track listing
Personnel
Josh Groban – vocals, piano, e-bow, additional drums
Curt Bisquera – drums
Chris Chaney – bass guitar
Tim Pierce – guitar
Ramon Stagnaro – acoustic guitar, charango
Carlos del Puerto – bass guitar
Arturo Sandoval – trumpet
Walter Afanasieff – piano
Paul Bushnell – bass guitar
Luis Conte – percussion
Matt Chamberlain – drums
Eleanore Choate – harp
Sean Hurley – bass guitar
Jamie Muhoberac – keyboards, piano
Abe Laboriel Jr  – drums, percussion
Rob Cavallo – acoustic guitar, piano, additional bass guitar
Dan Chase – drum programming, synthesizer
André Manga – bass guitar
Eric Rigler – bagpipes, low whistle
Lester Mendez – synthesizer, programming

Charts
Certifications
Passage 7:
WOKH
WOKH (102 7 FM) is an adult contemporary–formatted radio station licensed to serve Springfield, Kentucky, as well as Lebanon and Bardstown  The station is owned by Bardstown Radio Team, LLC as part of a duopoly with Bardstown–licensed country music station WBRT (1320 AM)  The two stations share studios on South Third Street in downtown Bardstown, while its transmitter facilities are located off Lanham Road in rural Washington County west of Springfield 

History
Choice Radio sold WOKH to current ownership Bardstown Radio Team, owner of WBRT, in 2017 The station has been assigned these call letters by the Federal Communications Commission since January 12, 2006 

Previous logos
Passage 8:
WNWZ
WNWZ (1410 AM, "Magic 104 9") is a radio station broadcasting an urban contemporary format, licensed to Grand Rapids, Michigan 
The station is simulcast on FM translator W285FO (104 9), licensed to Grand Rapids 

History
WGRD
The station first began broadcasting under the WGRD call sign in 1948  As AM 1410 was originally a daytime-only station, the WGRD calls stood for Grand Rapids Daytime  The station adopted the Top 40 music format in 1959 and was a top-rated station in the Grand Rapids market during the late 1950s and early 1960s, though the station had lost ground to WLAV 1340 and WZZM-FM 95 7 by the end of the decade  WGRD made a number of format adjustments in the mid-1960s in response to its falling ratings, shifting to an adult contemporary format in 1964 and then to a Top 40/oldies mix the following year before tweaking back to Top 40 in 1967  WGRD reclaimed its market dominance after it added an FM signal at 97 9 MHz in 1971 (formerly WXTO), though AM 1410 was relegated to being a simulcast of the FM signal mornings and afternoons  For part of that time middays were "shadowcast " Same format, different dj 

WXQT/Great Gold 14-K
In 1981, WGRD dropped its simulcast (middays were shadowcast) of the FM station and switched to a "Big Band" Music of Your Life format as WXQT  In 1984, WXQT flipped to oldies as "GREAT GOLD 14-K",  which stood for "14 Karat Gold", focusing on pop oldies from 1958-1972  Under the direction of PD Allen Jackson, "The NEW 14-K" featured Jack Stack (who had done mornings on WGRD and WLAV back in the 1960s) mornings, Rich Kennedy middays, Larry Olek afternoons and Pugs Stella evenings  The station earned a respectable 2 4 share 12+ in the Summer 1984 Arbitron  In 1986, the local lineup was dropped in favor of the ABC/Satellite Music Network "Pure Gold" satellite format  Ratings crashed to a 0 9 share in the summer of 1986 Arbitron, under the new call sign WKTH 

More changes
In 1988, the station adopted Satellite Music Network's Z-Rock format, keeping the WKTH call letters  The station reverted to the WGRD calls in 1991, moving back to a simulcast of 97 9 FM's CHR format (which changed to Modern Rock in 1994)  In 1996, WGRD changed calls to WRCV and switched to ABC Radio's syndicated "Real Country" format  The station continued to be a non-factor in the ratings  In September 1998, 1410 changed its calls to WNWZ and adopted a simulcast of CNN Headline News, which was replaced by News/Talk in October 2001 (mostly syndicated from the Michigan Talk Radio Network) 

La Maquina Musical
A Spanish pop hits format was adopted on January 1, 2003, and was somewhat successful in the ratings given its poor signal, often ranking as Grand Rapids' third most popular AM station (behind only WOOD and WBBL) (see: 1)  WNWZ was the first radio station to cater to the Spanish-speaking community in Grand Rapids 24 hours a day  In August 2010, a reunion of more than 60 former WGRD staff members was held in Grand Rapids, which included market legend Bruce Grant, the original program director from 1948, and dozens of other personalities from the AM 1410/97 9 history 

Funny 1410
On November 14, 2011, the station changed its format to comedy calling itself "Funny 1410" 

Touch 1410
On August 3, 2013, WNWZ flipped to Urban Adult Contemporary, branded as "The Touch"  The station became the West Michigan home of the Steve Harvey Morning Show and remains as such today  Outside of the morning show, the station aired Westwood One's "The Touch" full-time 

Magic 94 1
On June 10, 2016, WNWZ began simulcasting on FM translator W231DD (94 1, licensed to Grand Rapids), and rebranded as "Magic 94 1 " The station also dropped the "Touch" feed for locally originated programming 

Magic 104 9
On October 24, 2016, WNWZ rebranded as "Magic 104 9" as translator W231DD moved from 94 1 FM to 104 9 FM as W285FO and raised power from 88 watts to 250 watts In March 2020, WNWZ began adding more hip hop tracks, and shifted to urban contemporary, while retaining the "Magic" moniker 

Previous logo
(WNWZ's logo under previous 94 1 translator frequency)
 (WNWZ's logo under previous Urban Adult Contemporary format)
Passage 9:
I Can Only Imagine (MercyMe song)
"I Can Only Imagine" is a song by Christian rock band MercyMe  Written and composed by lead singer Bart Millard, it was originally recorded for the band's 1999 independent album The Worship Project before being included on their 2001 major-label debut album Almost There  The song was the last to be written for The Worship Project; in writing it, Millard drew upon his thoughts about his father's death  Lyrically, it imagines what it would be like to be in front of God in heaven; it opens with just a piano before building to include guitar and drums 
After being released on October 12, 2001, as the second single from Almost There, "I Can Only Imagine" became a major success on Christian radio; it spent two weeks at No  1 on the Radio & Records Christian AC chart and became the most-played Christian single of 2002  It became an unexpected mainstream hit in 2003, peaking at No  71 on the Billboard Hot 100 and No  5 on the Billboard Adult Contemporary chart while also hitting top 40, adult top 40, and country radio charts  The song returned to the charts after its story was adapted into a 2018 film of the same name, peaking at No  1 on the Billboard Christian Songs chart and No  10 on the Billboard Digital Songs chart 
"I Can Only Imagine" received positive reviews from critics  Particular praise was given to its lyrics, and some critics called it the best song on Almost There  It received the Dove Awards for Song of the Year and Pop/Contemporary Recorded Song of the Year at the 33rd GMA Dove Awards, also garnering Millard the award for Songwriter of the Year; he also won the Songwriter of the Year award at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards  In 2004, CCM Magazine ranked it as the fourth-best song in Christian music, and it has since become the most-played song in the history of Christian radio as well as the best-selling Christian song of all time; it has been certified five-times platinum by the Recording Industry Association of America (RIAA), and as of April 2018, it has sold over 2 5 million copies 

Background and recording
MercyMe was formed in 1994 by vocalist Bart Millard, guitarist Mike Scheuchzer, and keyboardist Jim Bryson  The band later brought on drummer Robby Shaffer and bassist Nathan Cochran  In their early years, they independently released four Christian alternative rock albums, drawing influence from the grunge style of rock music popular at the time  However, they realized that their original songs from these albums failed to connect with their audiences while their covers of popular worship songs were much more popular  Because of this, the band decided to write and produce an album of original worship songs  This album,  The Worship Project, utilized a simple verse–chorus format designed to easily fit on a PowerPoint screen In the last phases of production, MercyMe needed one more song to include on the album  Late at night on the band's bus, Millard found an old notebook with the phrase "I can only imagine" written in it  He began to write a song, basing it on his personal feelings about his father Arthur's death  Early in Bart's life, Arthur had been physically and emotionally abusive towards his family, with Bart being beaten severely at points; Arthur and his wife Adele eventually divorced, and Bart was sent to live with his mother after an especially extreme whipping  Bart kept in contact with his father, however, who  was later diagnosed with pancreatic cancer when Bart was 15  His father began to make amends for his actions and started becoming more religiously observant, reading the Bible and going to church regularly  As Arthur progressively became more ill, his relationship with his son improved dramatically; by the time Arthur died in 1991, when Bart was 18, the two were very close  Millard said that "I got a front row seat to see this guy go from being a monster to falling desperately in love with Jesus  By the time he passed away when I was a freshman in college, not only was he my best friend, he was like the Godliest man I’d ever known"  After Arthur's death, Bart became obsessed with the phrase "I can only imagine" after hearing his grandmother say that she could only imagine what Arthur was seeing in heaven  Millard found comfort in the thought and began to write it on anything he could find Once Millard started writing the song, he estimated that it took him only about ten minutes to write the lyrics  Millard said that it was one of the few songs he had ever written where there were not any mistakes in the writing process; "it was just written the way it is and left at that"  MercyMe initially attempted to record "I Can Only Imagine" as a fast song, but after several failed attempts, Millard talked with Bryson about arranging it into a slower version  As the band was tearing down the equipment in their recording studio, Bryson began playing a piano intro  Millard immediately decided to use the intro, and the rest of the song was completed in around five minutes  Although the rest of the band did not see how it would fit on the record, as it didn't meet the basic verse-chorus format the rest of the album had, they felt it needed to be included on it because it meant so much to Millard The Worship Project was released on October 14, 1999  Sales for the album far exceeded the band's previous efforts; Millard estimated the album's overall sales at 100,000, which other sources peg the album's sales as of 2006 at 60,000 or 65,000 copies  The difficulty of meeting sales demands when selling the album directly, in addition to having to book and manage for themselves, led the band to pursue a contract with a record label; MercyMe would sign with INO Records in 2000  "I Can Only Imagine" was one of several songs from the band's independent records that were selected to be included on their debut album with INO, Almost There (2001) 

Composition
"I Can Only Imagine" is set in the key of E major and has a tempo of 80 beats per minute  Bart Millard's vocal range in the song spans from the low note of B3 to the high note of G♯5  Millard is credited with writing and composing the song  A contemporary Christian and pop song, "I Can Only Imagine" has been considered both a ballad and a power ballad  The song opens up with only a piano, building up to include guitar and drums The song has a directly Christian message; its religious lyrics weren't edited for mainstream radio  In the song, the narrator wonders what it would be like to stand before God in heaven  In the refrain, the singer ponders "Will I dance for You Jesus/or in awe of you be still/Will I stand in Your presence or to my knees will I fall/Will I sing hallelujah/will I be able to speak at all/I can only imagine/I can only imagine"  Regarding the lyrical theme of "I Can Only Imagine", Millard explained to Fox News that "I was always told that if [my father] could choose, he would rather be in Heaven than here with me  As a Christian I believed that, but as an 18-year-old it was a little hard to swallow  So the questions in the song came from me asking God what was so great about Him that my dad would rather be there "

Critical reception
Critical reception for "I Can Only Imagine" was positive  Steve Losey of AllMusic praised it as being "passionate" and "emotionally compelling"  Kevin Chamberlin of Jesus Freak Hideout said the song's lyrics were "amazing"  It was called the "definite highlight" of Almost There by New Release Tuesday's Kevin McNeese, who also praised its piano intro, saying it "instantly invokes chills", as well as the song's lyrical content  Charisma writer Margaret Feinburg lauded the song's "heart-gripping" lyrics, and it was cited as the centerpiece of the album by Megumi Nakamura of Cross Rhythms, who called it "beautiful and touching"  Writing for CCM Magazine, Adam Woodroof described the song as "heavenly" and said it was the highlight of Almost There  Although Russ Breimeier of Christianity Today called it "beautiful and inspiring", he questioned if "I Can Only Imagine" was actually a worship song At the 33rd GMA Dove Awards in 2002, I Can Only Imagine" earned the GMA Dove Awards for Pop/Contemporary Recorded Song of the Year and Song of the Year  Millard won the award for Songwriter of the Year at the same ceremony as well as at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards, held on June 2, 2003   In 2004, CCM Magazine ranked "I Can Only Imagine" as the fourth-greatest song in Christian music 

Legacy
"I Can Only Imagine" has been regarded as MercyMe's "breakthrough hit" as well as their signature song  It is the most-played song in the history of Christian radio and one of the most-played songs in the history of contemporary music  As of April 2018, it is the best-selling Christian song of all-time  It has consistently ranked among the best-selling Christian digital songs each year in the Billboard year-end charts, ranging from number 19 in 2016 to number three in 2018  It is often requested to be played at funerals  "I Can Only Imagine" was named the official inspirational song for the state of Oklahoma in 2018; the measure was passed by the Oklahoma Legislature and signed by Governor Mary Fallin The story behind "I Can Only Imagine" was adapted into a film  Directed by the Erwin Brothers and starring J  Michael Finley as Bart Millard and Dennis Quaid as Arthur Millard, the movie was released to theaters on March 16, 2018  It received mixed to positive reviews from critics, and exceeded initial expectations at the box office, grossing $17 1 million in its opening week  This was the fourth best-ever opening for a faith-based film, behind only The Passion of the Christ, Son of God, and Heaven Is for Real  The film finished its theatrical run having grossed $83 4 million in the United States and Canada and $1 8 million in other territories for a worldwide total of $85 2 million  As of August 2019, it ranks as the fifth-highest grossing music biopic of all-time in the United States (behind Bohemian Rhapsody, Straight Outta Compton, Walk the Line, and Rocketman) and was the highest-grossing independent film of 2018 

Release and promotion
Originally, "I Can Only Imagine" was set to be released by fellow Christian artist Amy Grant  Millard had initially declined a request from Grant's record label to allow her to record the song; some segments of the Christian community had reacted negatively to her divorce, and Millard wasn't sure if he wanted to be involved  After consulting with his pastor, who felt Millard should accept the opportunity, he began to reconsider, and finally agreed to let her cover it after talking with Grant over the phone  Grant had planned to release her version of the song as the lead single from her upcoming album and MercyMe would release a different song as their first single, hoping to capitalize on having written what would presumably become a major hit for Grant  The band released their first single from Almost There, "Bless Me Indeed (Jabez's Song)", which performed poorly at Christian radio, leading to poor sales of the album  Plans were made to release another single from the record, but the band's manager, Scott Brickell, decided to reach out to Grant to see if she still planned to release her version as a single  Grant gave MercyMe her blessing to release the song as a single and signed the rights back to the band; "I Can Only Imagine" was released on October 12, 2001, as the album's second single The song debuted on the Christian AC chart on November 2, 2001, reached the No  1 position on February 22, 2002, and spent two weeks at the top spot  It also peaked at No  15 on the Radio & Records Christian CHR chart  The song became the most-played song on Christian radio in 2002  As a result of its success on radio, Almost There experienced a "surge" in sales, debuting on the Billboard 200 in December 2001 and entering the top ten on the Christian Albums chart in January 2002  The song stayed on Christian radio for so long that plans to release a third single from Almost There were cancelled, with the band instead beginning work on a new album In 2003, a Dallas mainstream radio station, 100 3 Wild-FM, played the song on its morning show, The Fitz Radio Program  They had responded to a caller's repeated requests and the urgings of the program's producer, Todd Sheppard, a former seminary student  Although it had been played almost as joke, it soon became the most requested and most played song on the station  After hearing the song played on the station, Millard called-in and spoke with the crew, and MercyMe then came in and played the song live  Big Gay Steven, one of the show's hosts, described their audience's response to the song as "overwhelming"  As other mainstream stations around the country began to play the song, MercyMe's label, INO Records, partnered with Curb Records to market the single to mainstream radio  Its initial success was seen as surprising due to its overtly religious themes, although several other Christian artists had begun achieving mainstream success at the same time, including Stacie Orrico, whose singles "Stuck" and "(There's Gotta Be) More to Life" had both hit the Billboard Hot 100  Curb began to promote the song to adult contemporary and Top 40 radio, and INO and Curb released a double A-side physical single, "I Can Only Imagine/Word of God Speak", in September 2003 "I Can Only Imagine" debuted on the Adult Contemporary chart on May 23, 2003, eventually peaking at No  5 for the chart week of September 8, 2003  "I Can Only Imagine" spent 30 weeks on the chart  The song debuted on the Billboard Hot 100 for the chart week of October 11, 2003 at No  76  The song peaked at No  71 and spent 16 non-consecutive weeks on the chart  "I Can Only Imagine" also peaked at No  1 on the Billboard Hot 100 Singles Sales chart, a component chart of the Billboard Hot 100 that ranks the best-selling physical single releases, for 10 weeks  During the week of November 22, 2003, it became the first No  1 physical single to be outsold by the highest-selling digital single of the week; for that week, "I Can Only Imagine" sold 7,500 physical copies in the United States while Outkast's "Hey Ya!" sold 8,500 digital downloads  The song also charted on the Mainstream Top 40, Adult Top 40, and Country Songs charts In 2012, "I Can Only Imagine" appeared on France's Syndicat National de l'Édition Phonographique (SNEP) chart, spending two weeks and peaking at No  65  In March 2018, following the release of the film I Can Only Imagine, which was based on the song's story, it appeared on the Billboard Christian Songs chart; because the chart had been created after the song's original run on Christian radio, it was eligible to chart for the first time  It debuted at No  2 on the Billboard Christian Songs chart and also spent a third week at No  1 on the Billboard Christian Digital Songs chart; the song had spent 425 weeks on the chart at that point, the longest run of any song in the chart's history  "I Can Only Imagine" peaked at No  1 on the Christian Songs chart on March 31, 2018, and spent three weeks at the top spot  It also peaked at No  10 on the Billboard Digital Songs chart and ranked at No  8 on the 2018 year-end Christian Songs chart In April 2010, "I Can Only Imagine" was certified platinum by the RIAA, signifying sales of over 1 million digital downloads  It was the first single by any artist in the Christian music genre to go platinum  The song was certified double platinum in September 2014, triple platinum in June 2018, and quadruple platinum in September 2019  As of March 2018, it has sold 2 5 million copies, making it the best-selling Christian single of all time 

Music video
A music video was released for "I Can Only Imagine"  According to Millard, the video's inspiration came from seeing people holding empty picture frames at their concerts, symbolizing their deceased loved ones  Millard said that the "I've had so many people after a show pull out a picture of someone they've lost  These people embrace these photos and I just thought how can we tap into that"  The video features everyday people as well as several music artists including Michael Tait, Tammy Trent, Bob Herdman, and Jesse Katina, each holding an empty picture frame to signify their loss of a loved one; as the video progresses, they are holding pictures of their loved ones including Millard with his father's photograph 

Live performances
Despite including "I Can Only Imagine" on The Worship Project, MercyMe initially did not perform the song in concerts because they felt it did not fit with the rest of the record  The band's first performance of the song did not come until the summer after the release of The Worship Project at a summer camp at the request of a camp counselor  The band has played the song at every show since as of February 2009 MercyMe's 2004 concert tour (the Imagine Tour) and 2018–19 tour (the Imagine Nation Tour) both took their name from the song MercyMe performed "I Can Only Imagine" at the 33rd GMA Dove Awards, with an accompanying "inspiring video that underscored the emotional and inspirational power of song"  The band also performed the song at the 40th GMA Dove Awards, held on April 23, 2009, in a medley with "Finally Home"  At the 2017 National Prayer Breakfast, MercyMe performed the song with President Donald Trump in attendance  In March 2018, MercyMe performed "I Can Only Imagine" live on Fox & Friends to promote the film 

Other versions
Both an acoustic and live version of "I Can Only Imagine" were included in the Platinum edition of Almost There, which was released in August 2006  MercyMe released a new recording of the song on their iTunes Originals album, which was released in March 2008  On their compilation album 10, MercyMe released a new recording of the song featuring the London Session Orchestra as well as a live version  For their 2018 compilation album I Can Only Imagine: The Very Best of MercyMe, released to commemorate the release of the movie, the band recorded an updated recording titled "I Can Only Imagine (The Movie Session)", which peaked at No  19 on the Billboard Christian Songs chart "I Can Only Imagine" has been covered by several artists  In 2002, Amy Grant released her reworked version of the song, titled "Imagine" and paired with "Sing the Wondrous Love of Jesus", on her album Legacy    Hymns and Faith  Country singer Jeff Carson's 2003 cover peaked at No  50 on the Country Songs chart, and in 2014, gospel singer Tamela Mann's cover of the song spent 13 weeks atop the Billboard Gospel Songs chart  In May 2017, Aliyah Moulden, the third-place finisher on the 12th season of the reality competition show The Voice, performed the song on the show; her version debuted and peaked at No  4 on the Billboard Christian Songs chart, selling 15,000 copies in its first week and spending two weeks on the chart in total 

Track listing
CD release
"I Can Only Imagine" – 4:06 (Bart Millard)
"Word of God Speak" – 3:07 (Peter Kipley, Millard)

Personnel
(Credits from the album liner notes)MercyMe

Bart Millard – vocals
Jim Bryson – keyboards
Nathan Cochran – bass guitar, background vocals
Mike Scheuchzer – guitar, background vocals
Robby Shaffer – drumsAdditional performers

Paltrow Performance Group – stringsTechnical

Julian Kindred – engineer
Pete Kipley – producer, programming
Skye McCaskey  – engineer
Salvo – mixing
Shane Wilson – mixing

Release and radio history
Charts and certifications
Certifications
Passage 10:
Minipops
Minipops is a television series broadcast in 1983 on Channel 4 in the United Kingdom  Designed primarily for younger viewers, it consisted of music performances on a brightly coloured set featuring preteen children singing then-contemporary pop music hits and older classics  The children were usually made to look like the original performers, including clothing and make-up  Controversy over children singing songs that often contained a subtext of adult content (in adult costumes and make-up) led to the show's cancellation after one series 

History
Minipops was the brainchild of Martin Wyatt, who created a new child group from London called the MiniPops and released an album in 1982 which reached the top 30 in the UK and Europe  This resulted in a French record label releasing a single from the album, "Stupid Cupid",  which was sung by Martin Wyatt's young daughter Jo  The song reached number 1 in France, knocking "Ebony and Ivory" off the top spot Head of Entertainment Cecil Korer at Channel 4 and record producer Mike Mansfield embraced the idea of producing a TV show around the MiniPops; Korer believed it would boost and broaden the group's audience appeal  On 4 July 1982, thousands of amateur child performers from across Britain descended on a London theatre for the audition in a search to find additional children to sing and star in the television show with the original five members of the group 

Criticism
The programme began attracting criticism from commentators in the British media for the portrayal of children in this manner (one caller on Channel 4's Right to Reply programme stated, "Minipops should be called MiniWhores  Are you people out of your mind?") 

