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 oldest college in the state that contains Borough House Plantation?

The following are given passages.
Context 1: Passage 1:
Bellevue (Accokeek, Maryland)
Bellevue is a historic plantation house located at 200 Manning Road East, in Accokeek, Prince George's County, Maryland, United States  This Greek Revival style home was constructed in about 1840  It is one of only three surviving examples in Prince George's County of the once-popular Tidewater house style, typical of successful small plantations of that period  Bellevue is in excellent condition, and retains its freestanding chimneys with brick pent, as well as a roughly contemporary kitchen wing  The house stands on a five-acre, partially wooded lot which exemplifies its original plantation setting Bellevue was listed on the National Register of Historic Places in 1986 
Passage 2:
Borough House Plantation
Borough House Plantation, also known as Borough House, Hillcrest Plantation and Anderson Place, is an historic plantation on South Carolina Highway 261, 0 8 miles (1 3 km) north of its intersection with U S  Route 76/US Route 378 in Stateburg, in the High Hills of Santee near Sumter, South Carolina   A National Historic Landmark, the plantation is noted as the largest assemblage of high-style pisé (rammed earth) structures in the United States   The main house and six buildings on the plantation were built using this technique, beginning in 1821   The plantation is also notable as the home of Confederate Army General Richard H  Anderson 

Description and history
The original house built in 1758 served at different times during the American Revolution as headquarters for both British General Lord Cornwallis and Continental Army General Nathanael Greene   The second house was built in 1820 of rammed earth by William Wallace Anderson, M D  It was designed by architect A C  Jones 
On October 7, 1821, Anderson's wife, the former Mary Jane Mackensie, gave birth at home to their son, Richard H  Anderson  He later served as a Confederate Army general in the American Civil War   Stateburg was originally called Stateborough, as when the town was laid out, Borough House was the only residence in it In 1850–1852, Dr  Anderson chaired the committee that built the Church of the Holy Cross of rammed earth across the road from Borough Hall  It was also designed by Jones 
In 1851, Joel Roberts Poinsett, physician, American statesman and botanist (for whom the poinsettia is named), died while visiting Dr  Anderson  He was buried in the churchyard across the road On March 23, 1972, Borough Hall plantation was added to the National Register of Historic Places and declared a National Historic Landmark  It is also part of the defined Stateburg Historic District, as is the Church of the Holy Cross 

See also
List of National Historic Landmarks in South Carolina
National Register of Historic Places listings in Sumter County, South Carolina
Passage 3:
Charleston, South Carolina
Charleston is the most populous city in the U S  state of South Carolina, the county seat of Charleston County, and the principal city in the Charleston metropolitan area  The city lies just south of the geographical midpoint of South Carolina's coastline on Charleston Harbor, an inlet of the Atlantic Ocean formed by the confluence of the Ashley, Cooper, and Wando rivers  Charleston had a population of 150,277 at the 2020 census  The 2020 population of the Charleston metropolitan area, comprising Berkeley, Charleston, and Dorchester counties, was 799,636 residents, the third-largest in the state, 8th-largest in the Deep South and the 74th-largest metropolitan statistical area in the United States 
Charleston was founded in 1670 as Charles Town, honoring King Charles II, at Albemarle Point on the west bank of the Ashley River (now Charles Towne Landing) but relocated in 1680 to its present site, which became the fifth-largest city in North America within ten years  It remained unincorporated throughout the colonial period; its government was handled directly by a colonial legislature and a governor sent by Parliament  Election districts were organized according to Anglican parishes, and some social services were managed by Anglican wardens and vestries  Charleston adopted its present spelling with its incorporation as a city in 1783  Population growth in the interior of South Carolina influenced the removal of the state government to Columbia in 1788, but Charleston remained among the ten largest cities in the United States through the 1840 census Charleston's significance in American history is tied to its role as a major slave trading port  Charleston slave traders like Joseph Wragg were the first to break through the monopoly of the Royal African Company and pioneered the large-scale slave trade of the 18th century; almost one-half of slaves imported to the United States arrived in Charleston  In 2018, the city formally apologized for its role in the American slave trade 

History
Colonial era (1670–1786)
King Charles II granted the chartered Province of Carolina to eight of his loyal friends, known as the Lords Proprietors, on March 24, 1663  In 1670, Governor William Sayle arranged for several shiploads of settlers from Bermuda and Barbados  These settlers established what was then called Charles Town at Albemarle Point, on the west bank of the Ashley River, a few miles northwest of the present-day city center  Charles Town became the first comprehensively planned town in the Thirteen Colonies  Its governance, settlement, and development was to follow a visionary plan known as the Grand Model prepared for the Lords Proprietors by John Locke  Because the Carolina's Fundamental Constitutions was never ratified, however, Charles Town was never incorporated during the colonial period  Instead, local ordinances were passed by the provincial government, with day-to-day administration handled by the wardens and vestries of St Philip's and St Michael's Anglican parishes At the time of European colonization, the area was inhabited by the indigenous Cusabo, whom the settlers declared war on in October 1671  The settlers initially allied with the Westo, a northern indigenous tribe that traded in enslaved Indians  The settlers abandoned their alliance with the Westo in 1679 and allied with the Cusabo instead The initial settlement quickly dwindled away and disappeared while another village—established by the settlers on Oyster Point at the confluence of the Ashley and Cooper rivers around 1672—thrived  This second settlement formally replaced the original Charles Town in 1680  (The original site is now commemorated as Charles Towne Landing ) The second location was more defensible and had access to a fine natural harbor  The new town had become the fifth largest in North America by 1690 A smallpox outbreak erupted in 1698, followed by an earthquake in February 1699  The latter caused a fire that destroyed about a third of the town  During rebuilding, a yellow fever outbreak killed about 15% of the remaining inhabitants  Charles Town suffered between five and eight major yellow fever outbreaks over the first half of the 18th century 
It developed a reputation as one of the least healthy locations in the Thirteen Colonies for ethnic Europeans  Malaria was endemic  Although malaria did not have such high mortality as yellow fever, it caused much illness  It was a major health problem through most of the city's history before dying out in the 1950s after use of pesticides cut down on the mosquitoes that transmitted it 

Charles Town was fortified according to a plan developed in 1704 under Governor Nathaniel Johnson  Both Spain and France contested Britain's claims to the region  Various bands of Native Americans and independent pirates also raided it 
On September 5–6, 1713 (O S ) a violent hurricane passed over Charles Town  The Circular Congregational Church manse was damaged during the storm, in which church records were lost  Much of Charles Town was flooded as "the Ashley and Cooper rivers became one " At least seventy people died in the disaster From the 1670s Charleston attracted pirates  The combination of a weak government and corruption made the city popular with pirates, who frequently visited and raided the city  Charles Town was besieged by the pirate Blackbeard for several days in May 1718  Blackbeard released his hostages and left in exchange for a chest of medicine from Governor Robert Johnson Around 1719, the town's name began to be generally written as Charlestown and, excepting those fronting the Cooper River, the old walls were largely removed over the next decade  Charlestown was a center for the inland colonization of South Carolina  It remained the southernmost point of the Southern Colonies until the Province of Georgia was established in 1732  As noted, the first settlers primarily came from Europe, Barbados and Bermuda  The Barbadian and Bermudan immigrants were planters who brought enslaved Africans with them, having purchased them in the West Indies 
Early immigrant groups to the city included the Huguenots, Scottish, Irish, and Germans, as well as hundreds of Jews, predominately Sephardi from London and major cities of the Dutch Republic, where they had been given refuge  As late as 1830, Charleston's Jewish community was the largest and wealthiest in North America By 1708, the majority of the colony's population were Black Africans  They had been brought to Charlestown via the Atlantic slave trade, first as indentured servants and then as slaves  In the early 1700s, Charleston's largest slave trader, Joseph Wragg, pioneered the settlement's involvement in the slave trade  Of the estimated 400,000 captive Africans transported to North America to be sold into slavery, 40% are thought to have landed at Sullivan's Island off Charlestown  Free people of color also migrated from the West Indies, being descendants of white planters and their Black consorts, and unions among the working classes In 1767 Gadsden's Wharf was constructed at the city port on the Cooper River; it ultimately extended 840 feet and was able to accommodate six ships at a time  Many slaves were sold from here  Devoted to plantation agriculture that depended on enslaved labor, South Carolina became a slave society: it had a majority-Black population from the colonial period until after the Great Migration of the early 20th century, when many rural Blacks moved to northern and midwestern industrial cities to escape Jim Crow laws 