Discography
Seven albums were produced and released in the UK, Europe and Canada 

Albums
Before the television show:

The Mini Pops (1982)After the television show:

We're the Mini Pops (1983)
Christmas (1984)
Let's Dance (1984)
Wanna Have Fun (1985)
Magic Juke Box (1986)
Rocket to the Stars (1989)In Canada We're the Mini Pops was successful, becoming the third-highest-selling album in Canada at the time  This prompted the Minipops to hold a three-week tour in 1983, enjoying controversy-free success A number of singles were released across Europe 

See also
Kidz Bop
Mini Pop Kids
Passage 11:
Adult contemporary music
Adult contemporary music (AC) is a form of radio-played popular music, ranging from 1960s vocal and 1970s soft rock music to predominantly ballad-heavy music of the present day, with varying degrees of easy listening, pop, soul, R&B, quiet storm and rock influence  Adult contemporary is generally a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music Adult contemporary tends to have lush, soothing and highly polished qualities where emphasis on melody and harmonies is accentuated  It is usually melodic enough to get a listener's attention, and is inoffensive and pleasurable enough to work well as background music  Like most of pop music, its songs tend to be written in a basic format employing a verse–chorus structure  The format is heavy on romantic sentimental ballads which mostly use acoustic instruments (though bass guitar is usually used) such as acoustic guitars, pianos, saxophones, and sometimes an orchestral set  The electric guitars are normally faint and high-pitched  However, recent adult contemporary music may feature synthesizers (and other electronics, such as drum machines) An AC radio station may play mainstream music, but it usually excludes hip-hop and some forms of dance-pop and teen pop, as these are less popular among adults, the target demographic  AC radio often targets the 25–44 age group, the demographic that has received the most attention from advertisers since the 1960s  A common practice in recent years of adult contemporary stations is to play less newer music and more hits of the past, even some songs that never even charted the AC charts   This de-emphasis on new songs slows the progression of the AC chart Over the years, AC has spawned subgenres including "hot AC" (also known as "modern AC"), "soft AC" (also known as "lite AC"), "urban AC" (a softer type of urban contemporary music), "rhythmic AC" (a softer type of rhythmic contemporary), and "Christian AC" (a softer type of contemporary Christian music)  Some stations play only "hot AC", "soft AC", or only one of the variety of subgenres  Therefore, it is not usually considered a specific genre of music; it is merely an assemblage of selected songs from artists of many different genres 

History
1960s: Early roots; easy listening and soft rock
Adult contemporary traces its roots to the 1960s easy listening format, which adopted a 70—80% instrumental to 20–30% vocal mix  A few offered 90% instrumentals, and a handful were entirely instrumental  The easy listening format, as it was first known, was born of a desire by some radio stations in the late 1950s and early 1960s to continue playing current hit songs but distinguish themselves from being branded as "rock and roll" stations  Billboard first published the Easy Listening chart July 17, 1961, with 20 songs; the first number one was "Boll Weevil Song" by Brook Benton  The chart described itself as "not too far out in either direction" Initially, the vocalists consisted of artists such as Frank Sinatra, Doris Day, Johnny Mathis, Connie Francis, Nat King Cole, Perry Como, and others  The custom recordings were usually instrumental versions of current or recent rock and roll or pop hit songs, a move intended to give the stations more mass appeal without selling out  Some stations would also occasionally play earlier big band-era recordings from the 1940s and early 1950s After 1965, differences between the Hot 100 chart and the Easy Listening chart became more pronounced  Better reflecting what middle of the road stations were actually playing, the composition of the chart changed dramatically  As rock music continued to harden, there was much less crossover between the Hot 100 and Easy Listening chart than there had been in the early half of the 1960s  Roger Miller, Barbra Streisand and Bobby Vinton were among the chart's most popular performers One big impetus for the development of the AC radio format was that, when rock and roll music first became popular in the mid-1950s, many more conservative radio stations wanted to continue to play current hit songs while shying away from rock  These middle of the road (or "MOR") stations also frequently included older, pre-rock-era adult standards and big band titles to further appeal to adult listeners who had grown up with those songs 
Another big impetus for the evolution of the AC radio format was the popularity of easy listening or "beautiful music" stations, stations with music specifically designed to be purely ambient  Whereas most easy listening music was instrumental, created by relatively unknown artists, and rarely purchased (especially as singles, although Jackie Gleason's beautiful music albums sold well in the 1950s), AC was an attempt to create a similar "lite" format by choosing certain tracks (both hit singles and album cuts) of popular artists 

1970s: Soft rock forms as a radio format
By the late 1960s hard rock had been established as one of the rock genres leading hard rock and soft rock to became distinct popular forms in the rock scene, and as major radio formats in the US  Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies  Major artists included Carole King, Cat Stevens, James Taylor and Bread In the early 1970s, softer songs by The Carpenters, Anne Murray, John Denver, Barry Manilow, and even Barbra Streisand, began to be played more often on "Top 40" radio  Top 40 radio stations played the Top 40 hits regardless of genre   As the texture of much of the music played on Top 40 radio began to soften, the Hot 100 and Easy Listening/AC charts became more similar  Easy Listening radio began playing songs by artists who had begun in other genres, such as rock and roll or R&B  Much of the music recorded by singer-songwriters such as Diana Ross, James Taylor, Carly Simon, Carole King and Janis Ian got as much, if not more, airplay on AC stations than on Top 40 stations  AC stations also began playing softer songs by Elvis Presley, Linda Ronstadt, Elton John, Rod Stewart, Billy Joel, and other rock-based artists  Soon after, the adult contemporary format began evolving into the sound that later defined it, with rock-oriented acts as Chicago and the Eagles, becoming associated with the format  In addition, several early disco songs, did well on the Adult Contemporary format 
Soft rock reached its commercial peak in the mid-to-late 1970s with acts such as Toto, England Dan & John Ford Coley, Air Supply, Seals and Crofts, Dan Fogelberg, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade  By 1977, some radio stations, notably New York's WTFM and NBC-owned WYNY, and Boston's WEEI, had switched to an all-soft rock format  As Softrock 103, WEEI was famous for its promotional campaigns, featuring slogans such as "Joni, without the baloni " and "The Byrds, without the nyrds "  However, different forms of popular music  targeted to different demographic groups, such as disco vs  hard rock, began to emerge in the late-1970s  This led to specialized radio stations that played specific genres of music, and generally followed the evolution of artists in those genres 

1980s: Adult contemporary succeeds as radio format
On April 7, 1979, the Easy Listening chart officially became known as Adult Contemporary, and those two words have remained consistent in the name of the chart ever since  Adult contemporary music became one of the most popular radio formats of the 1980s  The growth of AC was a natural result of the generation that first listened to the more "specialized" music of the mid-late 1970s growing older and not being interested in the heavy metal and rap/hip-hop music that a new generation helped to play a significant role in the Top 40 charts by the end of the decade 
Mainstream AC itself has evolved in a similar fashion over the years; traditional AC artists such as Barbra Streisand, the Carpenters, Dionne Warwick, Barry Manilow, John Denver, and Olivia Newton-John found it harder to have major Top 40 hits as the 1980s wore on, and due to the influence of MTV, artists who were staples of the Contemporary Hit Radio format, such as Richard Marx, Michael Jackson, Bonnie Tyler, George Michael, Phil Collins, Laura Branigan and Journey began crossing over to the AC charts with greater frequency  Collins has been described by AllMusic as "one of the most successful pop and adult contemporary singers of the '80s and beyond"  However, with the combination of MTV and AC radio, adult contemporary appeared harder to define as a genre, with established soft-rock artists of the past still charting pop hits and receiving airplay alongside mainstream radio fare from newer artists at the time 
The amount of crossover between the AC chart and the Hot 100 has varied based on how much the passing pop music trends of the times appealed to adult listeners  Not many disco or new wave songs were particularly successful on the AC chart during the late 1970s and early 1980s, and much of the hip-hop and harder rock music featured on CHR formats later in the decade would have been unacceptable on AC radio 
Although dance-oriented, electronic pop and ballad-oriented rock dominated the 1980s, soft rock songs still enjoyed a mild success thanks to Sheena Easton, Amy Grant, Lionel Richie, Christopher Cross, Dan Hill, Leo Sayer, Billy Ocean, Julio Iglesias, Bertie Higgins, and Tommy Page  No song spent more than six weeks at No  1 on this chart during the 1980s, with nine songs accomplishing that feat  Two of these were by Lionel Richie, "You Are" in 1983 and "Hello" in 1984, which also reached No  1 on the Hot 100 
In 1989, Linda Ronstadt released Cry Like a Rainstorm, Howl Like the Wind, described by critics as "the first true Adult Contemporary album of the decade", featuring American soul singer Aaron Neville on several of the twelve tracks  The album was certified Triple Platinum in the United States alone and became a major success throughout the globe  The Grammy Award-winning singles, "Don't Know Much" and "All My Life", were both long-running No  1 Adult Contemporary hits  Several additional singles from the disc made the AC Top 10 as well  The album won over many critics in the need to define AC, and appeared to change the tolerance and acceptance of AC music into mainstream day to day radio play 

1990s: Subgenre formations/radio crossovers
The early 1990s marked the softening of urban R&B in the shape of new jack swing, at the same time alternative rock emerged and traditional pop saw a significant resurgence  This in part led to a widening of the market, not only allowing to cater to more niche markets, but it also became customary for artists to make AC-friendly singles  At the same time, the genre began adopting elements from hard rock as tastes were shifting towards louder music, while AC stations in general began playing more rock acts  "Softer" features such as light instrumental music (carried over from the beautiful music format—many AC stations carried the format until the early 1970s), new age songs and most pre-1964 artists were gradually phased out from AC radio throughout the early to mid-1990s 
Unlike the majority of 1980s mainstream singers, the 1990s mainstream pop/R&B singers such as All-4-One, Boyz II Men, Christina Aguilera, Backstreet Boys and Savage Garden generally crossed over to the AC charts  Latin pop artists such as Lynda Thomas, Ricky Martin, Marc Anthony, Selena, Enrique Iglesias and Luis Miguel also enjoyed success in the AC charts 
In addition to Celine Dion, who has had significant success on this chart, other artists with multiple number ones on the AC chart in the 1990s include Mariah Carey, Phil Collins, Michael Bolton, Bryan Adams, Whitney Houston and Shania Twain  Newer female Adult album alternative singer-songwriters such as Sarah McLachlan, Natalie Merchant, Jewel, Melissa Etheridge and Sheryl Crow also broke through on the AC chart during this time In 1996, Billboard created a new chart called Adult Top 40, which reflects programming on radio stations that exists somewhere between "adult contemporary" music and "pop" music  Although they are sometimes mistaken for each other, the Adult Contemporary chart and the Adult Top 40 chart are separate charts, and songs reaching one chart might not reach the other  In addition, hot AC is another subgenre of radio programming that is distinct from the Hot Adult Contemporary Tracks chart as it exists today, despite the apparent similarity in name 
In response to the pressure on Hot AC, a new kind of AC format cropped up among American radio recently  The urban adult contemporary format (a term coined by Barry Mayo) usually attracts a large number of African Americans and sometimes Caucasian listeners through playing a great deal of R&B (without any form of rapping), gospel music, classic soul and dance music (including disco) 
Another format, rhythmic AC, in addition to playing all the popular hot and soft AC music, past and present, places a heavy emphasis on disco as well as 1980s and 1990s dance hits, such as those by Amber, and Black Box, and includes dance remixes of pop songs, such as the Soul Solution mix of Toni Braxton's "Unbreak My Heart" 
In its early years of existence, the smooth jazz format was considered to be a form of AC, although it was mainly instrumental, and related a stronger resemblance to the soft AC-styled music  For many years, George Benson, Kenny G and Dave Koz had all had crossover hits that were played on both smooth jazz and soft AC stations 

2000s–present: AC music goes mainstream and mainstream music goes AC
During the 2000s, the AC market gained an increased presence in the music industry, as its radio formats were popular nationwide—Smooth jazz and "Urban AC" stations were ubiquitous in the East Coast, while Soft rock and "adult standards" stations were common in the Midwest, and pop-oriented "Hot AC" and "world music"/Hispanic AC stations were easily found in the West Coast and the "Sun Belt"  This led to the presence of numerous genres on the AC charts, often crossing to the "pop" charts, winning over many critics in the need to define AC, and increased the tolerance and acceptance of AC music into mainstream day-to-day radio play 
Josh Groban's single "You Raise Me Up" and Michael Bublé's cover of "Fever" are often cited as key examples of the high production values and ballad-heavy sound that defined 2000s-era AC, often dubbed as "jazz-pop", heavily carrying classical, jazz and traditional pop influences  Artists such as Nick Lachey, James Blunt, Jamie Cullum, John Mayer, Jason Mraz, Norah Jones, Diana Krall, Amy Winehouse and Susan Boyle also achieved great success during this period  During most of the 2000s, country music/countrypolitan musicians such as Kelly Clarkson, Clay Aiken, Billy Joel, Garth Brooks, Shania Twain, LeAnn Rimes and Carrie Underwood scored hits on soft AC, particularly in Southern states  A popular trend in the late 1990s and 2000s was remixing dance music hits into adult contemporary ballads, especially in the US, (for example, the "Candlelight Mix" versions of "Heaven" by DJ Sammy, "Listen To Your Heart" by D H T , and "Everytime We Touch" by Cascada) 
Key to the success of AC in the 2000s was the 25–34 demographic which had outgrown the pop music offerings of the time, most new rock became too alternative and harsh for AC radio and most new pop was now influenced heavily by dance-pop, hip-hop and electronic dance music  At the same time, the music industry also began to focus on older audiences and markets generally considered "niche" 
During the late 2000s, certain pop songs began entering the AC charts instead, generally after having recently fallen off the Hot 100  Adrian Moreira, senior vice president for adult music for RCA Music Group, said, "We've seen a fairly tidal shift in what AC will play"  Rather than emphasizing older songs, adult contemporary now began playing many of the same songs as top 40 and adult top 40, but only after the hits had become established  An article on MTV's website by Corey Moss describes this trend as: "In other words, AC stations are where pop songs go to die a very long death  Or, to optimists, to get a second life " As adult contemporary has long characterized itself as family-friendly, "clean" versions of pop songs began appearing on the AC chart, as were the cases of "Perfect" by P!nk, and "Forget You" by Cee Lo Green, both in 2011 AC radio's shift into more mainstream pop was a result of the changes on the broadcasting landscape following the 2005–2007 economic downturn and eventual recession, as advertisers preferred more profitable chart-based formats, which meant the demise of many AC-based formulas, primarily those aimed at older audiences, with tastes changing towards more modern music among all age groups  Diminishing physical record sales throughout the 2010s also proved a major blow to the AC genre, and there are concerns that the portable people meter, a device being used to determine radio listenership, may be incompatible with AC songs and may not accurately pick up that a person is listening to an AC station because of the pitches and frequencies used in the style Key AC artists of the early to mid-2010s included Bruno Mars, Coldplay, Adele, Arcade Fire, Meghan Trainor, Maroon 5 and Ed Sheeran, featuring a more pop-influenced, uptempo style than the typical AC fare of previous years, also featuring production values reminiscent of the Motown sound and the so-called Wall of Sound that dominated the soul-heavy pop charts of the early 1960s, when the Easy Listening chart was first introduced  The earlier years of the decade also saw alternative and indie rock acts such as Wilco, Feist, The 1975, Imagine Dragons, Mumford & Sons, Of Monsters and Men and The Lumineers quickly becoming AC mainstays, although these were eventually replaced by rhythm-based rock bands such as Panic! at the Disco, Neon Trees, X Ambassadors, Sheppard, Bastille, American Authors, Fitz and the Tantrums, Foster the People, Twenty One Pilots, Walk the Moon and Milky Chance 
During the middle of the decade, newer artists such as CeeLo Green, OneRepublic, Rachel Platten, Christina Perri, Andy Grammer, James Bay, Sara Bareilles, Shawn Mendes, Sia, Sam Smith, Gavin Degraw, Charlie Puth and Colbie Caillat as well as acts that were popular in the 1990s and early 2000s such as Britney Spears and Christina Aguilera were added to the rotation of most AC stations 
As trap music and similar styles of hip-hop began dominating top 40 stations during the last years of the 2010s, AC stations began picking up rhythmic artists like Rihanna, Lady Gaga, Ellie Goulding, Taio Cruz and Pitbull as well as EDM artists like Avicii, Daft Punk, Calvin Harris, David Guetta and Tiesto  Meanwhile, younger artists like Camila Cabello, Justin Bieber, Selena Gomez, Ariana Grande, Nick Jonas and the Jonas Brothers and Halsey began to be featured on AC stations more than on top 40 stations 

Adult contemporary formats
In radio broadcasting, adult contemporary is divided into several sub-formats, each with their own musical direction and demographic targeting  Hot adult contemporary formats generally feature an uptempo rotation of recent hits that appeal to a wide adult audience  A station formatted as "adult contemporary" with no qualifier, also referred to as "mainstream adult contemporary", generally has a similar playlist to hot AC stations, but with a broader rotation of classic hits from past decades Soft adult contemporary formats have a more conservative sound oriented primarily towards adult women, urban AC focuses on R&B and soul music that appeal to African American adults, and rhythmic AC focuses on dance music and other rhythmic genres 

Hot adult contemporary
Hot adult contemporary (hot AC) radio stations play a wide range of the present day's popular music that appeals towards the 18–54 age group; it serves as a middle ground between the youth-oriented contemporary hit radio (CHR) format, and adult contemporary formats (such as "mainstream" and soft AC) that are typically targeted towards a more mature demographic  They generally feature uptempo hit music with wide appeal, such as pop and pop rock songs, while excluding more youth-oriented music such as hip-hop  Recurrents usually reflect familiar and youthful music that adults had grown up with  Likewise, mature material from pop acts such as the Backstreet Boys, Jason Mraz, John Mayer, and Pink have also been prominent within the format The "hot AC" designation began to appear in the 1990s, to describe adult contemporary stations with a more energetic presentation and uptempo sound than their softer counterparts  An early example of the format, Houston's KHMX Mix 96 5, climbed from 14th place in the market to 3rd in the six months after its launch  The station's format and branding was widely replicated by other stations  Many hot AC outlets are among the top stations in their respective market Initially focused more on pop rock, the format has evolved to reflect changes in the composition of this audience; by the mid-2000s, the format had evolved to include more uptempo pop music, while alternative and indie rock crossovers (such as Foster the People, Imagine Dragons, Lovelytheband, and Twenty One Pilots) became more prevalent within the format during the 2010s These developments helped to expand the popularity of the format among younger listeners such as millennials; Nielsen Audio ranked hot AC as the third most-popular format among millennials, behind pop and country music  Of the format's expanding demographic reach, WOMX-FM program director Dana Taylor stated that hot AC stations "may not be the radio station that everybody agrees on, but it's a radio station that everybody goes, 'I'm okay with that' " The increasingly downtempo direction of pop hits in the mid-to-late 2010's also helped to attract additional listeners Hot AC stations typically keep a larger body of recent hits in rotation than those with rigid, chart-driven formats like CHR and urban contemporary  As these stations' playlists have become concentrated towards airing only the current hits at a given time, hot AC airplay can build and sustain a song's popularity over a long-term period  This effect has been credited in helping build an audience for early singles from new acts such as Adele, Rachel Platten ("Fight Song", which gained prominence for its use during Hillary Clinton's 2016 US presidential election campaign), and Max Schneider (whose 2016 single "Lights Down Low", over a year after its original release, became a sleeper hit on the Billboard Mainstream Top 40 and Hot 100 due in part to strong hot AC airplay) The popularity of the hot AC format prompted many mainstream AC stations to add uptempo music to their playlists, while still maintaining a deeper rotation of older hits than hot AC stations 

Modern adult contemporary
Modern adult contemporary refers to AC formats with a stronger lean towards modern rock and pop rock 
In the 1990s and early 2000s, modern AC was typically targeted towards women, with Mike Marino of KMXB in Las Vegas describing the format as reaching "an audience that has outgrown the edgier hip-hop or alternative music but hasn't gotten old and sappy enough for the soft ACs " The format typically focused on female rock acts such as Shawn Colvin, Sheryl Crow, Indigo Girls, Jewel, and Sarah McLachlan, and folk rock-influenced bands such as Counting Crows and The Wallflowers  Today, the format is fairly uncommon, with KTCZ in the Minnesota Twin Cities being one of the few modern AC stations left 

Soft adult contemporary
The Soft adult contemporary format typically targets women 25–54 and at-work listening  Soft AC playlists are generally conservative in comparison to hot AC, focusing on pop and power ballads, soft rock, and other familiar, light hits  Upon its establishment in the 1980s, the soft AC format was positioned as being a more upbeat version of easy listening that would appeal better to a younger audience, mainly by excluding instrumental beautiful music  Easy listening stations had begun shifting to the format out of concern that their existing programming would not appeal to the current generation of listeners In a 1990 article, James Warren of the Chicago Tribune characterized soft AC stations as being "as middle-of-the-road and unthreatening as modern media get", with personalities that were encouraged to be as inoffensive and "low-profile" as possible, and a more conservative music library than hot AC-leaning stations  In particular, Chicago's WLIT did not have its airstaff talk over the beginning and endings of songs (in contrast to the hot AC-leaning WFYR), and played Bob Seger's "We've Got Tonite" but not "Old Time Rock and Roll" (which was part of WTMX's playlist)  The director of a soft AC station in Connecticut, WEZN-FM, told Warren that he had barred the reading of top-of-hour news headlines, so that listeners wouldn't be tempted to tune away to an all-news station to learn more Soft AC stations tend to be more selective in their music libraries than other adult contemporary stations, preferring proven songs over current hits  Upon the onset of the format's popularity, core artists typically included singers such as Nat King Cole, Perry Como, Neil Diamond, Barry Manilow, Johnny Mathis, and Barbra Streisand  By the 1990s, to improve their appeal among changing demographics, some soft AC stations began to widen their playlist to include selections from contemporary acts with 80s, & 90s, musicians & bands such as Bon Jovi, Bryan Adams, Celine Dion, Roxette, Mariah Carey, Eric Clapton, Phil Collins, Elton John, Cher, Whitney Houston, Journey, and Queen  On the other hand, by 1996, New York's WLTW had begun to phase out its softer music in favor of a more uptempo direction In 2017, Inside Radio reported that soft AC had the third-largest decrease in US stations offering the format over the past decade (at 128), ranking behind only adult standards and oldies—a shift credited to aging demographics and a major boom in the wider-appealing classic hits format (which saw the largest overall increase over the same period)  Consultant Gary Berkowitz argued that the soft AC format had become increasingly irrelevant in comparison to mainstream and hot AC, due to PPM markets preferring uptempo music At the same time, however, soft AC began to experience a resurgence  In April 2016, iHeartMedia flipped its San Francisco classic soul station KISQ to soft AC as The Breeze; as of November 2018, it was the top station in the Bay Area  The trend continued into 2017 and 2018, with iHeartMedia extending its Breeze brand to other soft AC flips, and the brand (among others) being adopted by competitors such as Entercom  Industry analyst Sean Ross argued that older demographics were becoming more lucrative due to changes in listening habits among younger audiences, which prefer digital platforms such as music streaming services over linear terrestrial radio, and also noted how mainstream AC was dependent on the Top 40 charts to break new songs Current soft AC stations have continued to feature recurrents such as Michael Bolton, Celine Dion, Elton John, Fleetwood Mac, Hall & Oates, and Whitney Houston, while contemporary musicians such as Adele and Michael Bublé have also become modern fixtures of the format  In addition, the soft AC sound has diversified to include more songs that are "safe and universal" and not necessarily "soft", with Ross presenting Examples such as Simple Minds' "Don't You (Forget About Me)", as well as the retroactively-defined genre of yacht rock  Over time, some stations have gradually adjusted their playlists to include more recurrents from the 1980s and 1970s (although not to the same extent as other "soft oldies" formats, such as MeTV FM, which have also grown in popularity) 

Urban adult contemporary
The Urban adult contemporary format focuses primarily on current and classic R&B and soul music,  The format typically targets African-American adults: July 2018 numbers from Nielsen Audio recorded it as the top format among African-Americans 25–54 and 35–64  It also has a sizable popularity among younger listeners, ranking behind urban contemporary as the second-most popular format among African-American adults 18–34 in the same report, with an 18 9 audience share The format typically excludes youthful rhythmic music, such as commercial hip-hop and rap, that are usually associated with the urban contemporary format  The urban AC format is also associated with the "quiet storm"—mellower R&B ballads and slow jams, often in a jazz-influenced style  The syndicated evening program Keith Sweat Hotel focuses specifically on such music As urban contemporary stations prefer hit-driven hip-hop songs, labels typically service R&B songs to the urban AC format only  Some current R&B musicians have complained that this is an artificial divide that prevents them from reaching a wider, mainstream audience (citing the relatively smaller number of urban AC outlets in comparison to urban and rhythmic), even with attempts to give some singles a hip-hop-influenced sound to improve the potential for crossover appeal  Some acts have attempted to disassociate themselves from "R&B" to reduce the effect of this stigma, although streaming services have helped to expose R&B to a wider audience beyond urban AC radio 

Rhythmic adult contemporary
The Rhythmic adult contemporary format generally focuses on a variety of current and classic dance music, such as dance-pop, hip-hop, and R&B (often resembling a blend of the Classic hits and hot AC formats in practice)  The exact composition of current and recurrent content can vary between stations, depending on local cultures and the heritage of rhythmic formats in the market, ranging from late-80s/early-90s dance hits (including latin freestyle), to disco and Motown  Rhythmic hot AC has also been used as a format, popularized by stations such as New York's WKTU 

Smooth adult contemporary
The Smooth adult contemporary format is a variant of the smooth jazz format that incorporates mainstream and/or urban adult contemporary songs; they are designed to appeal to a wider range of demographics than a straight smooth jazz format  Some smooth AC stations may limit their airplay of jazz instrumentals to those by better-known performers such as Kenny G 

Christian adult contemporary
Contemporary Christian music (CCM) has several subgenres, one being "Christian AC"  Radio & Records, for instance, lists Christian AC among its format charts  There has been crossover to mainstream and hot AC formats by many of the core artists of the Christian AC genre, notably Amy Grant, Michael W  Smith, Kathy Troccoli, Steven Curtis Chapman, Plumb, and more recently Big Daddy Weave, Casting Crowns, For King & Country, Lauren Daigle, MercyMe, and Newsboys 

Adult album alternative
The Adult album alternative (triple-A or AAA) format generally features a diverse playlist of music that appeals to an adult audience, with a focus on emerging songs and artists, and often featuring songs that were not released as singles  The exact composition of a triple-A station's playlist can vary, with alternative rock, indie rock, and indie pop commonly used as core genres, and some stations featuring more uncommon genres such as alternative country, Americana, blues, folk music, and world music  NPR observed in 2018 that roughly half of all triple-A stations in the U S  were non-commercial stations  With the wide variety of music that is serviced to the format, adult album alternative charts have often served as a feeder for the Adult Top 40, and have been credited for breaking acts such as Dave Matthews Band and Lorde 

Christmas music
Since the 1990s it has become common for many AC stations, particularly soft AC stations, to play primarily or exclusively Christmas music during the Christmas season in November and December  While these tend mostly to be contemporary seasonal recordings by the same artists featured under the normal format, most stations will also air at least some vintage holiday tunes from older pop, MOR, and adult standards artists – such as  
Boney M , The Carpenters, Nat King Cole, Perry Como, Bing Crosby, Percy Faith, Mannheim Steamroller, Dean Martin, Johnny Mathis, Trans-Siberian Orchestra, and Andy Williams – many of whom would never be played on these stations during the rest of the year 
These Christmas music marathons typically start a few weeks before Thanksgiving Day and end after Christmas Day, or sometimes extending to New Year's Day  Afterwards, the stations usually resume their normal music fare  Several stations begin the holiday format much earlier, at the beginning of November especially after Halloween  The roots of this tradition can be traced back to the beautiful music and easy listening stations of the 1960s and 1970s 

Syndicated radio shows and networks carrying the adult contemporary format
Delilah – One of the US's most popular radio shows, Delilah airs primarily in the evening  Its Christmas Edition airs from mid-November to late December 
Intelligence for Your Life – Hosted by John Tesh, this show also airs evenings and also on weekends 
American Top 40 with Ryan Seacrest – One version of AT40 airs on US hot AC stations, which is a little different from its Top-40/CHR counterpart 
Rick Dees Weekly Top 40/Weekly Top 30 – Began offering Hot AC versions of the popular countdown show in June 1996  These shows feature the top 20 Hot AC songs in the US along with about 10 past hits from the 1980s, 1990s and early 2000s (decade)  A softer "AC" version was added in July 2009 to try to fill in the void left by Casey Kasem ending his AC countdown 
Radio Disney Music Top 30 Countdown, One version is for Hot AC stations, the other version is for Mainstream AC stations  Plays the USA Top 30 songs of the week according to Mediabase and a music rating service called ratethemusic com  This show, like Rick Dees' show, is distributed by Compass Media Networks 
Backtrax USA with Kid Kelly – Weekend programs focusing on the '80s and '90s, targeted for hot AC stations 
ABC and Dial Global both offer AC 24-hour networks programming soft and hot AC 
Tom Joyner and Steve Harvey have popular morning shows that air on urban AC (and sometimes Hip-Hop) stations  Both shows are often heard on competing stations in the same city, such as St  Louis, Philadelphia and Atlanta  Joyner's show is syndicated by ABC Radio, and Harvey's show by Premiere Radio Networks 
Retro Rewind with Dave Harris is a weekend-based radio show highlighting a massive playlist of songs from the 1980s and 1990s, interviews, spotlights and contests  The show is done live across the US on Saturday nights, taking audience requests  The show is targeted towards HOT AC and AC radio stations 
The EZ Rock network is a brand/network of soft AC heard in Canada 
Heart - A radio network in the UK that grew throughout 2009 as more stations were rebranded as "Heart" 
Smooth Radio – A UK-wide radio network that formed from six regional Smooth Radio stations 
Smoothfm – A network of two Australian commercial radio stations (based in Sydney and Melbourne) that are focused on providing an eclectic easy-listening playlist, usually featuring ballads 
Nova – A network of five Australian commercial radio station (based in Sydney, Melbourne, Brisbane, Adelaide and Perth) that are very similar to Smoothfm 
The Breeze – A group of New Zealand adult contemporary radio stations owned by MediaWorks Radio  There are 20 stations currently broadcasting throughout New Zealand 
The Bob and Sheri Show – American morning drive show based in Charlotte, North Carolina  Heard on more than 50 AC stations and the American Forces NetworkFormer syndicated programming includes Dick Clark's US Music Survey (1996–2005), Casey's Hot 20/Casey's Countdown/American Top 20/10 (1992–2009) and Top 30 USA 

See also
Adult Contemporary, a chart appearing in Billboard since 1961  This chart is typically (but not exclusively) closer to soft AC 
New-age music
Yacht rock
Context 2: Passage 1:
I Can Only Imagine (MercyMe song)
"I Can Only Imagine" is a song by Christian rock band MercyMe  Written and composed by lead singer Bart Millard, it was originally recorded for the band's 1999 independent album The Worship Project before being included on their 2001 major-label debut album Almost There  The song was the last to be written for The Worship Project; in writing it, Millard drew upon his thoughts about his father's death  Lyrically, it imagines what it would be like to be in front of God in heaven; it opens with just a piano before building to include guitar and drums 
After being released on October 12, 2001, as the second single from Almost There, "I Can Only Imagine" became a major success on Christian radio; it spent two weeks at No  1 on the Radio & Records Christian AC chart and became the most-played Christian single of 2002  It became an unexpected mainstream hit in 2003, peaking at No  71 on the Billboard Hot 100 and No  5 on the Billboard Adult Contemporary chart while also hitting top 40, adult top 40, and country radio charts  The song returned to the charts after its story was adapted into a 2018 film of the same name, peaking at No  1 on the Billboard Christian Songs chart and No  10 on the Billboard Digital Songs chart 
"I Can Only Imagine" received positive reviews from critics  Particular praise was given to its lyrics, and some critics called it the best song on Almost There  It received the Dove Awards for Song of the Year and Pop/Contemporary Recorded Song of the Year at the 33rd GMA Dove Awards, also garnering Millard the award for Songwriter of the Year; he also won the Songwriter of the Year award at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards  In 2004, CCM Magazine ranked it as the fourth-best song in Christian music, and it has since become the most-played song in the history of Christian radio as well as the best-selling Christian song of all time; it has been certified five-times platinum by the Recording Industry Association of America (RIAA), and as of April 2018, it has sold over 2 5 million copies 

Background and recording
MercyMe was formed in 1994 by vocalist Bart Millard, guitarist Mike Scheuchzer, and keyboardist Jim Bryson  The band later brought on drummer Robby Shaffer and bassist Nathan Cochran  In their early years, they independently released four Christian alternative rock albums, drawing influence from the grunge style of rock music popular at the time  However, they realized that their original songs from these albums failed to connect with their audiences while their covers of popular worship songs were much more popular  Because of this, the band decided to write and produce an album of original worship songs  This album,  The Worship Project, utilized a simple verse–chorus format designed to easily fit on a PowerPoint screen In the last phases of production, MercyMe needed one more song to include on the album  Late at night on the band's bus, Millard found an old notebook with the phrase "I can only imagine" written in it  He began to write a song, basing it on his personal feelings about his father Arthur's death  Early in Bart's life, Arthur had been physically and emotionally abusive towards his family, with Bart being beaten severely at points; Arthur and his wife Adele eventually divorced, and Bart was sent to live with his mother after an especially extreme whipping  Bart kept in contact with his father, however, who  was later diagnosed with pancreatic cancer when Bart was 15  His father began to make amends for his actions and started becoming more religiously observant, reading the Bible and going to church regularly  As Arthur progressively became more ill, his relationship with his son improved dramatically; by the time Arthur died in 1991, when Bart was 18, the two were very close  Millard said that "I got a front row seat to see this guy go from being a monster to falling desperately in love with Jesus  By the time he passed away when I was a freshman in college, not only was he my best friend, he was like the Godliest man I’d ever known"  After Arthur's death, Bart became obsessed with the phrase "I can only imagine" after hearing his grandmother say that she could only imagine what Arthur was seeing in heaven  Millard found comfort in the thought and began to write it on anything he could find Once Millard started writing the song, he estimated that it took him only about ten minutes to write the lyrics  Millard said that it was one of the few songs he had ever written where there were not any mistakes in the writing process; "it was just written the way it is and left at that"  MercyMe initially attempted to record "I Can Only Imagine" as a fast song, but after several failed attempts, Millard talked with Bryson about arranging it into a slower version  As the band was tearing down the equipment in their recording studio, Bryson began playing a piano intro  Millard immediately decided to use the intro, and the rest of the song was completed in around five minutes  Although the rest of the band did not see how it would fit on the record, as it didn't meet the basic verse-chorus format the rest of the album had, they felt it needed to be included on it because it meant so much to Millard The Worship Project was released on October 14, 1999  Sales for the album far exceeded the band's previous efforts; Millard estimated the album's overall sales at 100,000, which other sources peg the album's sales as of 2006 at 60,000 or 65,000 copies  The difficulty of meeting sales demands when selling the album directly, in addition to having to book and manage for themselves, led the band to pursue a contract with a record label; MercyMe would sign with INO Records in 2000  "I Can Only Imagine" was one of several songs from the band's independent records that were selected to be included on their debut album with INO, Almost There (2001) 

Composition
"I Can Only Imagine" is set in the key of E major and has a tempo of 80 beats per minute  Bart Millard's vocal range in the song spans from the low note of B3 to the high note of G♯5  Millard is credited with writing and composing the song  A contemporary Christian and pop song, "I Can Only Imagine" has been considered both a ballad and a power ballad  The song opens up with only a piano, building up to include guitar and drums The song has a directly Christian message; its religious lyrics weren't edited for mainstream radio  In the song, the narrator wonders what it would be like to stand before God in heaven  In the refrain, the singer ponders "Will I dance for You Jesus/or in awe of you be still/Will I stand in Your presence or to my knees will I fall/Will I sing hallelujah/will I be able to speak at all/I can only imagine/I can only imagine"  Regarding the lyrical theme of "I Can Only Imagine", Millard explained to Fox News that "I was always told that if [my father] could choose, he would rather be in Heaven than here with me  As a Christian I believed that, but as an 18-year-old it was a little hard to swallow  So the questions in the song came from me asking God what was so great about Him that my dad would rather be there "

Critical reception
Critical reception for "I Can Only Imagine" was positive  Steve Losey of AllMusic praised it as being "passionate" and "emotionally compelling"  Kevin Chamberlin of Jesus Freak Hideout said the song's lyrics were "amazing"  It was called the "definite highlight" of Almost There by New Release Tuesday's Kevin McNeese, who also praised its piano intro, saying it "instantly invokes chills", as well as the song's lyrical content  Charisma writer Margaret Feinburg lauded the song's "heart-gripping" lyrics, and it was cited as the centerpiece of the album by Megumi Nakamura of Cross Rhythms, who called it "beautiful and touching"  Writing for CCM Magazine, Adam Woodroof described the song as "heavenly" and said it was the highlight of Almost There  Although Russ Breimeier of Christianity Today called it "beautiful and inspiring", he questioned if "I Can Only Imagine" was actually a worship song At the 33rd GMA Dove Awards in 2002, I Can Only Imagine" earned the GMA Dove Awards for Pop/Contemporary Recorded Song of the Year and Song of the Year  Millard won the award for Songwriter of the Year at the same ceremony as well as at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards, held on June 2, 2003   In 2004, CCM Magazine ranked "I Can Only Imagine" as the fourth-greatest song in Christian music 

Legacy
"I Can Only Imagine" has been regarded as MercyMe's "breakthrough hit" as well as their signature song  It is the most-played song in the history of Christian radio and one of the most-played songs in the history of contemporary music  As of April 2018, it is the best-selling Christian song of all-time  It has consistently ranked among the best-selling Christian digital songs each year in the Billboard year-end charts, ranging from number 19 in 2016 to number three in 2018  It is often requested to be played at funerals  "I Can Only Imagine" was named the official inspirational song for the state of Oklahoma in 2018; the measure was passed by the Oklahoma Legislature and signed by Governor Mary Fallin The story behind "I Can Only Imagine" was adapted into a film  Directed by the Erwin Brothers and starring J  Michael Finley as Bart Millard and Dennis Quaid as Arthur Millard, the movie was released to theaters on March 16, 2018  It received mixed to positive reviews from critics, and exceeded initial expectations at the box office, grossing $17 1 million in its opening week  This was the fourth best-ever opening for a faith-based film, behind only The Passion of the Christ, Son of God, and Heaven Is for Real  The film finished its theatrical run having grossed $83 4 million in the United States and Canada and $1 8 million in other territories for a worldwide total of $85 2 million  As of August 2019, it ranks as the fifth-highest grossing music biopic of all-time in the United States (behind Bohemian Rhapsody, Straight Outta Compton, Walk the Line, and Rocketman) and was the highest-grossing independent film of 2018 

Release and promotion
Originally, "I Can Only Imagine" was set to be released by fellow Christian artist Amy Grant  Millard had initially declined a request from Grant's record label to allow her to record the song; some segments of the Christian community had reacted negatively to her divorce, and Millard wasn't sure if he wanted to be involved  After consulting with his pastor, who felt Millard should accept the opportunity, he began to reconsider, and finally agreed to let her cover it after talking with Grant over the phone  Grant had planned to release her version of the song as the lead single from her upcoming album and MercyMe would release a different song as their first single, hoping to capitalize on having written what would presumably become a major hit for Grant  The band released their first single from Almost There, "Bless Me Indeed (Jabez's Song)", which performed poorly at Christian radio, leading to poor sales of the album  Plans were made to release another single from the record, but the band's manager, Scott Brickell, decided to reach out to Grant to see if she still planned to release her version as a single  Grant gave MercyMe her blessing to release the song as a single and signed the rights back to the band; "I Can Only Imagine" was released on October 12, 2001, as the album's second single The song debuted on the Christian AC chart on November 2, 2001, reached the No  1 position on February 22, 2002, and spent two weeks at the top spot  It also peaked at No  15 on the Radio & Records Christian CHR chart  The song became the most-played song on Christian radio in 2002  As a result of its success on radio, Almost There experienced a "surge" in sales, debuting on the Billboard 200 in December 2001 and entering the top ten on the Christian Albums chart in January 2002  The song stayed on Christian radio for so long that plans to release a third single from Almost There were cancelled, with the band instead beginning work on a new album In 2003, a Dallas mainstream radio station, 100 3 Wild-FM, played the song on its morning show, The Fitz Radio Program  They had responded to a caller's repeated requests and the urgings of the program's producer, Todd Sheppard, a former seminary student  Although it had been played almost as joke, it soon became the most requested and most played song on the station  After hearing the song played on the station, Millard called-in and spoke with the crew, and MercyMe then came in and played the song live  Big Gay Steven, one of the show's hosts, described their audience's response to the song as "overwhelming"  As other mainstream stations around the country began to play the song, MercyMe's label, INO Records, partnered with Curb Records to market the single to mainstream radio  Its initial success was seen as surprising due to its overtly religious themes, although several other Christian artists had begun achieving mainstream success at the same time, including Stacie Orrico, whose singles "Stuck" and "(There's Gotta Be) More to Life" had both hit the Billboard Hot 100  Curb began to promote the song to adult contemporary and Top 40 radio, and INO and Curb released a double A-side physical single, "I Can Only Imagine/Word of God Speak", in September 2003 "I Can Only Imagine" debuted on the Adult Contemporary chart on May 23, 2003, eventually peaking at No  5 for the chart week of September 8, 2003  "I Can Only Imagine" spent 30 weeks on the chart  The song debuted on the Billboard Hot 100 for the chart week of October 11, 2003 at No  76  The song peaked at No  71 and spent 16 non-consecutive weeks on the chart  "I Can Only Imagine" also peaked at No  1 on the Billboard Hot 100 Singles Sales chart, a component chart of the Billboard Hot 100 that ranks the best-selling physical single releases, for 10 weeks  During the week of November 22, 2003, it became the first No  1 physical single to be outsold by the highest-selling digital single of the week; for that week, "I Can Only Imagine" sold 7,500 physical copies in the United States while Outkast's "Hey Ya!" sold 8,500 digital downloads  The song also charted on the Mainstream Top 40, Adult Top 40, and Country Songs charts In 2012, "I Can Only Imagine" appeared on France's Syndicat National de l'Édition Phonographique (SNEP) chart, spending two weeks and peaking at No  65  In March 2018, following the release of the film I Can Only Imagine, which was based on the song's story, it appeared on the Billboard Christian Songs chart; because the chart had been created after the song's original run on Christian radio, it was eligible to chart for the first time  It debuted at No  2 on the Billboard Christian Songs chart and also spent a third week at No  1 on the Billboard Christian Digital Songs chart; the song had spent 425 weeks on the chart at that point, the longest run of any song in the chart's history  "I Can Only Imagine" peaked at No  1 on the Christian Songs chart on March 31, 2018, and spent three weeks at the top spot  It also peaked at No  10 on the Billboard Digital Songs chart and ranked at No  8 on the 2018 year-end Christian Songs chart In April 2010, "I Can Only Imagine" was certified platinum by the RIAA, signifying sales of over 1 million digital downloads  It was the first single by any artist in the Christian music genre to go platinum  The song was certified double platinum in September 2014, triple platinum in June 2018, and quadruple platinum in September 2019  As of March 2018, it has sold 2 5 million copies, making it the best-selling Christian single of all time 