At the foundation of the town, the principal items of commerce were pine timber and pitch for ships and tobacco  The early economy developed around the deerskin trade, in which colonists used alliances with the Cherokee and Creek peoples to secure the raw material 
At the same time, Indians took each other as captives and slaves in warfare  From 1680 to 1720, approximately 40,000 native men, women, and children were sold through the port, principally to the West Indies such as (Bermuda and the Bahamas), but also to other Southern colonies  The Lowcountry planters did not keep Indian slaves, considering them too prone to escape or revolt  They used the proceeds of their sale to purchase enslaved Black Africans for their own plantations  The slave raiding—and the European firearms it introduced—helped destabilize Spanish Florida and French Louisiana in the 1700s during the War of the Spanish Succession  But it also provoked the Yamasee War of the 1710s that nearly destroyed the colony  After that, South Carolina largely abandoned the Indian slave trade The area's unsuitability for growing tobacco prompted the Lowcountry planters to experiment with other cash crops  The profitability of growing rice led the planters to pay premiums for slaves from the "Rice Coast" who knew its cultivation; their descendants make up the ethnic Gullah who created their own culture and language in this area  Slaves imported from the Caribbean showed the planter George Lucas's daughter Eliza how to raise and use indigo for dyeing in 1747 
Throughout this period, the slaves were sold aboard the arriving ships or at ad hoc gatherings in town's taverns  Runaways and minor slave rebellions prompted the 1739 Security Act, which required all white men to carry weapons at all times (even to church on Sundays)  Before it had fully taken effect, the Cato or Stono Rebellion broke out  The white community had recently been decimated by a malaria outbreak, and the rebels killed about 25 white people before being stopped by the colonial militia  As a result of their fears of rebellion, whites killed a total of 35 to 50 Black people The planters attributed the violence to recently imported Africans and agreed to a 10-year moratorium on slave importation through Charlestown  They relied for labor upon the slave communities they already held  The 1740 Negro Act also tightened controls, requiring a ratio of one white for every ten Blacks on any plantation (which was often not achieved), and banning slaves from assembling together, growing their own food, earning money, or learning to read  Drums were banned because Africans used them for signaling; slaves were allowed to use string and other instruments  When the moratorium expired and Charlestown reopened to the slave trade in 1750, the memory of the Stono Rebellion resulted in traders avoiding buying slaves from the Congo and Angola, whose populations had a reputation for independence 
By the mid-18th century, Charlestown was the hub of the Atlantic slave trade in the Southern Colonies  Even with the decade-long moratorium, its customs processed around 40% of the enslaved Africans brought to North America between 1700 and 1775, and about half up until the end of the African trade 
The plantations and the economy based on them made this the wealthiest city in the Thirteen Colonies and the largest in population south of Philadelphia  In 1770, the city had 11,000 inhabitants—half slaves—and was the 4th-largest port in the colonies, after Boston, New York City, and Philadelphia 
The elite began to use their wealth to encourage cultural and social development  America's first theater building was constructed here in 1736; it was later replaced by today's Dock Street Theater  St Michael's was erected in 1753  Benevolent societies were formed by the Huguenots, free people of color, Germans, and Jews  The Library Society was established in 1748 by well-born young men who wanted to share the financial cost to keep up with the scientific and philosophical issues of the day 

American Revolution (1776–1783)
Delegates for the Continental Congress were elected in 1774, and South Carolina declared its independence from Britain on the steps of the Exchange  Slavery was again an important factor in the city's role during the Revolutionary War  The British attacked the settlement three times, assuming that the settlement had a large base of Loyalists who would rally to their cause once given some military support  The loyalty of white Southerners towards the Crown had largely been forfeited, however, by British legal cases (such as the 1772 Somersett case which marked the prohibition of slavery in England and Wales; a significant milestone in the abolitionist struggle) and military tactics (such as Dunmore's Proclamation in 1775) that promised the emancipation of slaves owned by Patriot planters; these efforts did, however, unsurprisingly win the allegiance of thousands of Black Loyalists 
The Battle of Sullivan's Island saw the British fail to capture a partially constructed palmetto palisade from Col  Moultrie's militia regiment on June 28, 1776  The Liberty Flag used by Moultrie's men formed the basis of the later South Carolina flag, and the victory's anniversary continues to be commemorated as Carolina Day 
Making the capture of Charlestown their chief priority, the British sent Sir Henry Clinton, who laid siege to Charleston on April 1, 1780, with about 14,000 troops and 90 ships  Bombardment began on March 11, 1780  The Patriots, led by Benjamin Lincoln, had about 5,500 men and inadequate fortifications to repel the forces against them  After the British cut his supply lines and lines of retreat at the battles of Monck's Corner and Lenud's Ferry, Lincoln's surrender on May 12, 1780 became the greatest American defeat of the war 
The British continued to hold Charlestown for over a year following their defeat at Yorktown in 1781, although they alienated local planters by refusing to restore full civil government  Nathanael Greene had entered the state after Cornwallis's pyrrhic victory at Guilford Courthouse and kept the area under a kind of siege  British Army officer Alexander Leslie, commanding Charlestown, requested a truce in March 1782 to purchase food for his garrison and the town's inhabitants  Greene refused and formed a brigade under Mordecai Gist to counter British forays  Charlestown was finally evacuated by the British in December 1782  Greene presented the British leaders of the town with the Moultrie Flag 

Antebellum era (1783–1861)
Between the Revolutionary War and the Civil War, Charleston experienced an economic boom, at least for the top strata of society  The expansion of cotton as a cash crop in the South both led to huge wealth for a small segment of society and funded impressive architecture and culture but also escalated the importance of slaves and led to greater and greater restrictions on Black Charlestonians 
By 1783, the growth of the city had reached a point where a municipal government became desirable; therefore on August 13, 1783, an act of incorporation for the city of Charleston was ratified  The act originally specified the city's name as "Charles Ton," as opposed to the previous Charlestown, but the spelling "Charleston" quickly came to dominate Although Columbia had replaced it as the state capital in 1788, Charleston became even more prosperous as Eli Whitney's 1793 invention of the cotton gin sped the processing of the crop over 50 times  Britain's Industrial Revolution—initially built upon its textile industry—took up the extra production ravenously and cotton became Charleston's major export commodity in the 19th century  