Music video
A music video was released for "I Can Only Imagine"  According to Millard, the video's inspiration came from seeing people holding empty picture frames at their concerts, symbolizing their deceased loved ones  Millard said that the "I've had so many people after a show pull out a picture of someone they've lost  These people embrace these photos and I just thought how can we tap into that"  The video features everyday people as well as several music artists including Michael Tait, Tammy Trent, Bob Herdman, and Jesse Katina, each holding an empty picture frame to signify their loss of a loved one; as the video progresses, they are holding pictures of their loved ones including Millard with his father's photograph 

Live performances
Despite including "I Can Only Imagine" on The Worship Project, MercyMe initially did not perform the song in concerts because they felt it did not fit with the rest of the record  The band's first performance of the song did not come until the summer after the release of The Worship Project at a summer camp at the request of a camp counselor  The band has played the song at every show since as of February 2009 MercyMe's 2004 concert tour (the Imagine Tour) and 2018–19 tour (the Imagine Nation Tour) both took their name from the song MercyMe performed "I Can Only Imagine" at the 33rd GMA Dove Awards, with an accompanying "inspiring video that underscored the emotional and inspirational power of song"  The band also performed the song at the 40th GMA Dove Awards, held on April 23, 2009, in a medley with "Finally Home"  At the 2017 National Prayer Breakfast, MercyMe performed the song with President Donald Trump in attendance  In March 2018, MercyMe performed "I Can Only Imagine" live on Fox & Friends to promote the film 

Other versions
Both an acoustic and live version of "I Can Only Imagine" were included in the Platinum edition of Almost There, which was released in August 2006  MercyMe released a new recording of the song on their iTunes Originals album, which was released in March 2008  On their compilation album 10, MercyMe released a new recording of the song featuring the London Session Orchestra as well as a live version  For their 2018 compilation album I Can Only Imagine: The Very Best of MercyMe, released to commemorate the release of the movie, the band recorded an updated recording titled "I Can Only Imagine (The Movie Session)", which peaked at No  19 on the Billboard Christian Songs chart "I Can Only Imagine" has been covered by several artists  In 2002, Amy Grant released her reworked version of the song, titled "Imagine" and paired with "Sing the Wondrous Love of Jesus", on her album Legacy    Hymns and Faith  Country singer Jeff Carson's 2003 cover peaked at No  50 on the Country Songs chart, and in 2014, gospel singer Tamela Mann's cover of the song spent 13 weeks atop the Billboard Gospel Songs chart  In May 2017, Aliyah Moulden, the third-place finisher on the 12th season of the reality competition show The Voice, performed the song on the show; her version debuted and peaked at No  4 on the Billboard Christian Songs chart, selling 15,000 copies in its first week and spending two weeks on the chart in total 

Track listing
CD release
"I Can Only Imagine" – 4:06 (Bart Millard)
"Word of God Speak" – 3:07 (Peter Kipley, Millard)

Personnel
(Credits from the album liner notes)MercyMe

Bart Millard – vocals
Jim Bryson – keyboards
Nathan Cochran – bass guitar, background vocals
Mike Scheuchzer – guitar, background vocals
Robby Shaffer – drumsAdditional performers

Paltrow Performance Group – stringsTechnical

Julian Kindred – engineer
Pete Kipley – producer, programming
Skye McCaskey  – engineer
Salvo – mixing
Shane Wilson – mixing

Release and radio history
Charts and certifications
Certifications
Passage 2:
WEBZ
WEBZ (99 3 FM) is a commercial urban adult contemporary radio station located in Mexico Beach, Florida (Panama City metro)  The station is owned by iHeartMedia 

External links
Official Website

WEBZ in the FCC FM station database
WEBZ on Radio-Locator
WEBZ in Nielsen Audio's FM station database
Passage 3:
Adult contemporary music
Adult contemporary music (AC) is a form of radio-played popular music, ranging from 1960s vocal and 1970s soft rock music to predominantly ballad-heavy music of the present day, with varying degrees of easy listening, pop, soul, R&B, quiet storm and rock influence  Adult contemporary is generally a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music Adult contemporary tends to have lush, soothing and highly polished qualities where emphasis on melody and harmonies is accentuated  It is usually melodic enough to get a listener's attention, and is inoffensive and pleasurable enough to work well as background music  Like most of pop music, its songs tend to be written in a basic format employing a verse–chorus structure  The format is heavy on romantic sentimental ballads which mostly use acoustic instruments (though bass guitar is usually used) such as acoustic guitars, pianos, saxophones, and sometimes an orchestral set  The electric guitars are normally faint and high-pitched  However, recent adult contemporary music may feature synthesizers (and other electronics, such as drum machines) An AC radio station may play mainstream music, but it usually excludes hip-hop and some forms of dance-pop and teen pop, as these are less popular among adults, the target demographic  AC radio often targets the 25–44 age group, the demographic that has received the most attention from advertisers since the 1960s  A common practice in recent years of adult contemporary stations is to play less newer music and more hits of the past, even some songs that never even charted the AC charts   This de-emphasis on new songs slows the progression of the AC chart Over the years, AC has spawned subgenres including "hot AC" (also known as "modern AC"), "soft AC" (also known as "lite AC"), "urban AC" (a softer type of urban contemporary music), "rhythmic AC" (a softer type of rhythmic contemporary), and "Christian AC" (a softer type of contemporary Christian music)  Some stations play only "hot AC", "soft AC", or only one of the variety of subgenres  Therefore, it is not usually considered a specific genre of music; it is merely an assemblage of selected songs from artists of many different genres 

History
1960s: Early roots; easy listening and soft rock
Adult contemporary traces its roots to the 1960s easy listening format, which adopted a 70—80% instrumental to 20–30% vocal mix  A few offered 90% instrumentals, and a handful were entirely instrumental  The easy listening format, as it was first known, was born of a desire by some radio stations in the late 1950s and early 1960s to continue playing current hit songs but distinguish themselves from being branded as "rock and roll" stations  Billboard first published the Easy Listening chart July 17, 1961, with 20 songs; the first number one was "Boll Weevil Song" by Brook Benton  The chart described itself as "not too far out in either direction" Initially, the vocalists consisted of artists such as Frank Sinatra, Doris Day, Johnny Mathis, Connie Francis, Nat King Cole, Perry Como, and others  The custom recordings were usually instrumental versions of current or recent rock and roll or pop hit songs, a move intended to give the stations more mass appeal without selling out  Some stations would also occasionally play earlier big band-era recordings from the 1940s and early 1950s After 1965, differences between the Hot 100 chart and the Easy Listening chart became more pronounced  Better reflecting what middle of the road stations were actually playing, the composition of the chart changed dramatically  As rock music continued to harden, there was much less crossover between the Hot 100 and Easy Listening chart than there had been in the early half of the 1960s  Roger Miller, Barbra Streisand and Bobby Vinton were among the chart's most popular performers One big impetus for the development of the AC radio format was that, when rock and roll music first became popular in the mid-1950s, many more conservative radio stations wanted to continue to play current hit songs while shying away from rock  These middle of the road (or "MOR") stations also frequently included older, pre-rock-era adult standards and big band titles to further appeal to adult listeners who had grown up with those songs 
Another big impetus for the evolution of the AC radio format was the popularity of easy listening or "beautiful music" stations, stations with music specifically designed to be purely ambient  Whereas most easy listening music was instrumental, created by relatively unknown artists, and rarely purchased (especially as singles, although Jackie Gleason's beautiful music albums sold well in the 1950s), AC was an attempt to create a similar "lite" format by choosing certain tracks (both hit singles and album cuts) of popular artists 

1970s: Soft rock forms as a radio format
By the late 1960s hard rock had been established as one of the rock genres leading hard rock and soft rock to became distinct popular forms in the rock scene, and as major radio formats in the US  Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies  Major artists included Carole King, Cat Stevens, James Taylor and Bread In the early 1970s, softer songs by The Carpenters, Anne Murray, John Denver, Barry Manilow, and even Barbra Streisand, began to be played more often on "Top 40" radio  Top 40 radio stations played the Top 40 hits regardless of genre   As the texture of much of the music played on Top 40 radio began to soften, the Hot 100 and Easy Listening/AC charts became more similar  Easy Listening radio began playing songs by artists who had begun in other genres, such as rock and roll or R&B  Much of the music recorded by singer-songwriters such as Diana Ross, James Taylor, Carly Simon, Carole King and Janis Ian got as much, if not more, airplay on AC stations than on Top 40 stations  AC stations also began playing softer songs by Elvis Presley, Linda Ronstadt, Elton John, Rod Stewart, Billy Joel, and other rock-based artists  Soon after, the adult contemporary format began evolving into the sound that later defined it, with rock-oriented acts as Chicago and the Eagles, becoming associated with the format  In addition, several early disco songs, did well on the Adult Contemporary format 
Soft rock reached its commercial peak in the mid-to-late 1970s with acts such as Toto, England Dan & John Ford Coley, Air Supply, Seals and Crofts, Dan Fogelberg, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade  By 1977, some radio stations, notably New York's WTFM and NBC-owned WYNY, and Boston's WEEI, had switched to an all-soft rock format  As Softrock 103, WEEI was famous for its promotional campaigns, featuring slogans such as "Joni, without the baloni " and "The Byrds, without the nyrds "  However, different forms of popular music  targeted to different demographic groups, such as disco vs  hard rock, began to emerge in the late-1970s  This led to specialized radio stations that played specific genres of music, and generally followed the evolution of artists in those genres 

1980s: Adult contemporary succeeds as radio format
On April 7, 1979, the Easy Listening chart officially became known as Adult Contemporary, and those two words have remained consistent in the name of the chart ever since  Adult contemporary music became one of the most popular radio formats of the 1980s  The growth of AC was a natural result of the generation that first listened to the more "specialized" music of the mid-late 1970s growing older and not being interested in the heavy metal and rap/hip-hop music that a new generation helped to play a significant role in the Top 40 charts by the end of the decade 
Mainstream AC itself has evolved in a similar fashion over the years; traditional AC artists such as Barbra Streisand, the Carpenters, Dionne Warwick, Barry Manilow, John Denver, and Olivia Newton-John found it harder to have major Top 40 hits as the 1980s wore on, and due to the influence of MTV, artists who were staples of the Contemporary Hit Radio format, such as Richard Marx, Michael Jackson, Bonnie Tyler, George Michael, Phil Collins, Laura Branigan and Journey began crossing over to the AC charts with greater frequency  Collins has been described by AllMusic as "one of the most successful pop and adult contemporary singers of the '80s and beyond"  However, with the combination of MTV and AC radio, adult contemporary appeared harder to define as a genre, with established soft-rock artists of the past still charting pop hits and receiving airplay alongside mainstream radio fare from newer artists at the time 
The amount of crossover between the AC chart and the Hot 100 has varied based on how much the passing pop music trends of the times appealed to adult listeners  Not many disco or new wave songs were particularly successful on the AC chart during the late 1970s and early 1980s, and much of the hip-hop and harder rock music featured on CHR formats later in the decade would have been unacceptable on AC radio 
Although dance-oriented, electronic pop and ballad-oriented rock dominated the 1980s, soft rock songs still enjoyed a mild success thanks to Sheena Easton, Amy Grant, Lionel Richie, Christopher Cross, Dan Hill, Leo Sayer, Billy Ocean, Julio Iglesias, Bertie Higgins, and Tommy Page  No song spent more than six weeks at No  1 on this chart during the 1980s, with nine songs accomplishing that feat  Two of these were by Lionel Richie, "You Are" in 1983 and "Hello" in 1984, which also reached No  1 on the Hot 100 
In 1989, Linda Ronstadt released Cry Like a Rainstorm, Howl Like the Wind, described by critics as "the first true Adult Contemporary album of the decade", featuring American soul singer Aaron Neville on several of the twelve tracks  The album was certified Triple Platinum in the United States alone and became a major success throughout the globe  The Grammy Award-winning singles, "Don't Know Much" and "All My Life", were both long-running No  1 Adult Contemporary hits  Several additional singles from the disc made the AC Top 10 as well  The album won over many critics in the need to define AC, and appeared to change the tolerance and acceptance of AC music into mainstream day to day radio play 

1990s: Subgenre formations/radio crossovers
The early 1990s marked the softening of urban R&B in the shape of new jack swing, at the same time alternative rock emerged and traditional pop saw a significant resurgence  This in part led to a widening of the market, not only allowing to cater to more niche markets, but it also became customary for artists to make AC-friendly singles  At the same time, the genre began adopting elements from hard rock as tastes were shifting towards louder music, while AC stations in general began playing more rock acts  "Softer" features such as light instrumental music (carried over from the beautiful music format—many AC stations carried the format until the early 1970s), new age songs and most pre-1964 artists were gradually phased out from AC radio throughout the early to mid-1990s 
Unlike the majority of 1980s mainstream singers, the 1990s mainstream pop/R&B singers such as All-4-One, Boyz II Men, Christina Aguilera, Backstreet Boys and Savage Garden generally crossed over to the AC charts  Latin pop artists such as Lynda Thomas, Ricky Martin, Marc Anthony, Selena, Enrique Iglesias and Luis Miguel also enjoyed success in the AC charts 
In addition to Celine Dion, who has had significant success on this chart, other artists with multiple number ones on the AC chart in the 1990s include Mariah Carey, Phil Collins, Michael Bolton, Bryan Adams, Whitney Houston and Shania Twain  Newer female Adult album alternative singer-songwriters such as Sarah McLachlan, Natalie Merchant, Jewel, Melissa Etheridge and Sheryl Crow also broke through on the AC chart during this time In 1996, Billboard created a new chart called Adult Top 40, which reflects programming on radio stations that exists somewhere between "adult contemporary" music and "pop" music  Although they are sometimes mistaken for each other, the Adult Contemporary chart and the Adult Top 40 chart are separate charts, and songs reaching one chart might not reach the other  In addition, hot AC is another subgenre of radio programming that is distinct from the Hot Adult Contemporary Tracks chart as it exists today, despite the apparent similarity in name 
In response to the pressure on Hot AC, a new kind of AC format cropped up among American radio recently  The urban adult contemporary format (a term coined by Barry Mayo) usually attracts a large number of African Americans and sometimes Caucasian listeners through playing a great deal of R&B (without any form of rapping), gospel music, classic soul and dance music (including disco) 
Another format, rhythmic AC, in addition to playing all the popular hot and soft AC music, past and present, places a heavy emphasis on disco as well as 1980s and 1990s dance hits, such as those by Amber, and Black Box, and includes dance remixes of pop songs, such as the Soul Solution mix of Toni Braxton's "Unbreak My Heart" 
In its early years of existence, the smooth jazz format was considered to be a form of AC, although it was mainly instrumental, and related a stronger resemblance to the soft AC-styled music  For many years, George Benson, Kenny G and Dave Koz had all had crossover hits that were played on both smooth jazz and soft AC stations 

2000s–present: AC music goes mainstream and mainstream music goes AC
During the 2000s, the AC market gained an increased presence in the music industry, as its radio formats were popular nationwide—Smooth jazz and "Urban AC" stations were ubiquitous in the East Coast, while Soft rock and "adult standards" stations were common in the Midwest, and pop-oriented "Hot AC" and "world music"/Hispanic AC stations were easily found in the West Coast and the "Sun Belt"  This led to the presence of numerous genres on the AC charts, often crossing to the "pop" charts, winning over many critics in the need to define AC, and increased the tolerance and acceptance of AC music into mainstream day-to-day radio play 
Josh Groban's single "You Raise Me Up" and Michael Bublé's cover of "Fever" are often cited as key examples of the high production values and ballad-heavy sound that defined 2000s-era AC, often dubbed as "jazz-pop", heavily carrying classical, jazz and traditional pop influences  Artists such as Nick Lachey, James Blunt, Jamie Cullum, John Mayer, Jason Mraz, Norah Jones, Diana Krall, Amy Winehouse and Susan Boyle also achieved great success during this period  During most of the 2000s, country music/countrypolitan musicians such as Kelly Clarkson, Clay Aiken, Billy Joel, Garth Brooks, Shania Twain, LeAnn Rimes and Carrie Underwood scored hits on soft AC, particularly in Southern states  A popular trend in the late 1990s and 2000s was remixing dance music hits into adult contemporary ballads, especially in the US, (for example, the "Candlelight Mix" versions of "Heaven" by DJ Sammy, "Listen To Your Heart" by D H T , and "Everytime We Touch" by Cascada) 
Key to the success of AC in the 2000s was the 25–34 demographic which had outgrown the pop music offerings of the time, most new rock became too alternative and harsh for AC radio and most new pop was now influenced heavily by dance-pop, hip-hop and electronic dance music  At the same time, the music industry also began to focus on older audiences and markets generally considered "niche" 
During the late 2000s, certain pop songs began entering the AC charts instead, generally after having recently fallen off the Hot 100  Adrian Moreira, senior vice president for adult music for RCA Music Group, said, "We've seen a fairly tidal shift in what AC will play"  Rather than emphasizing older songs, adult contemporary now began playing many of the same songs as top 40 and adult top 40, but only after the hits had become established  An article on MTV's website by Corey Moss describes this trend as: "In other words, AC stations are where pop songs go to die a very long death  Or, to optimists, to get a second life " As adult contemporary has long characterized itself as family-friendly, "clean" versions of pop songs began appearing on the AC chart, as were the cases of "Perfect" by P!nk, and "Forget You" by Cee Lo Green, both in 2011 AC radio's shift into more mainstream pop was a result of the changes on the broadcasting landscape following the 2005–2007 economic downturn and eventual recession, as advertisers preferred more profitable chart-based formats, which meant the demise of many AC-based formulas, primarily those aimed at older audiences, with tastes changing towards more modern music among all age groups  Diminishing physical record sales throughout the 2010s also proved a major blow to the AC genre, and there are concerns that the portable people meter, a device being used to determine radio listenership, may be incompatible with AC songs and may not accurately pick up that a person is listening to an AC station because of the pitches and frequencies used in the style Key AC artists of the early to mid-2010s included Bruno Mars, Coldplay, Adele, Arcade Fire, Meghan Trainor, Maroon 5 and Ed Sheeran, featuring a more pop-influenced, uptempo style than the typical AC fare of previous years, also featuring production values reminiscent of the Motown sound and the so-called Wall of Sound that dominated the soul-heavy pop charts of the early 1960s, when the Easy Listening chart was first introduced  The earlier years of the decade also saw alternative and indie rock acts such as Wilco, Feist, The 1975, Imagine Dragons, Mumford & Sons, Of Monsters and Men and The Lumineers quickly becoming AC mainstays, although these were eventually replaced by rhythm-based rock bands such as Panic! at the Disco, Neon Trees, X Ambassadors, Sheppard, Bastille, American Authors, Fitz and the Tantrums, Foster the People, Twenty One Pilots, Walk the Moon and Milky Chance
Context 3: Passage 1:
List of Chelsea F C  managers
The first manager of Chelsea Football Club was John Robertson, appointed player-manager in 1905  The current head coach is Mauricio Pochettino  
Chelsea have had 31 permanent managers/head coaches (of whom four also served as player-manager), seven interim managers and six caretakers  Ron Suart has served as both caretaker and interim manager  Roberto Di Matteo was first interim manager, but was later appointed permanent manager, while Frank Lampard was first permanent manager, and later interim manager  Guus Hiddink has been interim manager twice, while José Mourinho has served two different periods as permanent manager 
Chelsea's first ever manager was Scottish wing-half John Tait Robertson, who continued to play for the club until he resigned a year later  David Calderhead is Chelsea's longest-serving manager, holding the position from 1907 to 1933, spanning 966 matches  Chelsea's shortest reigning permanent manager is Graham Potter, who was in charge for 31 games  Statistically, Chelsea's least successful manager is Frank Lampard 
The first manager under whom Chelsea won a major trophy was Ted Drake, who guided the club to the league championship in the 1954–55 season, while Dave Sexton managed the club to their first European honour, a UEFA Cup Winners' Cup triumph in 1971, and Gianluca Vialli guided Chelsea to win the 1998 UEFA Super Cup 
Mourinho has won the most domestic titles, and total titles with the club (in fact all titles won with Mourinho was domestic titles – eight in total), Vialli second most titles with five, whereas Carlo Ancelotti led Chelsea to their first league and FA Cup "Double" in 2010  
Di Matteo led Chelsea to their first UEFA Champions League for Chelsea in 2012  A year after, Rafael Benítez led the club to win the UEFA Europa League, becoming the first club to hold two major European titles simultaneously and one of five clubs, and the first British club, to have won all three of UEFA's major club competitions   In February 2022, Thomas Tuchel led Chelsea to its first FIFA Club World Cup  He is also the coach who have won the most international titles with the club; all three of his titles were international 