The Bank of South Carolina, the second-oldest building in the nation to be constructed as a bank, was established in 1798; branches of the First and Second banks of the United States were also located in Charleston in 1800 and 1817 
Throughout the Antebellum Period, Charleston continued to be the only major American city with a majority-slave population  The city's widespread use of slaves as workers was a frequent subject of writers and visitors: a merchant from Liverpool noted in 1834 that "almost all the working population are Negroes, all the servants, the carmen & porters, all the people who see at the stalls in Market, and most of the Journeymen in trades"  American traders had been prohibited from equipping the Atlantic slave trade in 1794 and all importation of slaves was banned in 1808, but American merchantmen frequently refused to permit British inspection for enslaved cargo, and smuggling remained common  Much more important was the domestic slave trade, which boomed as the Deep South was developed in new cotton plantations  As a result of the trade, there was a forced migration of more than one million slaves from the Upper South to the Lower South in the antebellum years  During the early 19th century, the first dedicated slave markets were founded in Charleston, mostly near Chalmers and State streets  Many domestic slavers used Charleston as a port in what was called the coastwise trade, traveling to such ports as Mobile and New Orleans 
Slave ownership was the primary marker of class and even the town's freedmen and free people of color typically kept slaves if they had the wealth to do so  Visitors commonly remarked on the sheer number of Blacks in Charleston and their seeming freedom of movement, though in fact—mindful of the Stono Rebellion and the slave revolution that established Haiti—the whites closely regulated the behavior of both slaves and free people of color  Wages and hiring practices were fixed, identifying badges were sometimes required, and even work songs were sometimes censored  Punishment was handled out of sight by the city's workhouse, whose fees provided the municipal government with thousands a year  In 1820, a state law mandated that each act of manumission (freeing a slave) required legislative approval, effectively halting the practice The effects of slavery were pronounced on white society as well  The high cost of 19th-century slaves and their high rate of return combined to institute an oligarchic society controlled by about ninety interrelated families, where 4% of the free population controlled half of the wealth, and the lower half of the free population—unable to compete with owned or rented slaves—held no wealth at all  The white middle class was minimal: Charlestonians generally disparaged hard work as the lot of slaves  All the slaveholders taken together held 82% of the city's wealth and almost all non-slaveholders were poor  Olmsted considered their civic elections "entirely contests of money and personal influence" and the oligarchs dominated civic planning: the lack of public parks and amenities was noted, as was the abundance of private gardens in the wealthy's walled estates In the 1810s, the town's churches intensified their discrimination against their Black parishioners, culminating in Bethel Methodist's 1817 construction of a hearse house over its Black burial ground  4,376 Black Methodists joined Morris Brown in establishing Hampstead Church, the African Methodist Episcopal church now known as Mother Emanuel  State and city laws prohibited Black literacy, limited Black worship to daylight hours, and required a majority of any church's parishioners be white  In June 1818, 140 Black church members at Hampstead Church were arrested and eight of its leaders given fines and ten lashes; police raided the church again in 1820 and pressured it in 1821 In 1822, members of the church, led by Denmark Vesey, a lay preacher and carpenter who had bought his freedom after winning a lottery, planned an uprising and escape to Haiti—initially for Bastille Day—that failed when one slave revealed the plot to his master  Over the next month, the city's intendant (mayor) James Hamilton Jr  organized a militia for regular patrols, initiated a secret and extrajudicial tribunal to investigate, and hanged 35 and exiled 35 or 37 slaves to Spanish Cuba for their involvement  Hamilton imposed more restrictions on both free and enslaved Blacks: South Carolina required free Black sailors to be imprisoned while their ships were in Charleston Harbor though international treaties eventually required the United States to quash the practice; free Blacks were banned from returning to the state if they left for any reason; slaves were given a 9:15 pm curfew; the city razed Hampstead Church to the ground and erected a new arsenal  This structure later was the basis of the Citadel's first campus  The AME congregation built a new church but in 1834 the city banned it and all Black worship services, following Nat Turner's 1831 rebellion in Virginia  The estimated 10% of slaves who came to America as Muslims never had a separate mosque  Slaveholders sometimes provided them with beef rations in place of pork in recognition of religious traditions The registered tonnage of Charleston shipping in 1829 was 12,410  In 1832, South Carolina passed an ordinance of nullification, a procedure by which a state could, in effect, repeal a federal law; it was directed against the most recent tariff acts  Soon, federal soldiers were dispensed to Charleston's forts, and five United States Coast Guard cutters were detached to Charleston Harbor "to take possession of any vessel arriving from a foreign port, and defend her against any attempt to dispossess the Customs Officers of her custody until all the requirements of law have been complied with " This federal action became known as the Charleston incident  The state's politicians worked on a compromise law in Washington to gradually reduce the tariffs Charleston's embrace of classical architecture began after a devastating fire leveled much of the city  On April 27, 1838, Charleston suffered a catastrophic fire that burned more than 1000 buildings and caused about $3 million in damage at the time  The damaged buildings amounted to about one-fourth of all the businesses in the main part of the city  When the many homes and business were rebuilt or repaired, a great cultural awakening occurred  Previous to the fire, only a few homes were styled as Greek Revival; many residents decided to construct new buildings in that style after the conflagration  This tradition continued and made Charleston one of the foremost places to view Greek Revival architecture  The Gothic Revival also made a significant appearance in the construction of many churches after the fire that exhibited picturesque forms and reminders of devout European religion By 1840, the Market Hall and Sheds, where fresh meat and produce were brought daily, became a hub of commercial activity  The slave trade also depended on the port of Charleston, where ships could be unloaded and the slaves bought and sold  The legal importation of African slaves had ended in 1808, although smuggling was significant  However, the domestic trade was booming  More than one million slaves were transported from the Upper South to the Deep South in the antebellum years, as cotton plantations were widely developed through what became known as the Black Belt  Many slaves were transported in the coastwise slave trade, with slave ships stopping at ports such as Charleston 

Civil War (1861–1865)
Charleston played a major part in the Civil War  As a pivotal city, both the Union and Confederate Armies vied for control of it  The Civil War began in Charleston Harbor in 1861, and ended mere months after the Union forces took control of Charleston in 1865 
Following the election of Abraham Lincoln, the South Carolina General Assembly voted on December 20, 1860, to secede from the Union  South Carolina was the first state to secede  On December 27, Castle Pinckney was surrendered by its garrison to the state militia and, on January 9, 1861, Citadel cadets opened fire on the USS Star of the West as it entered Charleston Harbor 
The first full battle of the American Civil War occurred on April 12, 1861, when shore batteries under the command of General P  G  T  Beauregard opened fire on the US Army-held Fort Sumter in Charleston Harbor  After a 34-hour bombardment, Major Robert Anderson surrendered the fort 
On December 11, 1861, an enormous fire burned over 500 acres (200 ha) of the city 
Union control of the sea permitted the repeated bombardment of the city, causing vast damage  Although Admiral Du Pont's naval assault on the town's forts in April 1863 failed, the Union navy's blockade shut down most commercial traffic  Over the course of the war, some blockade runners got through but not a single one made it into or out of the Charleston Harbor between August 1863 and March 1864  The early submarine H L  Hunley made a night attack on the USS Housatonic on February 17, 1864 General Gillmore's land assault in July 1864 was unsuccessful but the fall of Columbia and advance of General William T  Sherman's army through the state prompted the Confederates to evacuate the town on February 17, 1865, burning the public buildings, cotton warehouses, and other sources of supply before their departure  Union troops moved into the city within the month  The War Department recovered what federal property remained and also confiscated the campus of the Citadel Military Academy and used it as a federal garrison for the next 17 years  The facilities were finally returned to the state and reopened as a military college in 1882 under the direction of Lawrence E  Marichak 