List of managers
Figures correct as of 28 May 2023  Includes competitive matches only This list of all managers includes performance records and honours 
M = Matches played; W = Matches won; D = Matches drawn; L = Matches lost; GF = Goals for; GA = Goals against

Managers with honours
Notes


== Footnotes ==
Passage 2:
Fed Cup
The Billie Jean King Cup (or the BJK Cup) is the premier international team competition in women's tennis, launched as the Federation Cup in 1963 to celebrate the 50th anniversary of the International Tennis Federation (ITF)  The name was changed to the Fed Cup in 1995, and changed again in September 2020 in honor of former World No  1 Billie Jean King  The Billie Jean King Cup is the world's largest annual women's international team sports competition in terms of the number of nations that compete  The current Chairperson is Katrina Adams The Czech Republic dominated the BJK Cup in the 2010s, winning six of ten competitions in the decade  The men's equivalent of the Billie Jean King Cup is the Davis Cup, and the Czech Republic, Australia, Russia and the United States are the only countries to have held both Cups at the same time 

History
In 1919, Hazel Hotchkiss Wightman had an idea for a women's team tennis competition  This was not adopted but she persisted, presenting a trophy at the 1923 annual contest between the United States and Great Britain, named the Wightman Cup 
Nell Hopman, wife of the legendary Australian Davis Cup Captain Harry Hopman, later took up Mrs Wightman's original idea  In 1962, a British resident of the United States, Mary Hardwick Hare, presented a dossier proving that support for such an event was overwhelming, persuading the ITF that it was a 'good idea' to have a team championship played over one week in a different venue each year  40 years after Wightman's idea of a women's Davis Cup, it became a reality  In 1963, the ITF launched the Federation Cup to celebrate its 50th anniversary  Open to all nations the competition became a resounding success 
The inaugural event attracted 16 countries  The competition was supported by the top players right from the start  Held at the Queen's Club, in London, the first contest was between Australia and the United States   Grand Slam champions Darlene Hard, Billie Jean King, Margaret Smith and Lesley Turner all proudly representing their country on court  The United States would emerge the champion nation in the opening year  However, it was to be Australia in the early years, winning seven of the next eleven championships  Around 1980 the United States was able to establish some significant mark on the competition setting in future years a very high standard for others to compete against 

The first Federation Cup had attracted 16 entry teams, despite no prize money and teams having to meet their own expenses  When sponsorship became available, the number of teams expanded dramatically, first by the Colgate Group in 1976, and, from 1981 to 1994 by the Japanese communications and computer giant NEC  In 1994, there were 73 nations competing, with the host nation of a Federation Cup week was now being required to build a special tennis complex, giving rise to what became known as the Federation Cup "legacy " The additional costs of each event could be offset with the host nations viewing their involvement as providing an opportunity to boost their national game 
For the 1992, a regional group qualifying format was introduced  In 1995, the tournament's name was shortened to the Fed Cup, and a new home-and-away format was adopted as trialled by the Davis Cup, so that women could play for their country in their own country  There have been a number of smaller changes to the format since 1995  The format change implemented in 2005 incorporates an eight Nation World Group I and eight nation World Group II both playing home-and-away over three weekends throughout the year  Three regional groups compete and there are promotions and relegations based on results 
The 2021 edition is set to have US$12 million in prize money 

Format
Tournament
While many nations enter the BJK Cup each year, only 16 countries qualify for the elite World Group and World Group II each year (eight in World Group and eight in World Group II) They reach World Group and World Group II as follows:

(a) World Group – the four nations that win their World Group first round tie remain in the World Group for the following year  First round losers contest the World Group play-offs against the four winning nations from World Group II to determine relegation/promotion for the following year's competition  (The four nations that win World Group play-offs will be in the World Group the following year, while the four losers will start the following year in World Group II )
(b) World Group II – the four nations that win their World Group II ties will compete in the World Group I Play-Offs to determine relegation/promotion for the following year, as described above  Similarly the four nations that lose their World Group II ties will face winning nations from Group I Zonal competitions, in the World Group II play-offs, to determine relegation/promotion  (The four nations that win their World Group II play-offs will be in World Group II the following year, while the four losers will begin the next year in Group I Zonal events )Once in the World Group or World Group II, four nations will be seeded in each  The decision as to which nations will be seeded is made by the BJK Cup Committee, according to the ITF BJK Cup Nations Ranking 
At the levels below the World Group and World Group II, the BJK Cup nations compete in Zonal Competition events, which are split into three zones: The Americas Zone, the Asia/Oceania Zone and the Europe/Africa Zone  In each zone there are two groups, Group I being the higher and Group II the lower, except for the Europe/Africa Zone, which also has a Group III 
Within the Group zonal regions, teams are split into pools and play against each other in a round robin format  The exact format of each Group event, and promotion and relegation between them, varies according to the number of participating teams  Two teams are always promoted from Europe/Africa Group I to that year's World Group II Play-Offs, while one team each go to the World Group II Play-Offs from Americas Group I and Asia/Oceania Zone Group I 

Current structure
This structure has been implemented since 2016 

Ties
In World Group and World Group II, and World Group and World Group II Play-off ties, each tie is contested in a best of five matches format, and is played across two days  On the first day there are two singles matches, and then the reverse singles matches take place on the following day  The final match is a doubles 
In Zonal Groups I, II and III, ties are played over the best of three matches (two singles and a doubles) 
The First Round Ties in the World Group and World Group II are played on a home and away knock-out basis, and take place over a weekend in the early part of the year 
World Group Semi-finals and Final are played over on a home and away knock-out basis, and take place over a weekend in July (Semi-finals) and September (Final) 
Play-off ties for World Group and World Group II will also be played on a home and away knock-out basis taking place in July 
The choice of ground for First Round, Semi-finals and Play-off ties is decided by lot or goes automatically to one of the competing nations 
As Groups I, II and III are played in a round robin format in all three zones, each event takes place at a single venue over one week  These are held in the first half of the year (to allow promotion of teams to the World Group II Play-off ties in the second half of the year), and dates and venues are decided by the BJK Cup Committee 

Records and statistics
List of championship finals
Performance by country
Source:

Titles by country (since 1995)
Results by country in BJK Cup Finals
Team records
Consecutive titles
All-time: 7,  United States, 1976–1982
Consecutive finals appearances
All-time: 8,  Australia, 1973–1980
Most number of games in a tie
Best of Five Format: 162,  France 4–1  Japan, 1997 World Group First Round
Best of Three Format: 104,  Canada 2–1  Switzerland, 1977 Consolation Second Round
Years present in BJK Cup Finals

Individual records
Youngest player
Denise Panagopoulou;  Greece; 12 years, 360 days1
Oldest player
Gill Butterfield;  Bermuda; 52 years, 162 days
Most rubbers played
100, Arantxa Sánchez Vicario,  Spain
Most ties played
74, Anne Kremer,  Luxembourg
Most rubbers won
Total: 72, Arantxa Sánchez Vicario, Spain
Singles: 50, Arantxa Sánchez Vicario, Spain
Doubles: 38, Larisa Savchenko-Neiland,  Soviet Union /  Latvia
Longest rubber
2016 World Group First Round: Richèl Hogenkamp,  Netherlands defeated Svetlana Kuznetsova,  Russia in 4 hours, 7–6(7–4), 5–7, 10–8 
Most successful captain
Petr Pála; 6 titles,  Czech Republic1Players must now be aged 14 and over

Heart Award
The Heart Award is the ITF's annual "MVP" award related to the Billie Jean King Cup, which "aims to recognise players who have represented their country with distinction, shown exceptional courage on court and demonstrated outstanding commitment to the team " The award was inaugurated in 2009 

Current rankings
For more information, see ITF rankings

†Change since previous ranking update
Source:

Broadcasters
See also
Junior Davis Cup and Junior Billie Jean King Cup
International Tennis Federation
Davis Cup
Hopman Cup
Wightman Cup
United Cup
Passage 3:
History of Chelsea F C 
The History of Chelsea F C  spans the period from 1905 to the present day:

History of Chelsea F C  (1905–1952)
History of Chelsea F C  (1952–1983)
History of Chelsea F C  (1983–2003)
History of Chelsea F C  (2003–2022)
History of Chelsea F C  (2022–present)For a season-by-season account of Chelsea's history, see List of Chelsea F C  seasons 

See also
Chelsea F C  § History
Passage 4:
Division of Kingsford Smith
The Division of Kingsford Smith is an Australian electoral division in the state of New South Wales 

History
The division is named after Sir Charles Kingsford Smith, a pioneer aviator, and the first pilot to fly across the Pacific Ocean  The Kingsford Smith International Airport (Sydney International), and the suburb of Kingsford, both of which are located within the division, are also named after him  The division was proclaimed at the redistribution of 11 May 1949, and was first contested at the 1949 federal election 
Kingsford Smith has been in Labor hands for its entire existence  A redistribution ahead of the 1969 election made it one of the safest Labor seats in both Sydney and the nation, and it remained a comfortably safe Labor seat for most of the next four decades  However, demographic changes since 2010 have made the seat much less secure for Labor  It has previously been held by Lionel Bowen, a minister in the Whitlam government, Deputy Leader of the Labor Party from 1977 to 1990 and Deputy Prime Minister for most of the Hawke government, and by Laurie Brereton, a minister in the Keating government  It was then held by Peter Garrett, a former lead singer of the Australian rock band Midnight Oil, former President of the Australian Conservation Foundation, and a minister in the Rudd and Gillard governments  Garrett announced his retirement on 26 June 2013 The Division was originally known as the Division of Kingsford-Smith (with a hyphen), based upon a misspelling of Sir Charles's surname  However, this was corrected at the redistribution in 2001 The current Member for Kingsford Smith, since the 2013 federal election, is Matt Thistlethwaite, a member of the Australian Labor Party who resigned from the Senate prior to the election 

Boundaries
Since 1984, federal electoral division boundaries in Australia have been determined at redistributions by a redistribution committee appointed by the Australian Electoral Commission  Redistributions occur for the boundaries of divisions in a particular state, and they occur every seven years, or sooner if a state's representation entitlement changes or when divisions of a state are malapportioned The division is located in the Eastern Suburbs of Sydney, on the north shore of Botany Bay, and the coast of the Tasman Sea  The division includes the suburbs of Banksmeadow, Botany, Chifley, Coogee, Daceyville, East Botany, Eastgardens, Eastlakes, Hillsdale, Kensington, Kingsford, La Perouse, Little Bay, Malabar, Maroubra, Maroubra Junction, Mascot, Matraville, Pagewood, Phillip Bay, Port Botany, and South Coogee; as well as parts of Clovelly, Randwick, and Rosebery  Bare Island, Prince Henry Hospital, and the University of New South Wales are also located in the electorate 

Members
Election results
Passage 5:
Hilario López
Hilario López García (18 November 1907 – 17 June 1965) was a Mexican football forward who made three appearances for the Mexico at the 1930 FIFA World Cup 

Honours
Mexico

Central American and Caribbean Games: 1935Individual

Central American and Caribbean Games Top Scorer: 1935
Passage 6:
Dragoslav Čakić
Dragoslav 'Drago' Čakić (born 15 February 1965 in Split, Croatia, Socialist Federal Republic of Yugoslavia) is a Croatian retired footballer who played as a midfielder 

Club career
In his country, Čakić represented hometown clubs RNK Split and HNK Hajduk Split  In the 1987 summer he moved to Spain, where he remained until his retirement 12 years later, starting with Real Burgos CF in Segunda División 
Čakić also played professionally in the country with Xerez CD (two spells, being relegated from the second level in 1991 and 1998) and CD Ourense  He competed at amateur level with Jerez Industrial CF, CD San Fernando and CD Tortosa, retiring in June 1999 at the age of 34 
Passage 7:
Ružica Meglaj-Rimac
Ružica Meglaj-Rimac (15 February 1941 – 11 July 1996) was a former Yugoslav and Croatian basketball player born in Croatian-Slovenian family  The Ružica Meglaj-Rimac Cup is named after her 

Personal life
Her younger sister, Kornelija Meglaj is also a former basketball player  She had two sons, former Croatian basketball players Slaven Rimac and Davor Rimac 
Passage 8:
José Antunes Sobrinho
José Antunes Sobrinho (born 1962) is a Brazilian civil engineer and energy executive who specializes in hydroelectric and other energy projects  He holds a degree from the Federal University of Paraná (1974) and a Master's degree in hydraulic engineering from the Delft University of Technology, Netherlands (1978) 

History
In 1986, Antunes was appointed Director General of ENGEVIX Engenharia S/A Antunes has worked on the Itaipu (14,000 MW), Tucuruí Dam (8,370 MW), Belo Monte Dam (11,233 MW under construction); Ita Dam  (1,450 MW), Campos Novos Dam (880 MW), Barra Grande Hydroelectric Power Plant (690 MW) and other hydro projects 
Antunes is also an active consultant and provides local support for UK-based Coopers & Lybrand  He helped drive forward the Brazilian energy sector restructuring program, which basically set the foundations for the way the industry's regulatory and legal frameworks would operate 
Antunes was a member of the teams consulting on the Itaipu (14,000 MW) and Machadinho Hydroelectric Power Plant (1,240 MW) projects   He has also worked on projects in Asia (Vietnam, China and Nepal), Africa (Congo, Angola and Namibia) and South America (Peru, Mexico and elsewhere)   In 2009, he was invited to lecture at MIT (the Massachusetts Institute of Technology) on renewable energy in Brazil 
In May 1995, Antunes founded DESENVIX, the investment arm of ENGEVIX that focuses on the energy industry  DESENVIX currently generates the equivalent of 400 MW provided by clean energy sources and ongoing or planned hydro, biomass and wind energy projects that will provide around 2,000 MW Antunes is currently managing the INFRAMERICA consortium, which is building the new Natal Airport (Rio Grande do Norte) and modernizing and expanding Brasília Airport, The ENGEVIX Group also has many maritime construction contracts and builds hulls for Floating production storage and offloading platforms 
Passage 9:
1965 Federation Cup (tennis)
The 1965 Federation Cup was a team tennis tournament that took place at the Kooyong Lawn Tennis Club in Melbourne, Australia  It was third edition of the of what is now known as the Fed Cup and had eleven nations participating in the tournament throughout the four days from 15–18 January 1965 
The eleven teams played in a knockout format with six teams having to play in the opening round to join the remaining five who received first rounds byes  After winning all of the ties 3-0, the final was between the United States and Australia who for the third time in consecutive years met up in the final which was played on the 18 January  After Lesley Turner and Margaret Smith each recorded wins in the singles, Australia would defend their title that they won in 1964 despite a loss in the doubles 

Participating teams
Draw
All ties were played at the Kooyong Lawn Tennis Club in Melbourne, Australia on grass courts 

First round
West Germany vs  Italy

Japan vs  France

New Zealand vs  Argentina

Quarterfinals
United States vs  Italy

Great Britain vs  South Africa

France vs  Brazil

New Zealand vs  Australia

Semifinals
United States vs  Great Britain

France vs  Australia

Final
United States vs  Australia
Passage 10:
Equipe Matra Sports
The Matra Company's racing team, under the names of Matra Sports, Equipe Matra Elf and Equipe Matra Sports (after a takeover by Simca in 1969 as Matra-Simca Division Automobile), was formed in 1965 and based at Champagne-sur-Seine (1965–1967), Romorantin-Lanthenay (1967–1969) and Vélizy-Villacoublay (1969–1979)  In 1979 the team was taken over by Peugeot and renamed as Automobiles Talbot 

Motorsports history
In the mid-1960s, Matra enjoyed considerable success in Formula 3 and F2 racing, particularly with the MS5 monocoque-based car, winning the French and European championships  In 1967, Jacky Ickx surprised the F1 establishment by posting the third-fastest qualifying time of 8:14" at the German Nürburgring in his 1600cc Matra MS7 F2, which was allowed to enter alongside the 3000cc F1 cars  In the race, he failed to finish due to a broken suspension 

Matra entered Formula One in 1968 when Jackie Stewart was a serious contender, winning several Grands Prix in the Tyrrell-run Matra MS10 which competed alongside the works team 
The F1 team was established at Vélizy-Villacoublay in the southwestern suburbs of Paris, France  The car's most innovative feature was the use of aviation-inspired structural fuel tanks  These allowed the chassis to be around 15 kg (33 lb) lighter, while still being stronger than its competitors  The FIA considered the technology to be unsafe and decided to ban it for 1970 
Matra CEO Jean-Luc Lagardère made a strategic decision for the 1969 championship: the Matra works team would not compete in Formula One  Matra would instead focus its efforts on Ken Tyrrell's privateer team (renamed Matra International) and build a new DFV powered car with structural fuel tanks, even though it would only be eligible for a single season  The decision was even more radical given that Matra was seeking a partnership with Simca, which would preclude using Ford-branded engines for the following year  Stewart won the 1969 title easily with the new Cosworth-powered Matra MS80, which was designed by Gérard Ducarouge and Bernard Boyer, and corrected most of the weaknesses of the MS10  Stewart's title was the first won in a car built by a French constructor, and still remains the only one won in a car built in France as well as in a car entered by a privateer team  It was a spectacular achievement from a constructor that had only entered Formula One the previous year  France became only the third country (after the United Kingdom and Italy) to have produced a winning constructor, and Matra became the only constructor to have won the Constructors' Championship without running its own works team 
Like Cosworth, Lotus and McLaren, Matra experimented with four wheel drive during the 1969 season  Johnny Servoz-Gavin became the one and only driver to score a point with a 4WD car, finishing sixth with the Matra MS84 at the Canadian Grand Prix  The MS84, along with Brabham's BT26A, was one of the last spaceframe cars to compete in Formula One 
For 1970 following the agreement with Simca, Matra asked Tyrrell to use their V12 engine rather than the Cosworth  Stewart got to test the Matra V12, but since a large part of the Tyrrell budget was provided by Ford, and another significant sponsor was French state-owned petroleum company Elf, which had an agreement with Renault that precluded supporting a Simca partner, the partnership between Matra and Tyrrell ended 
Matra V12 engines powered the Shadow DN7 car in two races of 1975 and then cars built and entered by the Ligier Formula 1 team from 1976–1978, and again (under the name Talbot Ligier) from 1981-1982, winning three races (the 1977 Swedish Grand Prix, 1981 Austrian Grand Prix and 1981 Canadian Grand Prix)  Jacques Laffite´s victory at the 1977 Swedish Grand Prix was the first Formula One victory for a French team and a French engine, as well as the first all-French victory in the Formula One World Championship The company was also successful in endurance racing with cars powered by the V12 engine  The sportscar team was based at first at Vélizy-Villacoublay and then moved to Le Castellet, near Marseille, France The Matra MS670 won the 24 Hours of Le Mans in 1972, 1973, and 1974  It also delivered the World Championship for Makes to Matra in both 1973 and 1974 

Racing models
Matra MS1
Matra MS2
Matra MS5
Matra MS6
Matra MS7
Matra MS9
Matra MS10
Matra MS11
Matra MS80
Matra MS84
Matra MS120
Matra MS120B
Matra MS120C
Matra MS120D
Matra MS610
Matra MS620
Matra MS630
Matra-Simca MS630
Matra-Simca MS630/650
Matra MS640
Matra-Simca MS650
Matra-Simca MS660
Matra-Simca MS660C
Matra-Simca MS670
Matra-Simca MS670B
Matra-Simca MS670C
Matra-Simca MS680

Successes
334 races, all categories, spanning 10 years
124 victories, 104 lap records
1 Formula One World Drivers' Championship (1969, Jackie Stewart, MS80)
1 Formula One World Constructors' Championship (1969, Matra-Elf International)
5 French Formula Two Championships (1966–1967–1968–1969–1970)
3 European Formula Two Championships (1967–1968–1969)
3 French Formula Three Championships (1965–1966–1967)
2 World Championship for Makes (1973–1974)
3 victories at 24 Hours of Le Mans (1972–1973–1974)
2 victories at Tour de France Automobile (1970–1971)

Complete Formula One World Championship results
As a constructor
(key)

As an engine supplier
(key)

Notes
Passage 11:
2014 Thai League Cup
The Thai League Cup is a knock-out football tournament played in Thai sport  Some games are played as a single match, others are played as two-legged contests  The 2014 Thai League Cup kicked off on   1 February 2014 with the Bangkok & field regional qualifiers  The Thai League Cup has been readmitted back into Thai football after a 10-year absence  The Thai League Cup is sponsored by Toyota thus naming it Toyota League Cup  The prize money for this prestigious award is said to be around 5 million baht and the runners-up will be netting 1 million baht 
The prize money is not the only benefit of this cup, the team winning the fair play spot will get a Hilux Vigo  The MVP of the competition will get a Toyota Camry Hybrid Car  The winner of the cup will earn the right to participate on a cup competition in Japan 
This is the first edition of the competition and the qualifying round will be played in regions featuring clubs from the Regional League Division 2 