Postbellum (1865–1945)
Reconstruction
After the defeat of the Confederacy, federal forces remained in Charleston during Reconstruction  The war had shattered the city's prosperity, but the African-American population surged (from 17,000 in 1860 to over 27,000 in 1880) as freedmen moved from the countryside to the major city  Blacks quickly left the Southern Baptist Church and resumed open meetings of the African Methodist Episcopal and AME Zion churches  They purchased dogs, guns, liquor, and better clothes—all previously banned—and ceased yielding the sidewalks to whites  Despite the efforts of the state legislature to halt manumissions, Charleston had already had a large class of free people of color as well  At the onset of the war, the city had 3,785 free people of color, many of mixed race, making up about 18% of the city's black population and 8% of its total population  Many were educated and practiced skilled crafts; they quickly became leaders of South Carolina's Republican Party and its legislators  Men who had been free people of color before the war comprised 26% of those elected to state and federal office in South Carolina from 1868 to 1876 By the late 1870s, industry was bringing the city and its inhabitants back to a renewed vitality; new jobs attracted new residents  As the city's commerce improved, residents worked to restore or create community institutions  In 1865, the Avery Normal Institute was established by the American Missionary Association as the first free secondary school for Charleston's African American population  Gen  Sherman lent his support to the conversion of the United States Arsenal into the Porter Military Academy, an educational facility for former soldiers and boys left orphaned or destitute by the war  Porter Military Academy later joined with Gaud School and is now a university-preparatory school, Porter-Gaud School 
In 1875, blacks made up 57% of the city's and 73% of the county's population  With leadership by members of the antebellum free black community, historian Melinda Meeks Hennessy described the community as "unique" in being able to defend themselves without provoking "massive white retaliation", as occurred in numerous other areas during Reconstruction  In the 1876 election cycle, two major riots between black Republicans and white Democrats occurred in the city, in September and the day after the election in November, as well as a violent incident in Cainhoy at an October joint discussion meeting Violent incidents occurred throughout the Piedmont of the state as white insurgents struggled to maintain white supremacy in the face of social changes after the war and granting of citizenship to freedmen by federal constitutional amendments  After former Confederates were allowed to vote again, election campaigns from 1872 on were marked by violent intimidation of blacks and Republicans by conservative Democratic paramilitary groups, known as the Red Shirts  Violent incidents took place in Charleston on King Street on September 6 and in nearby Cainhoy on October 15, both in association with political meetings before the 1876 election  The Cainhoy incident was the only one statewide in which more whites were killed than blacks  The Red Shirts were instrumental in suppressing the black Republican vote in some areas in 1876 and narrowly electing Wade Hampton as governor, and taking back control of the state legislature  Another riot occurred in Charleston the day after the election, when a prominent Republican leader was mistakenly reported killed 

Politics
In the early 20th century strong political machines emerged in the city reflecting economic, class, racial, and ethnic tensions  The factions nearly all opposed U S  Senator Ben Tillman who repeatedly attacked and ridiculed the city in the name of upstate poor farmers  Well organized factions within the Democratic Party in Charleston gave the voters clear choices and played a large role in state politics 

1886 earthquake
On August 31, 1886, Charleston experienced a strong earthquake  The shock was estimated to have a moment magnitude of 7 0 and a maximum Mercalli intensity of X (Extreme)  It was felt as far away as Boston to the north, Chicago and Milwaukee to the northwest, as far west as New Orleans, as far south as Cuba, and as far east as Bermuda  It damaged 2,000 buildings in Charleston and caused $6 million worth of damage ($163 million in 2021 dollars), at a time when all the city's buildings were valued around $24 million ($653 million in 2021 dollars) 

Charleston race riots
The Charleston race riot of 1919 took place on the night of Saturday, May 10, between members of the US Navy and the local black population  They attacked black individuals, businesses, and homes killing six and injuring dozens 

Contemporary era (1945–present)
Charleston languished economically for several decades in the 20th century, though the large federal military presence in the region helped to shore up the city's economy  Charleston's tourism boom began in earnest following the publication of Albert Simons and Samuel Lapham's Architecture of Charleston in the 1920s The Charleston Hospital Strike of 1969, in which mostly black workers protested discrimination and low wages, was one of the last major events of the civil rights movement  It attracted Ralph Abernathy, Coretta Scott King, Andrew Young, and other prominent figures to march with the local leader, Mary Moultrie 
Joseph P  Riley Jr  was elected mayor in the 1970s, and helped advance several cultural aspects of the city 
Between 1989 and 1996, Charleston saw two significant economic hits  First, the eye of Hurricane Hugo came ashore at Charleston Harbor in 1989, and though the worst damage was in nearby McClellanville, three-quarters of the homes in Charleston's historic district sustained damage of varying degrees  The hurricane caused over $2 8 billion in damage  The city was able to rebound fairly quickly after the hurricane and has grown in population, reaching an estimated 124,593 residents in 2009  Second, in 1993, the Base Realignment and Closure Commission (BRAC) directed that Naval Base Charleston be closed  Pursuant to BRAC action, Naval Base Charleston was closed on April 1, 1996, although some activities remain under the cognizance of Naval Support Activity Charleston, now part of Joint Base Charleston After having been a majority-minority city for most of its history, in the late 20th century many whites began returning to the urban core of Charleston and the area gentrified with rising prices and rents  From 1980 to 2010, the peninsula's population shifted from two-thirds black to two-thirds white; in 2010 residents numbered 20,668 whites to 10,455 blacks  Many African Americans moved to the less-expensive suburbs in these decades On June 17, 2015, 21-year-old white supremacist Dylann Roof entered the historic Emanuel African Methodist Episcopal Church and sat in on part of a Bible study before shooting and killing nine people and injuring a tenth, all African Americans  Senior pastor Clementa Pinckney, who also served as a state senator, was among those killed during the attack  The deceased also included congregation members Susie Jackson, 87; Rev  Daniel Simmons Sr , 74; Ethel Lance, 70; Myra Thompson, 59; Cynthia Hurd, 54; Rev  Depayne Middleton-Doctor, 49; Rev  Sharonda Coleman-Singleton, 45; and Tywanza Sanders, 26  The attack garnered national attention, and sparked a debate on historical racism, Confederate symbolism in Southern states, and gun violence, in part based on Roof's online postings  A memorial service on the campus of the College of Charleston was attended by President Barack Obama, Michelle Obama, Vice President Joe Biden, Jill Biden, and Speaker of the House John Boehner 

Condemnation of role in the slave trade
On June 17, 2018, the Charleston City Council apologized for its role in the slave trade and condemned its "inhumane" history  It also acknowledged wrongs committed against African Americans by slavery and Jim Crow laws 

Geography
The city proper consists of six distinct districts 

Downtown, or sometimes referred to as "The Peninsula", is Charleston's center city separated by the Ashley River to the west and the Cooper River to the east 
West Ashley, residential area to the west of Downtown bordered by the Ashley River to the east and the Stono River to the west
Johns Island, far western limits of Charleston, bordered by the Stono River to the east, Kiawah River to the south and Wadmalaw Island to the west
James Island, popular residential area between Downtown and the town of Folly Beach with portions of the independent town of James Island intermixed
Cainhoy Peninsula, far eastern limits of Charleston bordered by the Wando River to the west and Nowell Creek to the east
Daniel Island, residential area to the north of downtown, east of the Cooper River and west of the Wando River

Topography
The incorporated city fitted into 4–5 sq mi (10–13 km2) as late as the First World War, but has since greatly expanded, crossing the Ashley River and encompassing James Island and some of Johns Island  The city limits also have expanded across the Cooper River, encompassing Daniel Island and the Cainhoy area  The present city has a total area of 127 5 sq mi (330 2 km2), of which 109 0 sq mi (282 2 km2) is land and 18 5 sq mi (47 9 km2) is covered by water  North Charleston blocks any expansion up the peninsula, and Mount Pleasant occupies the land directly east of the Cooper River 
Charleston Harbor runs about 7 mi (11 km) southeast to the Atlantic with an average width of about 2 mi (3 2 km), surrounded on all sides except its entrance  Sullivan's Island lies to the north of the entrance and Morris Island to the south  The entrance itself is about 1 mi (2 km) wide; it was originally only 18 ft (5 m) deep but began to be enlarged in the 1870s  The tidal rivers (Wando, Cooper, Stono, and Ashley) are evidence of a submergent or drowned coastline  There is a submerged river delta off the mouth of the harbor, and the Cooper River is deep 

Climate
Charleston has a humid subtropical climate (Köppen climate classification Cfa), with mild winters, hot humid summers, and significant rainfall all year long  Summer is the wettest season; almost half of the annual rainfall occurs from June to September in the form of thundershowers  Fall remains relatively warm through the middle of November  Winter is short and mild, and is characterized by occasional rain  Measurable snow (≥0 1 in or 0 25 cm) has a median occurrence of only once per decade at the airport, but freezing rain is more common; a snowfall/freezing rain event on January 3, 2018, was the first such event in Charleston since December 26, 2010  However, 6 0 in (15 cm) fell at the airport on December 23, 1989, during the December 1989 United States cold wave, the largest single-day fall on record, contributing to a single-storm and seasonal record of 8 0 in (20 cm) snowfall Downtown Charleston's climate is considerably milder than the airport's due to stronger maritime influence  This is especially true in the winter, with the average January low in downtown being 43 6 °F (6 °C) to the airport's 38 9 °F (4 °C) for example 
The highest temperature recorded within city limits was 104 °F (40 °C) on June 2, 1985, and June 24, 1944; the lowest was 7 °F (−14 °C) on February 14, 1899  At the airport, where official records are kept, the historical range is 105 °F (41 °C) on August 1, 1999, down to 6 °F (−14 °C) on January 21, 1985  Hurricanes are a major threat to the area during the summer and early fall, with several severe hurricanes hitting the area—most notably Hurricane Hugo on September 21, 1989 (a category 4 storm)  The dewpoint from June to August ranges from 67 8 to 71 4 °F (19 9 to 21 9 °C) 

Metropolitan Statistical Area
As defined by the U S  Office of Management and Budget, for use by the U S  Census Bureau and other U S  Government agencies for statistical purposes only, Charleston is included within the Charleston–North Charleston, SC Metropolitan Statistical Area and the smaller Charleston-North Charleston urban area  The Charleston–North Charleston metropolitan area consists of three counties: Charleston, Berkeley, and Dorchester  As of the 2020 U S  Census, the metropolitan statistical area had a total population of 799,636 people  North Charleston is the second-largest city in the metro area and ranks as the third-largest city in the state; Mount Pleasant and Summerville are the next-largest cities  These cities combined with other incorporated and unincorporated areas along with the city of Charleston form the Charleston–North Charleston urban area with a population of 548,404 as of 2010  The metropolitan statistical area also includes a separate and much smaller urban area within Berkeley County, Moncks Corner (with a 2000 population of 9,123) 
The traditional parish system persisted until the Reconstruction Era, when counties were imposed  Nevertheless, traditional parishes still exist in various capacities, mainly as public service districts  When the city of Charleston was formed, it was defined by the limits of the Parish of St  Philip and St  Michael, now also includes parts of St  James' Parish, St  George's Parish, St  Andrew's Parish, and St  John's Parish, although the last two are mostly still incorporated rural parishes 

Demographics
2020 census
As of the 2020 United States census, there were 150,227 people, 58,902 households, and 31,780 families residing in the city 

Language
Given Charleston's high concentration of African Americans who spoke the Gullah language, a creole language that developed on the Sea Islands and in the Low Country, the local speech patterns were also influenced by this community  Today, Gullah is still spoken by many African American residents  However, rapid development since 1980, especially on the surrounding Sea Islands, has attracted residents from outside the area and led to a decline in Gullah's prominence 
The traditional educated Charleston accent has long been noted in the state and throughout the South  It is typically heard in wealthy European American older people who trace their families back generations in the city  It has ingliding or monophthongal long mid-vowels, raises ay and aw in certain environments, and is nonrhotic  Sylvester Primer of the College of Charleston wrote about aspects of the local dialect in his late 19th-century works: "Charleston Provincialisms" (1887) and "The Huguenot Element in Charleston's Provincialisms", published in a German journal  He believed the accent was based on the English as it was spoken by the earliest settlers, therefore derived from Elizabethan England and preserved with modifications by Charleston speakers  The disappearing "Charleston accent" spoken mainly by older natives is still noted in the local pronunciation of the city's name  Many Charleston natives ignore the 'r' and elongate the first vowel, pronouncing the name as "Chalston" 

Religion
Charleston is known as "The Holy City"  Despite beliefs that the term dates to the city's earliest days and refers to its religiously tolerant culture, the term was coined in the 20th century, likely as a mockery of Charlestonians' self-satisfied attitude about their city  Regardless of the nickname's origination, residents have embraced the term and explained it in more flattering terms 
The Anglican church was dominant in the colonial era, and the Cathedral of St  Luke and St  Paul is today the seat of the Anglican Diocese of South Carolina  St  John's Protestant Episcopal Church is another historic church in Charleston  Many French Huguenot refugees settled in Charleston in the early 18th century  The Emanuel African Methodist Episcopal Church is the oldest African Methodist Episcopal church in the Southern United States and houses the oldest black congregation south of Baltimore, Maryland South Carolina has long allowed Jews to practice their faith without restriction  Kahal Kadosh Beth Elohim, founded in 1749 by Sephardic Jews from London, is the fourth-oldest Jewish congregation in the continental United States and was an important site for the development of Reform Judaism  Brith Sholom Beth Israel is the oldest Orthodox synagogue in the South, founded by Sam Berlin and other Ashkenazi German and Central European Jews in the mid-19th century The city's oldest Catholic parish, St  Mary of the Annunciation Catholic Church, is the mother church of Catholicism in South Carolina, North Carolina, and Georgia  In 1820, Charleston was established as the see city of the Diocese of Charleston, which at the time comprised the Carolinas and Georgia, and presently encompasses the state of South Carolina 
The Supreme Council of the Scottish Rite, established in Charleston in 1801, is considered the mother council of the world by Scottish Rite Freemasons 

Culture
Charleston's culture blends traditional Southern U S , English, French, and West African elements  The downtown peninsula has a number of art, music, local cuisine, and fashion venues  Spoleto Festival USA, held annually in late spring, was founded in 1977 by Pulitzer Prize-winning composer Gian Carlo Menotti, who sought to establish a counterpart to the Festival dei Due Mondi (the Festival of Two Worlds) in Spoleto, Italy 
Charleston's oldest community theater group, the Footlight Players, has provided theatrical productions since 1931  A variety of performing arts venues includes the historic Dock Street Theatre  The annual Charleston Fashion Week held each spring in Marion Square brings in designers, journalists, and clients from across the nation  Charleston is known for its local seafood, which plays a key role in the city's renowned cuisine, comprising staple dishes such as gumbo, she-crab soup, fried oysters, Lowcountry boil, deviled crab cakes, red rice, and shrimp and grits  Rice is the staple in many dishes, reflecting the rice culture of the Low Country  The cuisine in Charleston is also strongly influenced by British and French elements 

Annual cultural events and fairs
Charleston annually hosts Spoleto Festival USA founded by Gian Carlo Menotti, a 17-day art festival featuring over 100 performances by individual artists in a variety of disciplines  The annual Piccolo Spoleto festival takes place at the same time and features local performers and artists, with hundreds of performances throughout the city  Other festivals and events include Historic Charleston Foundation's Festival of Houses and Gardens and Charleston Antiques Show, the Taste of Charleston, The Lowcountry Oyster Festival, the Cooper River Bridge Run, The Charleston Marathon, Southeastern Wildlife Exposition (SEWE), Charleston Food and Wine Festival, Charleston Fashion Week, the MOJA Arts Festival, and the Holiday Festival of Lights (at James Island County Park), and the Charleston International Film Festival  The Charleston Conference is a major library industry event, held in the city center since 1980 