Calendar
1st round


=== Final ===
Passage 12:
Party leaders of the United States House of Representatives
Party leaders of the United States House of Representatives, also known as floor leaders, are congresspeople who coordinate legislative initiatives and serve as the chief spokespersons for their parties on the House floor  These leaders are elected every two years in secret balloting of their party caucuses or conferences: the House Democratic Caucus and the House Republican Conference  Depending on which party is in power, one party leader serves as majority leader and the other as minority leader 
Unlike the Senate Majority Leader, the House Majority Leader is the second highest-ranking member of their party's House caucus, behind the Speaker of the House  The Majority Leader is responsible for setting the annual legislative agenda, scheduling legislation for consideration, and coordinating committee activity  The Minority Leader serves as floor leader of the opposition party, and is the minority counterpart to the Speaker  The Minority Leader also speaks for the minority party in the House and its policies, and works to protect the minority party's rights The assistant majority leader and assistant minority leader of the House, commonly called whips, are the second-ranking members of each party's leadership  The main function of the majority and minority whips is to gather votes of their respective parties on major issues 

Current floor leaders
With the Republicans holding a majority of seats and the Democrats holding a minority, the current leaders are Majority Leader Steve Scalise of Louisiana and Majority Whip Tom Emmer of Minnesota, Minority Leader Hakeem Jeffries of New York, and Minority Whip Katherine Clark of Massachusetts 

Selection
The floor leaders and whips of each party are elected by their respective parties in a closed-door caucus by secret ballot  The Speaker-presumptive is assumed to be the incoming Speaker, although not formally selected to be nominated for Speaker by the majority party's caucus  After this period, the Speaker-designate is also chosen in a closed-door session by the largest caucus although the Speaker is formally elevated to the position by a public vote of the entire House when Congress reconvenes 
Like the Speaker of the House, the Minority Leaders are typically experienced lawmakers when they win election to this position  When Nancy Pelosi, D-CA, became Minority Leader in the 108th Congress, she had served in the House nearly 20 years and had served as minority whip in the 107th Congress  When her predecessor, Dick Gephardt, D-MO, became minority leader in the 104th House, he had been in the House for almost 20 years, had served as chairman of the Democratic Caucus for four years, had been a 1988 presidential candidate, and had been majority leader from June 1989 until Republicans captured control of the House in the November 1994 elections  Gephardt's predecessor in the minority leadership position was Robert Michel, R-IL, who became GOP Leader in 1981 after spending 24 years in the House  Michel's predecessor, Republican John Rhodes of Arizona, was elected Minority Leader in 1973 after 20 years of House service 
By contrast, party leaders of the United States Senate have often ascended to their position despite relatively few years of experience in that chamber, such as Lyndon B  Johnson, William Knowland, Tom Daschle, and Bill Frist  Former House Majority Leader Eric Cantor also had a comparatively quick rise to the post and was the youngest House Majority Leader in American history 

History
Before 1899, the majority party floor leader had traditionally been the Chairman of the House Ways and Means Committee, the most powerful committee in the House, as it generates the Bills of Revenue specified in the Constitution as the House's unique power  However, this designation (begun under Speaker Henry Clay during the 12th United States Congress) was informal, and after 1865, alternated between the Ways and Means Committee Chair and the House Appropriations Committee Chair after the latter committee was split from the former  By at least 1850, the Senate and House Republican Conferences and the Senate and House Democratic Caucuses began naming chairs (although conference and caucus chairs carried very little authority) The office of Majority Leader was created in 1899 and first occupied by Sereno Payne  Speaker David B  Henderson created the position to establish a party leader on the House floor separate from the Speaker, as the role of Speaker had become more prominent and the size of the House had grown from 105 at the beginning of the century to 356 Starting with Republican Nicholas Longworth in 1925 and continuing until 1995, all majority leaders have directly ascended to the Speakership after the incumbent surrenders the position  The only exceptions during this period were Charles A  Halleck, who served as Majority Leader from 1947–1949, ultimately did not become Speaker because his party lost the House in the 1948 House election, and served as Majority Leader in 1953–1955, ultimately did not become Speaker because his party lost control over the House after the 1954 House Election and would not regain the House until 1994 (Halleck had been dead for years at this point); Hale Boggs, who served as Majority Leader from 1971–1973, died in a plane crash; and Dick Gephardt, who served as Majority Leader from 1989–1995, descended to Minority Leader since his party lost control in the 1994 midterm elections 
Since 1995, the only two Majority Leaders to become Speaker are John Boehner and Kevin McCarthy, though indirectly as their party lost control in the 2006 and 2018 midterm elections  Boehner subsequently served as House Minority Leader from 2007 to 2011, and McCarthy served from 2019 to 2023  Both were elected Speaker when the House reconvened after gaining a majority in their respective midterm elections  In 1998, when Speaker Newt Gingrich announced his resignation, neither Majority Leader Dick Armey nor Majority Whip Tom DeLay contested the Speakership, which eventually went to Chief Deputy Whip Dennis Hastert 
Traditionally, the Speaker is viewed as the leader of the majority party in the House, with the Majority Leader as second-in-command  For example, when the Republicans gained the majority in the House after the 2010 elections, Boehner ascended to the Speakership while Eric Cantor succeeded Boehner as Majority Leader  Cantor was understood to be the second-ranking Republican in the House since Boehner was the indisputable leader of the House Republicans  However, there have been some exceptions  The most recent exception to this rule came when Majority Leader Tom DeLay was considered more prominent than Speaker Dennis Hastert from 2003 to 2006 In contrast, the Minority Leader is the undisputed leader of the minority party  For example, when the Republicans lost their majority in the 2018 elections, McCarthy was elected as Minority Leader and hence replaced Ryan as the highest-ranking House Republican 
When the Presidency and both Houses of Congress are controlled by one party, the Speaker normally takes a low profile and defers to the President  For that situation, the House Minority Leader can play the role of a de facto "leader of the opposition", often more so than the Senate Minority Leader, owing to the more partisan nature of the House and the greater role of leadership 
When the Majority Leader's party loses control of the House, and if the Speaker and Majority Leader both remain in the leadership hierarchy, convention suggests that they would become the Minority Leader and Minority Whip, respectively  As the minority party has one less leadership position after losing the speaker's chair, there may be a contest for the remaining leadership positions  Nancy Pelosi is the most recent example of an outgoing Speaker seeking the Minority Leader post to retain the House party leadership, as the Democrats lost control of the House in the 2010 elections  She ran successfully for Minority Leader in the 112th Congress In 2014, Eric Cantor became the first House Majority Leader to lose a primary election  Following his primary defeat, Cantor announced his resignation as Majority Leader, effective July 31, 2014, and he subsequently resigned his seat in Congress 

Majority Leader
The House Majority Leader's duties vary, depending upon the political makeup of the majority caucus  In several recent sessions of Congress, with the notable exception of the Pelosi speakership, the Majority Leader has been primarily responsible for scheduling the House floor's legislative calendar and direct management for all House committees One statutory duty, per 19 U



ground_truth: Michael Bublé

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Along with the subject of The One That Got Away, what notable pop artist started out his career on adult contemporary radio?

The following are given passages.
Context 2: 
During the middle of the decade, newer artists such as CeeLo Green, OneRepublic, Rachel Platten, Christina Perri, Andy Grammer, James Bay, Sara Bareilles, Shawn Mendes, Sia, Sam Smith, Gavin Degraw, Charlie Puth and Colbie Caillat as well as acts that were popular in the 1990s and early 2000s such as Britney Spears and Christina Aguilera were added to the rotation of most AC stations 
As trap music and similar styles of hip-hop began dominating top 40 stations during the last years of the 2010s, AC stations began picking up rhythmic artists like Rihanna, Lady Gaga, Ellie Goulding, Taio Cruz and Pitbull as well as EDM artists like Avicii, Daft Punk, Calvin Harris, David Guetta and Tiesto  Meanwhile, younger artists like Camila Cabello, Justin Bieber, Selena Gomez, Ariana Grande, Nick Jonas and the Jonas Brothers and Halsey began to be featured on AC stations more than on top 40 stations 

Adult contemporary formats
In radio broadcasting, adult contemporary is divided into several sub-formats, each with their own musical direction and demographic targeting  Hot adult contemporary formats generally feature an uptempo rotation of recent hits that appeal to a wide adult audience  A station formatted as "adult contemporary" with no qualifier, also referred to as "mainstream adult contemporary", generally has a similar playlist to hot AC stations, but with a broader rotation of classic hits from past decades Soft adult contemporary formats have a more conservative sound oriented primarily towards adult women, urban AC focuses on R&B and soul music that appeal to African American adults, and rhythmic AC focuses on dance music and other rhythmic genres 

Hot adult contemporary
Hot adult contemporary (hot AC) radio stations play a wide range of the present day's popular music that appeals towards the 18–54 age group; it serves as a middle ground between the youth-oriented contemporary hit radio (CHR) format, and adult contemporary formats (such as "mainstream" and soft AC) that are typically targeted towards a more mature demographic  They generally feature uptempo hit music with wide appeal, such as pop and pop rock songs, while excluding more youth-oriented music such as hip-hop  Recurrents usually reflect familiar and youthful music that adults had grown up with  Likewise, mature material from pop acts such as the Backstreet Boys, Jason Mraz, John Mayer, and Pink have also been prominent within the format The "hot AC" designation began to appear in the 1990s, to describe adult contemporary stations with a more energetic presentation and uptempo sound than their softer counterparts  An early example of the format, Houston's KHMX Mix 96 5, climbed from 14th place in the market to 3rd in the six months after its launch  The station's format and branding was widely replicated by other stations  Many hot AC outlets are among the top stations in their respective market Initially focused more on pop rock, the format has evolved to reflect changes in the composition of this audience; by the mid-2000s, the format had evolved to include more uptempo pop music, while alternative and indie rock crossovers (such as Foster the People, Imagine Dragons, Lovelytheband, and Twenty One Pilots) became more prevalent within the format during the 2010s These developments helped to expand the popularity of the format among younger listeners such as millennials; Nielsen Audio ranked hot AC as the third most-popular format among millennials, behind pop and country music  Of the format's expanding demographic reach, WOMX-FM program director Dana Taylor stated that hot AC stations "may not be the radio station that everybody agrees on, but it's a radio station that everybody goes, 'I'm okay with that' " The increasingly downtempo direction of pop hits in the mid-to-late 2010's also helped to attract additional listeners Hot AC stations typically keep a larger body of recent hits in rotation than those with rigid, chart-driven formats like CHR and urban contemporary  As these stations' playlists have become concentrated towards airing only the current hits at a given time, hot AC airplay can build and sustain a song's popularity over a long-term period  This effect has been credited in helping build an audience for early singles from new acts such as Adele, Rachel Platten ("Fight Song", which gained prominence for its use during Hillary Clinton's 2016 US presidential election campaign), and Max Schneider (whose 2016 single "Lights Down Low", over a year after its original release, became a sleeper hit on the Billboard Mainstream Top 40 and Hot 100 due in part to strong hot AC airplay) The popularity of the hot AC format prompted many mainstream AC stations to add uptempo music to their playlists, while still maintaining a deeper rotation of older hits than hot AC stations 

Modern adult contemporary
Modern adult contemporary refers to AC formats with a stronger lean towards modern rock and pop rock 
In the 1990s and early 2000s, modern AC was typically targeted towards women, with Mike Marino of KMXB in Las Vegas describing the format as reaching "an audience that has outgrown the edgier hip-hop or alternative music but hasn't gotten old and sappy enough for the soft ACs " The format typically focused on female rock acts such as Shawn Colvin, Sheryl Crow, Indigo Girls, Jewel, and Sarah McLachlan, and folk rock-influenced bands such as Counting Crows and The Wallflowers  Today, the format is fairly uncommon, with KTCZ in the Minnesota Twin Cities being one of the few modern AC stations left 

Soft adult contemporary
The Soft adult contemporary format typically targets women 25–54 and at-work listening  Soft AC playlists are generally conservative in comparison to hot AC, focusing on pop and power ballads, soft rock, and other familiar, light hits  Upon its establishment in the 1980s, the soft AC format was positioned as being a more upbeat version of easy listening that would appeal better to a younger audience, mainly by excluding instrumental beautiful music  Easy listening stations had begun shifting to the format out of concern that their existing programming would not appeal to the current generation of listeners In a 1990 article, James Warren of the Chicago Tribune characterized soft AC stations as being "as middle-of-the-road and unthreatening as modern media get", with personalities that were encouraged to be as inoffensive and "low-profile" as possible, and a more conservative music library than hot AC-leaning stations  In particular, Chicago's WLIT did not have its airstaff talk over the beginning and endings of songs (in contrast to the hot AC-leaning WFYR), and played Bob Seger's "We've Got Tonite" but not "Old Time Rock and Roll" (which was part of WTMX's playlist)  The director of a soft AC station in Connecticut, WEZN-FM, told Warren that he had barred the reading of top-of-hour news headlines, so that listeners wouldn't be tempted to tune away to an all-news station to learn more Soft AC stations tend to be more selective in their music libraries than other adult contemporary stations, preferring proven songs over current hits  Upon the onset of the format's popularity, core artists typically included singers such as Nat King Cole, Perry Como, Neil Diamond, Barry Manilow, Johnny Mathis, and Barbra Streisand  By the 1990s, to improve their appeal among changing demographics, some soft AC stations began to widen their playlist to include selections from contemporary acts with 80s, & 90s, musicians & bands such as Bon Jovi, Bryan Adams, Celine Dion, Roxette, Mariah Carey, Eric Clapton, Phil Collins, Elton John, Cher, Whitney Houston, Journey, and Queen  On the other hand, by 1996, New York's WLTW had begun to phase out its softer music in favor of a more uptempo direction In 2017, Inside Radio reported that soft AC had the third-largest decrease in US stations offering the format over the past decade (at 128), ranking behind only adult standards and oldies—a shift credited to aging demographics and a major boom in the wider-appealing classic hits format (which saw the largest overall increase over the same period)  Consultant Gary Berkowitz argued that the soft AC format had become increasingly irrelevant in comparison to mainstream and hot AC, due to PPM markets preferring uptempo music At the same time, however, soft AC began to experience a resurgence  In April 2016, iHeartMedia flipped its San Francisco classic soul station KISQ to soft AC as The Breeze; as of November 2018, it was the top station in the Bay Area  The trend continued into 2017 and 2018, with iHeartMedia extending its Breeze brand to other soft AC flips, and the brand (among others) being adopted by competitors such as Entercom  Industry analyst Sean Ross argued that older demographics were becoming more lucrative due to changes in listening habits among younger audiences, which prefer digital platforms such as music streaming services over linear terrestrial radio, and also noted how mainstream AC was dependent on the Top 40 charts to break new songs Current soft AC stations have continued to feature recurrents such as Michael Bolton, Celine Dion, Elton John, Fleetwood Mac, Hall & Oates, and Whitney Houston, while contemporary musicians such as Adele and Michael Bublé have also become modern fixtures of the format  In addition, the soft AC sound has diversified to include more songs that are "safe and universal" and not necessarily "soft", with Ross presenting Examples such as Simple Minds' "Don't You (Forget About Me)", as well as the retroactively-defined genre of yacht rock  Over time, some stations have gradually adjusted their playlists to include more recurrents from the 1980s and 1970s (although not to the same extent as other "soft oldies" formats, such as MeTV FM, which have also grown in popularity) 

Urban adult contemporary
The Urban adult contemporary format focuses primarily on current and classic R&B and soul music,  The format typically targets African-American adults: July 2018 numbers from Nielsen Audio recorded it as the top format among African-Americans 25–54 and 35–64  It also has a sizable popularity among younger listeners, ranking behind urban contemporary as the second-most popular format among African-American adults 18–34 in the same report, with an 18 9 audience share The format typically excludes youthful rhythmic music, such as commercial hip-hop and rap, that are usually associated with the urban contemporary format  The urban AC format is also associated with the "quiet storm"—mellower R&B ballads and slow jams, often in a jazz-influenced style  The syndicated evening program Keith Sweat Hotel focuses specifically on such music As urban contemporary stations prefer hit-driven hip-hop songs, labels typically service R&B songs to the urban AC format only  Some current R&B musicians have complained that this is an artificial divide that prevents them from reaching a wider, mainstream audience (citing the relatively smaller number of urban AC outlets in comparison to urban and rhythmic), even with attempts to give some singles a hip-hop-influenced sound to improve the potential for crossover appeal  Some acts have attempted to disassociate themselves from "R&B" to reduce the effect of this stigma, although streaming services have helped to expose R&B to a wider audience beyond urban AC radio 

Rhythmic adult contemporary
The Rhythmic adult contemporary format generally focuses on a variety of current and classic dance music, such as dance-pop, hip-hop, and R&B (often resembling a blend of the Classic hits and hot AC formats in practice)  The exact composition of current and recurrent content can vary between stations, depending on local cultures and the heritage of rhythmic formats in the market, ranging from late-80s/early-90s dance hits (including latin freestyle), to disco and Motown  Rhythmic hot AC has also been used as a format, popularized by stations such as New York's WKTU 

Smooth adult contemporary
The Smooth adult contemporary format is a variant of the smooth jazz format that incorporates mainstream and/or urban adult contemporary songs; they are designed to appeal to a wider range of demographics than a straight smooth jazz format  Some smooth AC stations may limit their airplay of jazz instrumentals to those by better-known performers such as Kenny G 

Christian adult contemporary
Contemporary Christian music (CCM) has several subgenres, one being "Christian AC"  Radio & Records, for instance, lists Christian AC among its format charts  There has been crossover to mainstream and hot AC formats by many of the core artists of the Christian AC genre, notably Amy Grant, Michael W  Smith, Kathy Troccoli, Steven Curtis Chapman, Plumb, and more recently Big Daddy Weave, Casting Crowns, For King & Country, Lauren Daigle, MercyMe, and Newsboys 

Adult album alternative
The Adult album alternative (triple-A or AAA) format generally features a diverse playlist of music that appeals to an adult audience, with a focus on emerging songs and artists, and often featuring songs that were not released as singles  The exact composition of a triple-A station's playlist can vary, with alternative rock, indie rock, and indie pop commonly used as core genres, and some stations featuring more uncommon genres such as alternative country, Americana, blues, folk music, and world music  NPR observed in 2018 that roughly half of all triple-A stations in the U S  were non-commercial stations  With the wide variety of music that is serviced to the format, adult album alternative charts have often served as a feeder for the Adult Top 40, and have been credited for breaking acts such as Dave Matthews Band and Lorde 

Christmas music
Since the 1990s it has become common for many AC stations, particularly soft AC stations, to play primarily or exclusively Christmas music during the Christmas season in November and December  While these tend mostly to be contemporary seasonal recordings by the same artists featured under the normal format, most stations will also air at least some vintage holiday tunes from older pop, MOR, and adult standards artists – such as  
Boney M , The Carpenters, Nat King Cole, Perry Como, Bing Crosby, Percy Faith, Mannheim Steamroller, Dean Martin, Johnny Mathis, Trans-Siberian Orchestra, and Andy Williams – many of whom would never be played on these stations during the rest of the year 
These Christmas music marathons typically start a few weeks before Thanksgiving Day and end after Christmas Day, or sometimes extending to New Year's Day  Afterwards, the stations usually resume their normal music fare  Several stations begin the holiday format much earlier, at the beginning of November especially after Halloween  The roots of this tradition can be traced back to the beautiful music and easy listening stations of the 1960s and 1970s 

Syndicated radio shows and networks carrying the adult contemporary format
Delilah – One of the US's most popular radio shows, Delilah airs primarily in the evening  Its Christmas Edition airs from mid-November to late December 
Intelligence for Your Life – Hosted by John Tesh, this show also airs evenings and also on weekends 
American Top 40 with Ryan Seacrest – One version of AT40 airs on US hot AC stations, which is a little different from its Top-40/CHR counterpart 
Rick Dees Weekly Top 40/Weekly Top 30 – Began offering Hot AC versions of the popular countdown show in June 1996  These shows feature the top 20 Hot AC songs in the US along with about 10 past hits from the 1980s, 1990s and early 2000s (decade)  A softer "AC" version was added in July 2009 to try to fill in the void left by Casey Kasem ending his AC countdown 
Radio Disney Music Top 30 Countdown, One version is for Hot AC stations, the other version is for Mainstream AC stations  Plays the USA Top 30 songs of the week according to Mediabase and a music rating service called ratethemusic com  This show, like Rick Dees' show, is distributed by Compass Media Networks 
Backtrax USA with Kid Kelly – Weekend programs focusing on the '80s and '90s, targeted for hot AC stations 
ABC and Dial Global both offer AC 24-hour networks programming soft and hot AC 
Tom Joyner and Steve Harvey have popular morning shows that air on urban AC (and sometimes Hip-Hop) stations  Both shows are often heard on competing stations in the same city, such as St  Louis, Philadelphia and Atlanta  Joyner's show is syndicated by ABC Radio, and Harvey's show by Premiere Radio Networks 
Retro Rewind with Dave Harris is a weekend-based radio show highlighting a massive playlist of songs from the 1980s and 1990s, interviews, spotlights and contests  The show is done live across the US on Saturday nights, taking audience requests  The show is targeted towards HOT AC and AC radio stations 
The EZ Rock network is a brand/network of soft AC heard in Canada 
Heart - A radio network in the UK that grew throughout 2009 as more stations were rebranded as "Heart" 
Smooth Radio – A UK-wide radio network that formed from six regional Smooth Radio stations 
Smoothfm – A network of two Australian commercial radio stations (based in Sydney and Melbourne) that are focused on providing an eclectic easy-listening playlist, usually featuring ballads 
Nova – A network of five Australian commercial radio station (based in Sydney, Melbourne, Brisbane, Adelaide and Perth) that are very similar to Smoothfm 
The Breeze – A group of New Zealand adult contemporary radio stations owned by MediaWorks Radio  There are 20 stations currently broadcasting throughout New Zealand 
The Bob and Sheri Show – American morning drive show based in Charlotte, North Carolina  Heard on more than 50 AC stations and the American Forces NetworkFormer syndicated programming includes Dick Clark's US Music Survey (1996–2005), Casey's Hot 20/Casey's Countdown/American Top 20/10 (1992–2009) and Top 30 USA 