Music
The Gullah community has had a tremendous influence on music in Charleston, especially when it comes to the early development of jazz music  In turn, the music of Charleston has had an influence on that of the rest of the country  The geechee dances that accompanied the music of the dock workers in Charleston followed a rhythm that inspired Eubie Blake's "Charleston Rag" and later James P  Johnson's "Charleston", as well as the dance craze that defined a nation in the 1920s  "Ballin' the Jack", which was a popular dance in the years before "Charleston", was written by native Charlestonian Chris Smith The Jenkins Orphanage was established in 1891 by the Rev  Daniel J  Jenkins in Charleston  The orphanage accepted donations of musical instruments and Rev  Jenkins hired local Charleston musicians and Avery Institute Graduates to tutor the boys in music  As a result, Charleston musicians became proficient on a variety of instruments and were able to read music expertly  These traits set Jenkins musicians apart and helped land some of them positions in big bands with Duke Ellington and Count Basie  William "Cat" Anderson, Jabbo Smith, and Freddie Green are but a few of the alumni who became professional musicians  Orphanages around the country began to develop brass bands in the wake of the Jenkins Orphanage Band's success As many as five bands were on tour during the 1920s  The Jenkins Orphanage Band played in the inaugural parades of Presidents Theodore Roosevelt and William Taft and toured the US and Europe  The band also played on Broadway for the play "Porgy" by DuBose and Dorothy Heyward, a stage version of their novel of the same title  The story was based in Charleston and featured the Gullah community  The Heywards insisted on hiring the real Jenkins Orphanage Band to portray themselves on stage  Only a few years later, DuBose Heyward collaborated with George and Ira Gershwin to turn his novel into the now famous opera, Porgy and Bess (so named so as to distinguish it from the play)  George Gershwin and Heyward spent the summer of 1934 at Folly Beach outside of Charleston writing this "folk opera", as Gershwin called it  Porgy and Bess is considered one of the first Great American Operas and is widely performed To this day, Charleston is home to many musicians in all genres 

Live theater
Charleston has a vibrant theater scene and is home to America's first theater  Most of the theaters are part of the League of Charleston Theatres, better known as Theatre Charleston  Some of the city's theaters include:

The Dock Street Theatre, opened in the 1930s on the site of America's first purpose-built theater building, is home of the Charleston Stage Company, South Carolina's largest professional theater company 
Sottile Theater is on the campus of The College of Charleston 
The Queen Street Playhouse is a former cotton warehouse that was fully converted to a theater in 1986  It is the home of the Footlight Players, a Charleston theater troupe first organized in 1932 

Museums, historical sites, and other attractions
Charleston has many historic buildings, art and historical museums, public parks, and other attractions, including:

Halsey Institute of Contemporary Art at the College of Charleston is free a non-collecting contemporary arts organization 
The Calhoun Mansion, a 24,000-square-foot, 1876 Victorian home at 16 Meeting Street, is named for a grandson of John C  Calhoun who lived there with his wife, the builder's daughter  The private house is periodically open for tours 
The Charleston Museum, America's first museum, was founded in 1773 
The Exchange and Provost was built in 1767  It is operated as a museum by the Daughters of the American Revolution 
The Powder Magazine is a 1713 gunpowder magazine and museum  It is the oldest surviving public building in South Carolina 
The Gibbes Museum of Art, opened in 1905, houses principally American works with a Charleston or Southern connection 
The Fireproof Building houses the South Carolina Historical Society which has a rotating series of historical displays 
The Nathaniel Russell House is an important federal-style house open to the public as a house museum 
The Gov  William Aiken House, also known as the Aiken-Rhett House, is a house museum built in 1820 
The Heyward-Washington House is a historic house museum owned and operated by the Charleston Museum  Furnished for the late 18th century, the house includes a collection of Charleston-made furniture 
The Joseph Manigault House is a historic house museum owned and operated by the Charleston Museum  The house was designed by Gabriel Manigault and is significant for its Adam style architecture 
The Market Hall and Sheds, also known as the City Market or simply the Market, stretch several blocks behind 188 Meeting Street  Market Hall was built in the 1841 and houses the Daughters of the Confederacy Museum  The sheds house some permanent stores, but are mainly occupied by open-air vendors 
The Avery Research Center for African American History and Culture was established to collect, preserve, and make public the unique historical and cultural heritage of African Americans in Charleston and the South Carolina Low Country  Avery's archival collections, museum exhibitions, and public programming reflect these diverse populations, as well as the wider African Diaspora 
Fort Sumter, site of the first shots fired in the Civil War, is located in Charleston Harbor  The National Park Service maintains a visitor center for Fort Sumter at Liberty Square (near the South Carolina Aquarium), and boat tours including the fort depart nearby 
The Battery is an historic defensive seawall and promenade located at the tip of the peninsula along with White Point Garden, a park featuring several memorials and Civil War-era artillery pieces 
Rainbow Row is an iconic strip of homes along the harbor that date back to the mid-18th century  Though the homes are not open to the public, they are one of the most photographed attractions in the city and are featured heavily in local art 
The South Carolina Aquarium includes revolving exhibits while its permanent focus is on the aquatic life of South Carolina 
Waterfront Park located on the Cooper River 
Old Slave Mart museum – Located at 6 Chalmers St in the historic district is the first African American Museum  It has operated since 1938 

Sports
Charleston is home to a number of professional, minor league, and amateur sports teams:

The Charleston Battery, a professional soccer team, play in the USL Championship  The Battery play at Patriots Point Soccer Complex 
The South Carolina Stingrays, a professional hockey team, plays in the ECHL  The Stingrays play in North Charleston at the North Charleston Coliseum  The Stingrays are an affiliate of the Washington Capitals and Hershey Bears 
The Charleston RiverDogs, a Minor League Baseball team, plays in the Low-A East and are an affiliate of the Tampa Bay Rays  The RiverDogs play at Joseph P  Riley Jr  Park 
The Charleston Outlaws RFC is a rugby union club in the Palmetto Rugby Union, USA Rugby South, and USA Rugby  It competes in Men's Division II against the Cape Fear, Columbia, Greenville, and Charlotte "B" clubs  The club also hosts a rugby sevens tournament during Memorial Day weekend 
The Charleston Gaelic Athletic Association is a Gaelic athletic club focusing on the sports of hurling and Gaelic football  The club competes in the Southeastern Division of the North American County Board of the GAA  The club hosts other division clubs in the Holy City Cup each spring 
The Lowcountry Highrollers is a women's flat-track roller derby league in the Charleston area  The league is a local member of the Women's Flat Track Derby Association 
The Family Circle Tennis Center hosts the Volvo Car Open, a major Women's Tennis Association Event  The facility is located on Daniel Island Other notable sports venues in Charleston include Johnson Hagood Stadium (home of The Citadel Bulldogs football team), McAlister Field House (home of The Citadel Bulldogs basketball team), and Toronto Dominion Bank Arena at the College of Charleston, which seats 5,100 people who view the school's basketball and volleyball teams 

Books and films
Various books and films have been set in Charleston; some of the best known works are listed below  In addition, Charleston is a popular filming location for movies and television, both in its own right and as a stand-in for Southern and/or historic settings 

Porgy (1925), by DuBose Heyward, adapted into the play in 1927  George Gershwin's folk opera Porgy and Bess (1935), based on the novel Porgy, is set in Charleston and was partially written at Folly Beach, near Charleston  A film version was released in 1959 
North and South series of books by John Jakes, was partially set in Charleston  The North and South miniseries was partially set and filmed in Charleston 
Part of the 1989 film Glory, starring Matthew Broderick, Denzel Washington, and Morgan Freeman, features the 1863 Second Battle of Fort Wagner on Morris Island 
The movies Swamp Thing (1982) and The Lords of Discipline (1983) (based on the novel by Pat Conroy) were partly filmed in Charleston 

Economy
Commercial shipping is important to the economy  The city has two shipping terminals, of a total of five terminals owned and operated by the South Carolina Ports Authority in the Charleston metropolitan area, which are part of the fourth-largest container seaport on the East Coast and the seventh-largest container seaport in the United States  The port is also used to transfer cars and car parts for Charleston's auto manufacturing business, such as Mercedes and Volvo Sometimes known as Silicon Harbor, the city is becoming a popular location for high tech and innovation, and this sector has had the highest rate of growth between 2011 and 2012, due in large part to the Charleston Digital Corridor  In 2013, the Milken Institute ranked the Charleston region as the ninth-best performing economy in the US because of its growing IT sector  Notable companies include Blackbaud, Greystar Real Estate Partners, Evening Post Industries, Le Creuset, SPARC a Booz Allen Hamilton subsidiary, BoomTown, CSS, and Benefitfocus 
In June 2017, the mean sales price for a home in Charleston was $351,186 and the median price was $260,000 

Government
Charleston has a strong mayor-council government, with the mayor acting as the chief administrator and the executive officer of the municipality  The mayor also presides over city council meetings and has a vote, the same as other council members  The current mayor, since 2016, is John Tecklenburg  The council has 12 members who are each elected from single-member districts 

Fire department
The City of Charleston Fire Department consists over 300 full-time firefighters  These firefighters operate out of 21 companies located throughout the city: 16 engine companies, two tower companies, two ladder companies, a heavy rescue company, a HAZ-MAT unit and several special units  Training, Fire Marshall, Operations, and Administration are the divisions of the department  The department operates on a 24/48 schedule and is a Class 1 ISO rating  Russell (Rusty) Thomas served as Fire Chief until June 2008, and was succeeded by Chief Thomas Carr in November 2008  The department is presently led by Chief Daniel Curia 

Police department
The City of Charleston Police Department, with a total of 458 sworn officers, 117 civilians, and 27 reserve police officers, is South Carolina's largest police department  Luther Reynolds serves as the current Chief of Police  He follows Greg Mullen and Reuben Greenberg  Chief Reynolds is credited with continuing successful community outreach programs such as The Illumination Project and fostering a culture of mutual respect  Under Chief Reynolds, the agency has successfully withstood challenges such as the Coronavirus and downtown disturbances  Additionally, the agency continues to recruit police candidates in a competitive market 

EMS and medical centers
Emergency medical services (EMS) for the city are provided by Charleston County Emergency Medical Services (CCEMS) & Berkeley County Emergency Medical Services (BCEMS)  The city is served by the EMS and 911 services of both Charleston and Berkeley counties since the city is part of both counties 
Charleston is the primary medical center for the eastern portion of the state  The city has several major hospitals located in the downtown area: Medical University of South Carolina Medical Center (MUSC), Ralph H  Johnson VA Medical Center, and Roper Hospital  MUSC is the state's first school of medicine, the largest medical university in the state, and the sixth-oldest continually operating school of medicine in the United States  The downtown medical district is experiencing rapid growth of biotechnology and medical research industries coupled with substantial expansions of all the major hospitals  Additionally, more expansions are planned or underway at another major hospital located in the West Ashley portion of the city: Bon Secours-St Francis Xavier Hospital  The Trident Regional Medical Center located in the City of North Charleston and East Cooper Regional Medical Center located in Mount Pleasant also serve the needs of residents of the city of Charleston 

Coast Guard Station Charleston
Coast Guard Station Charleston responds to search and rescue emergencies, conducts maritime law enforcement activities, and Ports, Waterways, and Coastal Security (PWCS) missions  Personnel from Station Charleston are highly trained professionals, composed of federal law enforcement officers, boat crewmen, and coxswains who are capable of completing a wide range of missions  In 2020, the Coast Guard announced plans to construct a 2,800-acre (11 km2) "superbase" on the former Charleston Naval Shipyard complex to consolidate all its Charleston-area facilities and become the homeport for five Security cutters and additional offshore cutters Coast Guard Sector Charleston (District 7)

Coast Guard Station Charleston
Coast Guard Helicopter Air Facility, Johns Island, Charleston
Coast Guard Reserves, Charleston
USCGC Yellowfin, Marine Protector-class coastal patrol boat, Charleston
USCGC Anvil, 75-foot inland construction tender, Charleston
USCGC Willow, (WLB-202), Charleston

Military
Army Corps of Engineers, Charleston District Headquarters
U S  Coast Guard
Joint Base Charleston (Navy & Air Force)

Crime
The following table shows Charleston's crime rate for six crimes that Morgan Quitno uses to calculate the ranking of "America's most dangerous cities", in comparison to the national average  The statistics shown are for the number of crimes committed per 100,000 people  Since 1999, the overall crime rate of Charleston has declined markedly  The total crime index rate for Charleston in 1999 was 597 1 crimes committed per 100,000 people, while in 2011, the total crime index rate was 236 4 per 100,000 

Transportation
Airport and rail
The City of Charleston is served by the Charleston International Airport  It is located in the City of North Charleston and is about 12 mi (19 km) northwest of downtown Charleston  It is the busiest passenger airport in South Carolina (IATA: CHS, ICAO: KCHS)  The airport shares runways with the adjacent Charleston Air Force Base  Charleston Executive Airport is a smaller airport located in the John's Island section of the city of Charleston and is used by noncommercial aircraft  Both airports are owned and operated by the Charleston County Aviation Authority  As of April 2019, British Airways does seasonal non-stop flights from Charleston to London-Heathrow 
Charleston is served by two daily Amtrak trains: The Palmetto and Silver Meteor at the Amtrak station located at 4565 Gaynor Avenue in the City of North Charleston located around 7 5 miles from downtown Charleston 

Interstates and highways
Interstate 26 (I-26) begins in downtown Charleston, with exits to the Septima Clark Expressway, the Arthur Ravenel Jr  Bridge and Meeting Street  Heading northwest, it connects the city to North Charleston, the Charleston International Airport, I-95, and Columbia  The Arthur Ravenel Jr  Bridge and Septima Clark Expressway are part of U S  Route 17 (US 17), which travels east–west through the cities of Charleston and Mount Pleasant  The Mark Clark Expressway, or I-526, is the bypass around the city and begins and ends at US 17  US 52 is Meeting Street and its spur is East Bay Street, which becomes Morrison Drive after leaving the east side  This highway merges with King Street in the city's Neck area (industrial district)  US 78 is King Street in the downtown area, eventually merging with Meeting Street 

Major highways
Interstate 26 (eastern terminus is in Charleston)
Interstate 526
U S  Route 17
U S  Route 52 (eastern terminus is in Charleston)
U S  Route 78 (eastern terminus is in Charleston)
State Highway 7 (Sam Rittenberg Boulevard)
State Highway 30 (James Island Expressway)
State Highway 61 (St  Andrews Boulevard/Ashley River Road)
State Highway 171 (Old Towne Road/Folly Road)
State Highway 461 (Paul Cantrell Boulevard/Glenn McConnell Parkway)
South Carolina Highway 700 (Maybank Highway)

Arthur Ravenel Jr  Bridge
The Arthur Ravenel Jr  Bridge across the Cooper River opened on July 16, 2005, and was the longest cable-stayed bridge in the Americas at the time of its construction  The bridge links downtown Charleston with Mount Pleasant, and has eight lanes plus a 12-foot lane shared by pedestrians and bicycles  The height of the bridge varies, but it is estimated that it has a height of 573 feet  It replaced the Grace Memorial Bridge (built in 1929) and the Silas N  Pearman Bridge (built in 1966)  They were considered two of the more dangerous bridges in America and were demolished after the Ravenel Bridge opened 

City bus service
The city is also served by a bus system, operated by the Charleston Area Regional Transportation Authority (CARTA)  Most of the urban area is served by regional fixed route buses, which are equipped with bike racks as part of the system's Rack and Ride program  CARTA offers connectivity to historic downtown attractions and accommodations with the Downtown Area Shuttle trolley buses, and it offers curbside pickup for disabled passengers with its Tel-A-Ride buses  A bus rapid transit system is in development, called Lowcountry Rapid Transit that will connect Charleston to Summerville through North Charleston 
Rural parts of the city and metropolitan area are served by a different bus system, operated by Berkeley-Charleston-Dorchester Rural Transportation Management Association  The system is also commonly called the TriCounty Link 