See also
Adult Contemporary, a chart appearing in Billboard since 1961  This chart is typically (but not exclusively) closer to soft AC 
New-age music
Yacht rock
Passage 4:
The One That Got Away (Katy Perry song)
"The One That Got Away" is a song by American singer-songwriter Katy Perry from her third studio album, Teenage Dream (2010)  The song was produced by Dr  Luke and Max Martin, both of whom also co-wrote the song with Perry  The song is a mid-tempo pop ballad about a lost love  It features a reference to the rock band Radiohead, and compares the strength of the relationship to that of Johnny Cash and June Carter Cash  The song was released on September 30, 2011, by Capitol Records as the album's sixth single 
"The One That Got Away" peaked at number three on the Billboard Hot 100, with Teenage Dream becoming the seventh album in the 53-year history of the Hot 100 to generate at least six top 10s  The single reached the top of the Billboard Hot Dance Club Songs, Adult Top 40, and Mainstream Top 40 charts 
The accompanying music video for the song was directed by Floria Sigismondi and premiered in November 2011, featuring actor Diego Luna  An official remix featuring rapper B o B was released to digital retailers on December 20, 2011  An official acoustic rendition was released to digital retailers on January 16, 2012, this version was included in Teenage Dream: The Complete Confection edition  The song has been covered by several artists, including Kelly Clarkson, Olivia Rodrigo and Conan Gray, Richard Marx, Jordan Pruitt, Selena Gomez & the Scene, and Tate McRae 

Release and artwork
On September 13, 2011, at the New York City's Irving Plaza, Capitol Records confirmed to Billboard that "The One That Got Away" would be the sixth single from Teenage Dream  Perry said in a statement from the label:

"I'm so pleased to select 'The One That Got Away' as my sixth single because this song shows a very different side of me that I haven't shown with my past singles on this record, I think that everyone can relate to this song  I wrote [it] about when you promise someone forever, but you end up not being able to follow through  It's a bittersweet story  Hopefully, the listener learns from hearing it and never has to say they had 'The One' get away "
Later that month, Perry wrote the following message on her Twitter account: "The One That Got Away    It's happening!!!", along with a picture of the official single artwork  The artwork shows a pink-haired Perry looking up at the sky while wearing a disc-shaped hat  The photo gives a whimsical nod to the 1970s, with its distinctively retro appearance  On September 30, the song received radio airplay release in France  Soon it was followed by the release of the song to American mainstream and rhythmic contemporary radio stations on October 11  The single was issued to Italian radios through EMI Music Publishing on October 28  On December 2, the remix EP of "The One That Got Away" was released  The remix featuring American rapper B o B was issued by Capitol Records to American pop and rhythmic radios on December 15, followed by a digital release of the song five days later  Acoustic rendition of the song was released on January 16, 2012 Capitol Records said that they are not specifically releasing the song in hopes of it reaching number one and rewriting Hot 100 history (since Perry was the first woman to obtain five number ones on the chart from one album), rather the decision came out of "Perry's fondness for the song, its ear-catching hook and her obvious track record of success at pop radio"  EMI Music/Capitol Records EVP/marketing and promotion Greg Thompson told Billboard that, "if it goes to No  1, that would be great, If not, we still have a Katy song on the radio in fourth quarter", presumably boosting sales for Teenage Dream in the Christmas season 

Composition and writing
Originally titled "In Another Life", the song was produced by Dr  Luke and Max Martin, both of whom co-wrote it with Perry  It is a midtempo pop song positioned on the piece of E major and has a tempo of 134 beats per minute  Joanna Holcombe from Yahoo! Music noted that the song is about first loves  Leah Greenblatt from Entertainment Weekly, said that the song is "a midtempo ode to a summer-after-high-school love with whom she recalls sharing Mustang makeout sessions to Radiohead'"  Michael Wood from Spin magazine said that the song is one of the album's quieter cuts and that it recalls "Perry's singer-songwriter days at L A 's Hotel Café"  The song follows the chord progression of E–G♯m–C♯m–A, and Perry's vocal range spans from B3 to E5  Kitty Empire noticed that Perry's vocal is wistful throughout the song and that the references to June Carter Cash and Johnny Cash were unexpected  Rob Sheffield from Rolling Stone stated that when Perry sings, 'I was June, and you were my Johnny Cash,' "it's understood that she's thinking of the scrubbed-up Hollywood version of June and Johnny, from Walk the Line " After death of actor Johnny Lewis, media outlets speculated that the song was about him  In 2017, the singer revealed that "The One That Got Away" was about Josh Groban 

Critical reception
The song received mostly positive reviews from critics 
Kerri Mason from Billboard described the song as "delectable", noting that it has more texture than anything on Perry's previous album, One of the Boys  Mikael Wood from Spin magazine said that although "Perry delivers the gurl-gone-wild stuff with requisite sass", she actually "sounds more engaged on 'Not Like the Movies,' and 'The One That Got Away'  Similarly, Kitty Empire from The Guardian praised the collaboration, stating that Perry and Luke are at their most appealing in the song  In a similar note, Rob Sheffield from Rolling Stone, stated that Perry is more at home with the mall romance of "The One That Got Away"  The same opinion was echoed by Greg Kot from Chicago Tribune who felt that Perry sounds more invested in the more "serious" songs on the album, such as "The One That Got Away"  However, he added that it's as if Perry is "determined to balance the summer frothiness with a few shots of 'adult' earnestness"  Leah Greenblatt from Entertainment Weekly was not satisfied with the selection of the song as the sixth single, noting that there are better songs on the album that could have been chosen instead  Robert Copsey of the website Digital Spy awarded the song with four out of five stars and said:

"'Summer after high school, when we first met/ We make out in your Mustang, to Radiohead,' Katy Perry reminisces on the opening of her latest, potentially record-breaking single  We've always known that she had a penchant for the alt-rock, but we wonder if KP's 18-year-old self ever thought she'd be substituting the sounds of Thom Yorke and co  for the sugar-coated melodies that have made her one of the best-known artists on the planet today? 'Used to steal our parents' liquor, and climb through the roof/ Talk about our future, like we had a clue,' she continues over a toe-tapping drum beat and delicate piano riff as she agonises over the loss of her one true love  'In another life, I would be your girl/ We'd keep all our promises/ Be us against the world,' she mourns on a chorus as instantly satisfying as a mugful of Kenco  Word of advice Katy, we'd keep this one well away from Russell if you want to avoid history repeating itself "

Chart performance
On the week ending October 16, 2011, the song debuted at number 94 on the Billboard Hot 100 
In its sixth week it entered the top 10, making Teenage Dream one of only seven albums in Billboard's 53-year history to have six singles enter the top 10  On the chart dated December 24, 2011, the single entered the top five, making Teenage Dream the third album to have six or more top-five singles from one album on the chart following Rhythm Nation 1814 by Janet Jackson and Faith by George Michael  On the charts dated January 7, 2012, helped by the release of the remix with B o B , the single topped the Hot Dance Club Songs chart, the seventh song on the album to do so, setting a new record in the chart  The same week, the song peaked at number three on the Hot 100, making it Perry's only Teenage Dream single to fail to reach number one  As of January 2015, the song has sold more than 2,750,000 copies in the United States alone "The One That Got Away" debuted at number 87 in Australia on the week ending October 10, 2011  before peaking at number 27  In New Zealand, the song debuted at number 40 and later peaked at number 12  It was certified gold by the Recording Industry Association of New Zealand (RIANZ) after selling 7,500 copies there 

Music video
Background
Perry started filming for the video on September 30, 2011  Filming ended on October 2, 2011  The video was shot at the Lima Residence, a contemporary home located in Calabasas, an affluent city in Los Angeles County, California  Mexican actor Diego Luna plays Perry's boyfriend in the video  Photos from the set surfaced online, showing Perry wearing a conservative long-sleeved dress as well as sporting gray hair and prosthetic face wrinkles  The video was directed by Floria Sigismondi, who previously directed the video for "E T " The music video premiered on November 11, 2011 On November 4, 2011, a teaser for the video was released, narrated by Stevie Nicks  Nicks provides the elderly woman's voice, speaking about the past and her desire to go back for one day  The video contains scenes of Katy Perry and her past boyfriend (Luna) fighting, intertwined with scenes of them in love  She is later shown as a nostalgic, elderly woman dressed conservatively and standing by a fence looking into the distance  A seven-minute extended version of the video was shown on November 11, 2011, exclusively at select advance screenings of the motion picture My Week with Marilyn  As of March 2021, the video has more than 900 million views on YouTube 

Synopsis
Released on November 11, 2011, the video begins with an elderly woman (Perry) in a white long-sleeved dress entering her modernistic home, returning from a meeting  After she walks past her husband (played by Herman Sinitzyn), he asks her “How was it?”, and she responds by simply saying “It was fine ”, hinting that the two are in a loveless marriage  While making herself a cup of coffee, the elderly woman, unhappy with her present situation, begins to think about her colorful past when the song begins: her younger self with her artist boyfriend (Luna)  As the song plays, the happy girl and the boyfriend paint portraits of each other, dress up wildly, dance at a stranger's wedding, and give each other a makeshift tattoo 

As the elderly woman sadly reminisces while sitting on her (and the husband's) fancy bedroom alone in a silk nightgown, her younger self and the boyfriend get into an argument which culminates in her splashing red paint on one of his elaborate paintings after he did the same to one of hers and he leaves angrily then drives away  The woman's younger self appears to her older self's bedroom with each on the bed as they both sing  The younger version is also shown in her older self's closet, crying and singing while the boyfriend is seen driving in a Ford Mustang to blow off steam from the fight  At the same time in the present, the older woman is shown driving out of her garage in a similar type of car as the boyfriend is driving in the flashback 
The boyfriend opens the sun visor above him while driving and finds the veil of the dress the younger version of Perry had worn at the wedding  He stares at the veil, hinting that he decides to make up with her  But he is too distracted by the veil and does not notice the large boulders on the road from a small rock slide  He swerves to avoid the rocks and accidentally drives off a cliff, dying in the subsequent crash without getting a chance to make up, while the woman's younger self collapses at the same time (possibly representing the death of her colorful personality)  The song ends abruptly as the sounds of the car violently rolling down the cliff are heard 
While Johnny Cash's cover of "You Are My Sunshine" plays quietly in the background, the woman's older self now sports a dark conservative long-sleeved dress and is revealed to have driven to that same spot where the boyfriend had died  She walks up to the edge of the cliff and leans against a fence when the boyfriend (either a ghost or a hallucination) appears before her on the other side of the fence  The two hold hands, revealing matching tattoos on their hands  When the older woman snaps back to reality, the Johnny Cash music stops suddenly and the boyfriend vanishes  Saddened, the elderly woman turns back and silently walks away from the cliff to return home as the screen fades to black 

Reception
Jillian Mapes of Billboard commented that the video was "beautifully-shot" and praised the interesting plot  A writer of Rolling Stone wrote: "It's a cute clip for a sweet song, but the heavy-handed aging makeup is hard to get over " Erin Strecker from Entertainment Weekly compared the video with Titanic (1997) and Rihanna's video for "We Found Love"  Strecker also noted that the video was more "tragic" than he was expecting from Perry  Jocelyn Vena of MTV News said: "Katy Perry's moody, contemplative clip for 'The One That Got Away' perfectly encapsulates both the joy of falling in love and the heartbreak of letting go  It travels through time and space and recalls the story of Perry's one that got away " Consequence of Sound's Chris Coplan called the video a "little more somber" than the videos Perry made for "E T " and "Last Friday Night (T G I F )" 

Other versions
A seven-minute director's cut version was shown exclusively at select advance screenings of the motion picture My Week with Marilyn on November 11, 2011  The extended version shows a more cinematic side to the plot of the original music video and includes never-before-seen footage, as well as extended dialogue between the characters 
On January 17, 2012, Electronic Arts announced that they would be teaming up with Perry to help promote their new expansion pack for The Sims game franchise called The Sims 3: Showtime, which sees the release of a limited collector's edition that contains in-game content based on herself  An official music video for "The One That Got Away" featuring Perry as a Sim was uploaded on EA's YouTube channel  The storyline shows a female Sim and a male Sim falling in love and getting married  One day, the male Sim collapses in the bathroom floor, he is taken to the hospital and then dies  His wife is then seen mourning at his funeral  Suddenly, she is transported "to another life", Katy Perry's Candyfornia featured in her "California Gurls" music video, where her love interest is still alive and well; they eventually reunite and kiss  It also features most of the in-game content that will be included for the collector's edition of The Sims 3: Showtime and in the stuff pack The Sims 3: Katy Perry's Sweet Treats  As of 2022, the video is reach 1 million views 

Live performances and other versions
"The One That Got Away" was part of the setlist of Perry's worldwide 2011 concert tour, California Dreams Tour  On October 16, 2011, Perry performed the song on the UK version of The X Factor  Perry performed the song at the American Music Awards on November 20, 2011  Her AMA 2011 performance was followed by a lengthy standing ovation, and presentation of a special award acknowledging Perry as the only female to have five number-one singles from the same album in the United States  Perry performed the song as part of a Live Lounge special for BBC Radio 1's Fearne Cotton on March 19, 2012, along with "Part of Me", "Firework", "Thinking of You" and a censored version of "Niggas in Paris" A remix featuring American rapper B o B was released in December 2011  B o B added two new verses, one at the beginning and another replacing the bridge of the album version of the song  The decision for Capitol Records to release a remix and reduce the price of the song to give Perry a sixth number-one song has been criticized by some, noting that this is not Perry's first time adding a featured guest to her single releases  The hit single "E T ", was modified with verses from Kanye West, while "Last Friday Night (T G I F )" was given a remix featuring Missy Elliott  However, Billboard, which compiles the charts, have issued multiple columns defending Perry and Capitol, underlining that they are operating under chart rules and that numerous other acts, such as Rihanna and Britney Spears, used the same tactics for charting purposes over the years  An acoustic version of the song, produced by Jon Brion, was released to the iTunes Store on January 16, 2012, garnering more favorable reviews, with critics noting that "The One That Got Away" sounds very naturally as a ballad  Perry's label, Capitol Records, sponsored a contest in January 2012 encouraging fans to record their own acoustic version of the song for a chance to have it featured on Perry's Facebook wall  The song was also included in the setlist of The Prismatic World Tour, in which it is interpolated with Perry's 2009 song "Thinking of You" 
A violin cover of the song by music student Grace Youn, which Youn had uploaded to YouTube in 2011, was used in the opening scene of Perry's 2012 documentary, Katy Perry: Part of Me  American Idol contestant Alyssa Raghu sang the song in front of Katy Perry on the Top 10 Reveal episode of Season 17 

Formats and track listings
Credits and personnel
Credits adapted from Teenage Dream album liner notes 

Charts
Certifications
Release history
See also
List of Billboard Dance Club Songs number ones of 2012
List of Billboard Hot 100 top-ten singles in 2012



ground_truth: Michael Bublé

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What is the competition that the 1965 Federation Cup is part of named after?

The following are given passages.
Context 3: S C  § 2191(c)(1), stipulates that an implementing bill submitted by the President of the United States for a fast-track negotiating authority (trade promotion authority) trade agreement must be introduced (by request) in the House by the Majority Leader of the House 

Minority Leader
Responsibilities
From an institutional perspective, the rules of the House assign a number of specific responsibilities to the minority leader  For example, Rule XII, clause 6, grant the minority leader (or their designee) the right to offer a motion to recommit with instructions; Rule II, clause 6, states the Inspector General shall be appointed by joint recommendation of the Speaker, majority leader, and minority leader; and Rule XV, clause 6, provides that the Speaker, after consultation with the minority leader, may place legislation on the Corrections Calendar  The minority leader also has other institutional duties, such as appointing individuals to certain federal entities 
From a party perspective, the minority leader has a wide range of partisan assignments, all geared toward retaking majority control of the House  Five principal party activities direct the work of the minority leader 

The minority leader provides campaign assistance to party incumbents and challengers 
The minority leader devises strategies, in consultation with other partisan colleagues, that advance party objectives  For example, by stalling action on the majority party's agenda, the minority leader may be able to launch a campaign against a "do-nothing Congress" 
The minority leader works to promote and publicize the party's agenda 
The minority leader, if their party controls the White House, confers regularly with the President and the President's aides about issues before Congress, the Administration's agenda, and political events generally 
The minority leader strives to promote party harmony so as to maximize the chances for legislative and political success The roles and responsibilities of the minority leader are not well-defined  To a large extent, the functions of the minority leader are defined by tradition and custom  A minority leader from 1931 to 1939, Representative Bertrand Snell, R-N Y , provided this "job description": "He is spokesman for his party and enunciates its policies  He is required to be alert and vigilant in defense of the minority's rights  It is his function and duty to criticize constructively the policies and programs of the majority, and to this end employ parliamentary tactics and give close attention to all proposed legislation "Since Snell's description, other responsibilities have been added to the job  These duties involve an array of institutional and party functions  Before examining the institutional and party assignments of the minority leader, it is worth highlighting the historical origin of this position 

Origin of the post
To a large extent, the minority leader's position is a 20th-century innovation  Prior to this time congressional parties were often relatively disorganized, so it was not always evident who functioned as the opposition floor leader  Decades went by before anything like the modern two-party congressional system emerged on Capitol Hill with official titles for those who were its official leaders  However, from the earliest days of Congress, various House members intermittently assumed the role of "opposition leader"  Some scholars suggest that Representative James Madison of Virginia informally functioned as the first "minority leader" because in the First Congress he led the opposition to Treasury Secretary Alexander Hamilton's fiscal policies During this early period, it was more usual that neither major party grouping (Federalists and Democratic-Republicans) had an official leader  In 1813, for instance, a scholar recounts that the Federalist minority of 36 Members needed a committee of 13 "to represent a party comprising a distinct minority" and "to coordinate the actions of men who were already partisans in the same cause " In 1828, a foreign observer of the House offered this perspective on the absence of formal party leadership on Capitol Hill:

I found there were absolutely no persons holding the stations of what are called, in England, Leaders, on either side of the House     It is true, that certain members do take charge of administration questions, and certain others of opposition questions; but all this so obviously without concert among themselves, actual or tacit, that nothing can be conceived less systematic or more completely desultory, disjointed Internal party disunity compounded the difficulty of identifying lawmakers who might have informally functioned as a minority leader  For instance, "seven of the fourteen speakership elections from 1834 through 1859 had at least twenty different candidates in the field  Thirty-six competed in 1839, ninety-seven in 1849, ninety-one in 1859, and 138 in 1855 " With so many candidates competing for the speakership, it is not at all clear that one of the defeated lawmakers then assumed the mantle of "minority leader"  The Democratic minority from 1861 to 1875 was so completely disorganized that they did not "nominate a candidate for Speaker in two of these seven Congresses and nominated no man more than once in the other five  The defeated candidates were not automatically looked to for leadership "In the judgment of political scientist Randall Ripley, since 1883 "the candidate for Speaker nominated by the minority party has clearly been the Minority Leader " However, this assertion is subject to dispute  On December 3, 1883, the House elected Democrat John G  Carlisle of Kentucky as Speaker  Republicans placed in nomination for the speakership J  Warren Keifer of Ohio, who was Speaker the previous Congress  Clearly, Keifer was not the Republicans' minority leader  He was a discredited leader in part because as Speaker he arbitrarily handed out "choice jobs to close relatives     all at handsome salaries " Keifer received "the empty honor of the minority nomination  But with it came a sting -- for while this naturally involves the floor leadership, he was deserted by his [partisan] associates and his career as a national figure terminated ingloriously " Representative Thomas Reed, R-ME, who later became Speaker, assumed the de facto role of minority floor leader in Keifer's stead  "[A]lthough Keifer was the minority's candidate for Speaker, Reed became its acknowledged leader, and ever after, so long as he served in the House, remained the most conspicuous member of his party Another scholar contends that the minority leader position emerged even before 1883  On the Democratic side, "there were serious caucus fights for the minority speakership nomination in 1871 and 1873," indicating that the "nomination carried with it some vestige of leadership " Further, when Republicans were in the minority, the party nominated for Speaker a series of prominent lawmakers, including ex-Speaker James Blaine of Maine in 1875, former Appropriations Chairman James A  Garfield of Ohio, in 1876, 1877, and 1879, and ex-Speaker Keifer in 1883  "It is hard to believe that House partisans would place a man in the speakership when in the majority, and nominate him for this office when in the minority, and not look to him for legislative guidance " This was not the case, according to some observers, with respect to ex-Speaker Keifer 
In brief, there is disagreement among historical analysts as to the exact time period when the minority leadership emerged officially as a party position  Nonetheless, it seems safe to conclude that the position emerged during the latter part of the 19th century, a period of strong party organization and professional politicians  This era was "marked by strong partisan attachments, resilient patronage-based party organizations, and   high levels of party voting in Congress " Plainly, these were conditions conducive to the establishment of a more highly differentiated House
leadership structure 

Minority party nominees for Speaker, 1865–1897
While the Office of the House Historian only lists Minority Leaders starting in 1899, the minority's nominees for Speaker (at the beginning of each Congress) may be considered their party's leaders before that time 

1865: James Brooks (D-NY)
1867: Samuel S  Marshall (D-IL)
1869: Michael C  Kerr (D-IN)
1871: George W  Morgan (D-OH)
1873: Fernando Wood (D-NY)
1875: James Gillespie Blaine (R-ME)
1877, 1879: James Abram Garfield (R-OH)
1881: Samuel Jackson Randall (D-PA)
1883: Joseph Warren Keifer (R-OH)
1885, 1887: Thomas Brackett Reed (R-ME)
1889: John Griffin Carlisle (D-KY)
1891, 1893: Thomas Brackett Reed (R-ME)
1895: Charles F  Crisp (D-GA)
1897: Joseph W  Bailey (D-TX)

Trends
Two other points of historical interest merit brief mention  First, until the 61st Congress (1909–1910), "it was the custom to have the minority leader also serve as the ranking minority member on the two most powerful committees, Rules and Ways and Means " Today, the minority leader no longer serves on these committees; however, they appoint the minority members of the Rules Committee and influence the assignment of partisan colleagues to the Ways and Means Committee 
Second, Democrats have always elevated their minority floor leader to the speakership upon reclaiming majority status  Republicans have not always followed this leadership succession pattern  In 1919, for instance, Republicans bypassed James R  Mann, R-IL, who had been minority leader for eight years, and elected Frederick Gillett, R-MA, to be Speaker  Mann "had angered many Republicans by objecting to their private bills on the floor;" also he was a protégé of autocratic Speaker Joseph Cannon, R-IL (1903–1911), and many Members "suspected that he would try to re-centralize power in his hands if elected Speaker " More recently, although Robert H  Michel was the Minority Leader in 1994 when the Republicans regained control of the House in the 1994 midterm elections, he had already announced his retirement and had little or no involvement in the campaign, including the Contract with America which was unveiled six weeks before voting day 
In the instance when the Presidency and both Houses of Congress are controlled by one party, the Speaker normally assumes a lower profile and defers to the President  For that situation the House Minority Leader can play the role of a de facto "leader of the opposition", often more so than the Senate Minority Leader, due to the more partisan nature of the House and the greater role of leadership  Minority Leaders who have played prominent roles in opposing the incumbent President have included Gerald Ford, Richard Gephardt, Nancy Pelosi, and John Boehner 

Institutional functions
The style and role of any minority leader is influenced by a variety of elements, including personality and contextual factors, such as the size and cohesion of the minority party, whether their party controls the White House, the general political climate in the House, and the controversy that is sometimes associated with the legislative agenda  Despite the variability of these factors, there are a number of institutional obligations associated with this position  Many of these assignments or roles are spelled out in the House rule book  Others have devolved upon the position in other ways  To be sure, the minority leader is provided with extra staff resources—beyond those accorded him or her as a Representative—to assist in carrying out
diverse leadership functions  Worth emphasis is that there are limits on the institutional role of the minority leader, because the majority party exercises disproportionate influence over the agenda, partisan ratios on committees, staff resources, administrative operations, and the day-to-day schedule and management of floor activities 
Under the rules of the House, the minority leader has certain roles and responsibilities  They include the following:
Drug Testing  Under Rule I, clause 9, the "Speaker, in consultation with the Minority Leader, shall develop through an appropriate entity of the House a system for drug testing in the House "
Inspector General  Rule II, clause 6, states that the "Inspector General shall be appointed for a Congress by the Speaker, the Majority Leader, and the Minority Leader, acting jointly " This rule further states that the minority leader and other specified House leaders shall be notified of any financial irregularity involving the House and receive audit reports of the inspector general 
Questions of Privilege  Under Rule IX, clause 2, a resolution "offered as a question of privilege by the Majority Leader or the Minority Leader     shall have precedence of all other questions except motions to adjourn " This rule further references the minority leader with respect to the division of time for debate of these resolutions 
Oversight Plans  Under Rule X, clause 2, not later "than March 31 in the first session of a Congress, after consultation with the Speaker, the Majority Leader, and the Minority Leader, the Committee on Government Reform shall report to the House the oversight plans" of the standing committees along with any recommendations it or the House leaders have proposed to ensure the effective coordination of committees' oversight plans 
Committee on Standards of Official Conduct: Investigative Subcommittees  Rule X, clause 5, stipulates: "At the beginning of a Congress, the Speaker or his designee and the Minority Leader or his designee each shall appoint 10 Members, Delegates, or Resident Commissioners from his respective party who are not members of the Committee on Standards of Official Conduct to be available to serve on investigative subcommittees of that committee during that Congress "
Permanent Select Committee on Intelligence  "The Speaker and Minority Leader shall be ex officio members of the select committee but shall have no vote in the select committee and may not be counted for purposes of determining a quorum " In addition, each leader may designate a member of his leadership staff to assist him with his ex officio duties  (Rule X, clause 11) 
Motion to Recommit with Instructions  Under Rule XIII, clause 6, the Rules Committee may not (except in certain specified circumstances) issue a "rule" that prevents the minority leader or a designee from offering a motion to recommit with instructions 
In addition, the minority leader has a number of other institutional functions  For instance, the minority leader is sometimes statutorily authorized to appoint individuals to certain federal entities; they and the majority leader each name three Members to serve as Private Calendar objectors; they are consulted with respect to reconvening the House per the usual formulation of conditional concurrent adjournment resolutions; they are a traditional member of the House Office Building Commission; they are a member of the United States Capitol Preservation Commission; and they may, after consultation with the Speaker, convene an early organizational party caucus or conference  Informally, the minority leader maintains ties with majority party leaders to learn about the schedule and other House matters and forges agreements or understandings with them insofar as feasible 

Party functions
The minority leader has a number of formal and informal party responsibilities  Formally, the rules of each party specify certain roles and responsibilities for their leader  For example, under Democratic rules for the 106th Congress, the minority leader may call meetings of the Democratic Caucus  They are a member of the Democratic Congressional Campaign Committee; names the members of the Democratic Leadership Council; chairs the Policy Committee; and heads the
Steering Committee  Examples of other assignments are making "recommendations to the Speaker on all Democratic Members who shall serve as conferees" and nominating party members to the Committees on Rules and House Administration  Republican rules identify generally comparable functions for their top party leader 
Informally, the minority leader has a wide range of party assignments  Lewis Deschler, the late House Parliamentarian (1928–1974), summarized the diverse duties of a party's floor leader:
A party's floor leader, in conjunction with other party leaders, plays an influential role in the formulation of party policy and programs  They are instrumental in guiding legislation favored by his party through the House, or in resisting those programs of the other party that are considered undesirable by his own party  They are instrumental in devising and implementing his party's strategy on the floor with respect to promoting or opposing legislation  They are kept constantly informed as to the status of legislative business and as to the sentiment of his party respecting particular legislation under consideration  Such information is derived in part from the floor leader's contacts with his party's members serving on House committees, and with the members of the party's
whip organization These and several other party roles merit further mention because they influence significantly the leader's overarching objective: retake majority control of the House  "I want to get [my] members elected and win more seats," said Minority Leader Richard Gephardt, D-MO  "That's what [my partisan colleagues] want to do, and that's what they want me to do "Five activities illustrate how minority leaders seek to accomplish this primary goal 
Provide Campaign Assistance  Minority leaders are typically energetic and aggressive campaigners for partisan incumbents and challengers  There is hardly any major aspect of campaigning that does not engage their attention  For example, they assist in recruiting qualified candidates; they establish "leadership PACs" to raise and distribute funds to House candidates of their party; they try to persuade partisan colleagues not to retire or run for other offices so as to hold down the number of open seats the party would need to defend; they coordinate their campaign activities with congressional and national party campaign committees; they encourage outside groups to back their candidates; they travel around the country to speak on behalf of party candidates; and they encourage incumbent colleagues to make significant financial contributions to the party's campaign committee  "The amount of time that [Minority Leader] Gephardt is putting in to help the DCCC [Democratic Congressional Campaign Committee] is unheard of," noted a Democratic lobbyist "No DCCC chairman has ever had that kind of support "Devise Minority Party Strategies  The minority leader, in consultation with other party colleagues, has a range of strategic options that they can employ to advance minority party objectives  The options selected depend on a wide range of circumstances, such as the visibility or significance of the issue and the degree of cohesion within the majority party  For instance, a majority party riven by internal dissension, as occurred during the early 1900s when Progressive and "regular" Republicans were at loggerheads, may provide the minority leader with greater opportunities to achieve their priorities than if the majority party exhibited high degrees of party cohesion  Among the variable strategies available to the minority party, which can vary from bill to bill and be used in combination or at different stages of the lawmaking process, are the following:
Cooperation  The minority party supports and cooperates with the majority party in building winning coalitions on the floor 
Inconsequential Opposition  The minority party offers opposition, but it is of marginal significance, typically because the minority is so small 
Withdrawal  The minority party chooses not to take a position on an issue, perhaps because of intraparty divisions 
Innovation  The minority party develops alternatives and agendas of its own and attempts to construct winning coalitions on their behalf 
Partisan Opposition  The minority party offers strong opposition to majority party initiatives but does not counter with policy alternatives of their own 
Constructive Opposition  The minority party opposes initiatives of the majority party and offers its own proposals as substitutes 
Participation  The minority party is in the position of having to consider the views and proposals of their president and to assess their majority-building role with respect to his priorities A look at one minority leadership strategy—partisan opposition—may suggest why it might be employed in specific circumstances  The purposes of obstruction are several, such as frustrating the majority party's ability to govern or attracting press and media attention to the alleged ineffectiveness of the majority party  "We know how to delay," remarked Minority Leader Gephardt  Dilatory motions to adjourn, appeals of the presiding officer's ruling, or numerous requests for roll call votes are standard time-consuming parliamentary tactics  By stalling action on the majority party's agenda, the minority leader may be able to launch a campaign against a "do-nothing Congress" and convince enough voters to put his party back in charge of the House  To be sure, the minority leader recognizes that "going negative" carries risks and may not be a winning strategy if his party fails to offer policy alternatives that appeal to broad segments of the general public 
Promote and Publicize the Party's Agenda  An important aim of the minority leader is to develop an electorally attractive agenda of ideas and proposals that unites their own House members and that energizes and appeals to core electoral supporters as well as independents and swing voters  Despite the minority leader's restricted ability to set the House's agenda, there are still opportunities for him to raise minority priorities  For example, the minority leader may employ, or threaten to use, discharge petitions to try and bring minority priorities to the floor  If they are able to attract the required 218 signatures on a discharge petition by attracting majority party supporters, they can force minority initiatives to the floor over the opposition of the majority leadership  As a GOP minority leader once said, the challenges he confronted are to "keep our people together, and to look for votes on the other side "Minority leaders may engage in numerous activities to publicize their party's priorities and to criticize the opposition's  For instance, to keep their party colleagues "on message", they insure that partisan colleagues are sent packets of suggested press releases or "talking points" for constituent meetings in their districts; they help to organize "town meetings" in Members' districts around the country to publicize the party's agenda or a specific priority, such as health care or education; they sponsor party "retreats" to discuss issues and assess the party's public image; they create "theme teams" to craft party messages that might be raised during the one-minute, morning hour, or special order period in the House; they conduct surveys of party colleagues to discern their policy preferences; they establish websites that highlight and distribute party images and issues to users; and they organize task forces or issue teams to formulate party programs and to develop strategies for communicating these programs to the public 
House minority leaders also hold joint news conferences and consult with their counterparts in the Senate—and with the president if their party controls the White House  The overall objectives are to develop a coordinated communications strategy, to share ideas and information, and to present a united front on issues  Minority leaders also make floor speeches and close debate on major issues before the House; they deliver addresses in diverse forums across the country, and they write books or articles that highlight minority party goals and achievements  They must also be prepared "to debate on the floor, ad lib, no notes, on a moment's notice," remarked Minority Leader Michel  In brief, minority leaders are key strategists in developing and promoting the party's agenda and in outlining ways to neutralize the opposition's arguments and proposals 
Confer With the White House  If their party controls the White House, the minority leader confers regularly with the President and his aides about issues before Congress, the Administration's agenda, and political events generally  Strategically, the role of the minority leader will vary depending on whether the President is of the same party or the other party  In general, minority leaders will often work to advance the goals and aspirations of their party's President in Congress  When Robert Michel, R-IL, was minority leader (1981–1995), he typically functioned as the "point man" for Republican presidents  President Ronald Reagan's 1981 policy successes in the Democratic-controlled House was due in no small measure to Minority Leader Michel's effectiveness in wooing so-called "Reagan Democrats" to support, for instance, the Administration's landmark budget reconciliation bill  There are occasions, of course, when minority leaders will fault the legislative initiatives of their President  On an administration proposal that could adversely affect his district, Michel stated that he might "abdicate my leadership role [on this issue] since I can't harmonize my own views with the administration's " Minority Leader Gephardt, as another example, has publicly opposed a number of President Clinton's legislative initiatives from "fast track" trade authority to various budget issues When the White House is controlled by the House majority party, then the House minority leader assumes a larger role in formulating alternatives to executive branch initiatives and in acting as a national spokesperson for their party  "As Minority Leader during [President Lyndon Johnson's] Democratic administration, my responsibility has been to propose Republican alternatives," said Minority Leader Gerald Ford, R-MI  Greatly outnumbered in the House, Minority Leader Ford devised a political strategy that allowed Republicans to offer their alternatives in a manner that provided them political protection  As Ford explained:
"We used a technique of laying our program out in general debate," he said  When we got to the amendment phase, we would offer our program as a substitute for the Johnson proposal  If we lost in the Committee of the Whole, then we would usually offer it as a motion to recommit and get a vote on that  And if we lost on the motion to recommit, our Republican members had a choice: They could vote against the Johnson program and say we did our best to come up with a better alternative  Or they could vote for it and make the same argument  Usually we lost; but when you're only 140 out of 435, you don't expect to win many Ford also teamed with Senate Minority Leader Everett Dirksen, R-IL, to act as national spokesmen for their party  They met with the press every Thursday following the weekly joint leadership meeting  Ford's predecessor as minority leader, Charles Halleck, R-IN, probably received more visibility in this role, because the press and media dubbed it the "Ev and Charlie Show"  In fact, the "Republican National Committee budgeted $30,000 annually to produce the weekly news conference "Foster Party Harmony  Minority status, by itself, is often an important inducement for minority party members to stay together, to accommodate different interests, and to submerge intraparty factional disagreements  To hold a diverse membership together often requires extensive consultations and discussions with rank-and-file Members and with different factional groupings  As Minority Leader Gephardt said:

We have weekly caucus meetings  We have daily leadership meetings  We have weekly ranking Member meetings  We have party effectiveness meetings  There's a lot more communication  I believe leadership is bottom up, not top down  I think you have to build policy and strategy and vision from the bottom up, and involve people in figuring out what that is Gephardt added that "inclusion and empowerment of the people on the line have to be done to get the best performance" from the minority party  Other techniques for fostering party harmony include the appointment of task forces composed of partisan colleagues with conflicting views to reach consensus on issues; the creation of new leadership positions as a way to reach out and involve a greater diversity of partisans in the leadership structure; and daily meetings in the Leader's office (or at breakfast, lunch, or dinner) to lay out floor strategy or political objectives for the
minority party 

Party whips and assistant party leaders
Whips
A whip manages their party's legislative program on the House floor  The whip keeps track of all legislation and ensures that all party members are present when important measures are to be voted upon 
The Majority Whip is an elected member of the majority party who assists the Speaker of the House and the majority leader to coordinate ideas on, and garner support for, proposed legislation  They are reckoned as the third-ranking member of their party behind the Speaker and the Majority Leader 
The Minority Whip is a member of the minority party who assists the minority leader in coordinating the party caucus in its responses to legislation and other matters  They are reckoned as the second most powerful member of their party, behind the minority leader 
The Chief Deputy Whip is the primary assistant to the whip, who is the chief vote counter for their party  The current chief deputy majority whip is Republican Guy Reschenthaler  Within the House Republican Conference, the chief deputy whip is the highest appointed position and often a launching pad for future positions in the House Leadership  Cantor and McCarthy, for instance, served as chief deputy Republican whips before ascending to the majority leader's post  The House Democratic Conference has multiple chief deputy whips, led by a Senior Chief Deputy Whip, which is the highest appointed position within the House Democratic Caucus  John Lewis held this post from 1991 until his death in 2020  Jan Schakowsky held the position of senior chief deputy majority whip along with Lewis since 2019, previously holding a position as chief deputy whip since 2005  Between 1955 and 1973, the Democrats simply had the title Deputy Whip 
List of Republican Chief Deputy Whips
1981–1983: David F  Emery (Minority)
1983–1987: Tom Loeffler (Minority)
1987–1989: Edward Rell Madigan (Minority)
1989–1993: Steve Gunderson and Robert Smith Walker (Minority)
1993–1995: Robert Smith Walker (Minority)
1995–1999: Dennis Hastert (Majority)
1999–2003: Roy Blunt (Majority)
2003–2009: Eric Cantor (Majority, 2003–2007; Minority, 2007–2009)
2009–2011: Kevin McCarthy (Minority)
2011–2014: Peter Roskam (Majority)
2014–2019: Patrick McHenry (Majority)
2019–2022: Drew Ferguson (Minority)
2023–present: Guy Reschenthaler (Majority)List of Democratic Chief Deputy Whips1955–1962: Hale Boggs (Majority)
1962–1971: Tip O'Neill (Majority)
1971–1973: John Brademas, John J  McFall (Majority)
1973–1977: John Brademas (Majority)
1977–1981: Dan Rostenkowski (Majority)
1981–1987: Bill Alexander (Majority)
1987–1991: David Bonior (Majority)
1991–1993: Butler Derrick, Barbara Kennelly, John Lewis (Majority)
1993–1995: Butler Derrick, Barbara Kennelly, John Lewis, Bill Richardson (Majority)
1995–1997: Rosa DeLauro, John Lewis, Bill Richardson (Minority)
1997–1999: Rosa DeLauro, Chet Edwards, John Lewis, Bob Menendez (Minority)
1999–2002: Chet Edwards, John Lewis, Ed Pastor, Maxine Waters (Minority)
2002–2003: John Lewis, Ed Pastor, Max Sandlin, Maxine Waters (Minority)
2003–2005: John Lewis (Senior Chief Deputy Whip), Joe Crowley, Baron Hill, Ron Kind, Ed Pastor, Max Sandlin, Jan Schakowsky, Maxine Waters (Minority)
2005–2007: John Lewis (Senior Chief Deputy Whip), Joe Crowley, Diana DeGette, Ron Kind, Ed Pastor, Jan Schakowsky, John Tanner, Maxine Waters (Minority)
2007–2011: John Lewis (Senior Chief Deputy Whip), G  K  Butterfield, Joe Crowley, Diana DeGette, Ed Pastor, Jan Schakowsky, Debbie Wasserman Schultz, John Tanner, Maxine Waters (Majority)
2011–2013: John Lewis (Senior Chief Deputy Whip), G  K  Butterfield, Joe Crowley, Diana DeGette, Jim Matheson, Ed Pastor, Jan Schakowsky, Debbie Wasserman Schultz, Maxine Waters, Peter Welch (Minority)
2013–2015: John Lewis (Senior Chief Deputy Whip), G  K  Butterfield, Diana DeGette, Keith Ellison, Ben Ray Lujan, Jim Matheson, Jan Schakowsky, Debbie Wasserman Schultz, Terri Sewell, Peter Welch (Minority)
2015–2019: John Lewis (Senior Chief Deputy Whip), G  K  Butterfield, Joaquin Castro, Diana DeGette, Keith Ellison, Jan Schakowsky, Debbie Wasserman Schultz, Terri Sewell, Kyrsten Sinema, Peter Welch (Minority)
2019–2022: Cedric Richmond (until January 15, 2021) (Assistant to the Majority Whip), John Lewis (until July 17, 2020), Jan Schakowsky (Senior Chief Deputy Whips), Pete Aguilar, G  K  Butterfield, Henry Cuellar, Sheila Jackson Lee, Dan Kildee, Debbie Wasserman Schultz, Terri Sewell, Peter Welch (Majority)
2023–present: Jan Schakowsky, Terri Sewell, Henry Cuellar, Sheila Jackson Lee, Jimmy Panetta, Colin Allred, Sharice Davids, Deborah Ross, Linda Sánchez, Marilyn Strickland

Assistant party leaders
The position of Assistant Democratic Leader was established by Nancy Pelosi on January 3, 2011 and filled by Jim Clyburn to avoid a battle for whip between then-Majority Leader Steny Hoyer and then-Majority Whip Jim Clyburn  The title has undergone several name changes, with the title being known as the titular "Assistant Speaker of the House of Representatives" during Pelosi's second speakership; it is said to replace the Assistant to the Leader post first established in 1999; and previously held by Chris Van Hollen  There is currently no Republican equivalent in the U S  House of Representatives 

List of House Democratic Assistants to the Leader1999–2003: Rosa DeLauro
2003–2007: John Spratt
2007–2009: Xavier Becerra
2009–2011: Chris Van HollenList of House Assistant Democratic Leaders2011–2019: Jim ClyburnList of Assistant Speakers of the House of Representatives2019–2021: Ben Ray Luján
2021–2023: Katherine ClarkList of House Assistant Democratic Leaders2023–present: Jim Clyburn

List of party leaders and whips
The Majority and President are included for historical and comparative reference 

See also
Party leaders of the United States Senate
Divided government in the United States

Notes



ground_truth: International Tennis Federation

ITF