Port
The Port of Charleston, owned and operated by the South Carolina Ports Authority, is one of the largest ports in the United States, ranked seventh in the top 25 by containerized cargo volume in 2018  It consists of six terminals, with the sixth having opened in April 2021  Port activity at the two terminals located in the city of Charleston is one of the city's leading sources of revenue, behind tourism 
Today, the Port of Charleston boasts the deepest water in the southeast region and regularly handles ships too big to transit through the Panama Canal  A harbor-deepening project is currently underway to take the Port of Charleston's entrance channel to 54 feet and harbor channel to 52 feet at mean low tide  With an average high tide of 6 feet, the depth clearances will become 60 feet and 58 feet, respectively 
Part of Union Pier Treminal, in the city of Charleston, is a cruise ship passenger terminal which hosted numerous cruise departures annually through 2019  Beginning in May 2019, until cruise operations were interrupted in April 2020, the Carnival Sunshine was permanently stationed in Charleston, offering 4, 5, and 7-day cruises to the Caribbean With the closure of the Naval Base and the Charleston Naval Shipyard in 1996, Detyens, Inc  signed a long-term lease  With three dry docks, one floating dock, and six piers, Detyens Shipyard, Inc  is one of the largest commercial marine repair facilities on the East Coast  Projects include military, commercial, and cruise ships 

Schools, colleges, and universities
Because most of the city of Charleston is located in Charleston County, it is served by the Charleston County School District  Part of the city, however, is served by the Berkeley County School District in northern portions of the city, such as the Cainhoy Industrial District, Cainhoy Historical District and Daniel Island 
Charleston is also served by a large number of independent schools, including Porter-Gaud School (K-12), Charleston Collegiate School (K-12), Ashley Hall (Pre K-12), Charleston Day School (K-8), First Baptist Church School (K-12), Palmetto Christian Academy (K-12), Coastal Christian Preparatory School (K-12), Mason Preparatory School (K-8), and Addlestone Hebrew Academy (K-8) 
The Roman Catholic Diocese of Charleston Office of Education also operates out of the city and oversees several K-8 parochial schools, such as Blessed Sacrament School, Christ Our King School, Charleston Catholic School, Nativity School, and Divine Redeemer School, all of which are "feeder" schools into Bishop England High School, a diocesan high school within the city  Bishop England, Porter-Gaud School, and Ashley Hall are the city's oldest and most prominent private schools, and are a significant part of Charleston history, dating back some 150 years 
Public institutions of higher education in Charleston include the College of Charleston, The Citadel, The Military College of South Carolina, and the Medical University of South Carolina  The city is also home to private schools including the Charleston Southern University and Charleston School of Law  Charleston is also home to the Roper Hospital School of Practical Nursing, and the city has a downtown satellite campus for the region's technical school, Trident Technical College  Charleston has the only college in the country that offers bachelor's degrees in the building arts, The American College of the Building Arts 

Media
Broadcast television
Charleston is the nation's 89th-largest Designated market area (DMA), with 332,770 households and 0 27% of the U S  TV population  These stations are licensed in Charleston and have significant operations or viewers in the city:
WCBD-TV (2, NBC) and (14, CW)
WGWG (4, MeTV)
WCSC-TV (5, CBS, Bounce TV, Grit)
WITV (7, PBS)
WLCN-CD (18, CTN)
WTAT-TV (24, Fox)
WAZS-CD (29, Azteca America Independent)
WJNI-CD (31, America One Independent)
WCIV (36, MyNetworkTV, ABC)

Notable people
As a population and wealth center with colleges and cultural outlets, Charleston has produced many notable people in all fields  Among the most notable historical and contemporary figures are:

Jarrell Brantley (born 1996), basketball player
Madelyn Cline, Actress in Outer Banks
Stephen Colbert, comedian and host of The Late Show
Wesley Donehue, political strategist, Internet consultant, CEO
Ann Drayton, 18th-century landowner
Shepard Fairey, graffiti artist
Robert F  Furchgott, recipient of Nobel Prize in Physiology or Medicine (1998)
Thomas Gibson, actor and star of Criminal Minds
Fritz Hollings, former US Senator and Governor of South Carolina
Lauren Hutton, model and actress, starring in American Gigolo and The Gambler (1974)
Robert Jordan (James Oliver Rigney Jr ), fantasy author, notable for Wheel of Time series
John Laurens, American revolutionary lieutenant colonel in the continental army
Peter Manigault, wealthiest person in British North America in 1770
Khris Middleton, NBA basketball player for the Milwaukee Bucks, gold medal Olympian
Darius Rucker, country music artist, former member of Hootie & The Blowfish
Robert Smalls, African American civil war hero, businessman, politician, and civil rights activist
Denmark Vesey, revolutionary
Joseph Wragg, a pioneer of the large-scale slave trade

Sister cities
Charleston's sister cities are:
Doha, Qatar
Freetown, Sierra Leone
Panama City, Panama
Speightstown, Barbados
Spoleto, ItalyThe relationship with Spoleto began when Pulitzer Prize-winning Italian composer Gian Carlo Menotti selected Charleston as the city to host the American version of Spoleto's annual Festival of Two Worlds  "Looking for a city that would provide the charm of Spoleto, as well as its wealth of theaters, churches, and other performance spaces, they selected Charleston, South Carolina, as the ideal location  The historic city provided a perfect fit: intimate enough that the Festival would captivate the entire city, yet cosmopolitan enough to provide an enthusiastic audience and robust infrastructure "Sister city relation with Panama City was described as follows:
As you may be aware, the city of Charleston, like the city of Panama City, is a historic port City that shares a proud and prosperous history  Our stories are very similar as reflected by our citizens of European, African, Caribbean, native descent, our cuisine, our architecture, and our mutual modern growth in meritime commerce  As Panama City is enjoying a global surge of interest so is Charleston, being ranked as a top destination for travellers, commerce, technology, education, culture and fashion 
Charleston is also twinned with Speightstown  The first colonists to settle in the region designed the original parts of Charlestown based on the plans of Barbados's capital city, Bridgetown  Many indigo, tobacco, and cotton planters relocated their slaves and plantation operations from Speightstown to Charleston after the sugarcane industry came to dominate agricultural production in Barbados 

See also
List of municipalities in South Carolina
USS Charleston, 6 ships

Notes
Passage 4:
Fairhope Plantation
Fairhope Plantation is a historic Carpenter Gothic plantation house and historic district, located one mile east of Uniontown, Alabama, US  The 2+1⁄2-story wood-framed main house was built in the Gothic Revival style in the late 1850s   The plantation historic district includes six other contributing buildings, in addition to the main house   It was added to the Alabama Register of Landmarks and Heritage on December 19, 1991, and subsequently to the National Register of Historic Places on May 29, 1992, due to its architectural and historical significance 

History
Fairhope Plantation was built for Joseph Selden, a native of Virginia   He was born on June 4, 1831, and grew up at Westover Plantation in Charles City County, Virginia   Selden married Elizabeth Collier Minge, of Weynoke Plantation, Virginia, near Faunsdale, in 1854  Elizabeth was born on May 30, 1833  Her family was also originally from Charles City County   Joseph and Elizabeth established Fairhope on property given to them by Elizabeth's family   The main house was built by Theophilus Gilliam Fowler, a local builder  Construction began in 1857 and was completed by 1861   The 1860 United States Census of Perry County indicates that Joseph Selden owned 80 slaves in that year   Selden organized Selden's Battery, an artillery unit, at his own expense during the American Civil War   The unit saw action in several major engagements, including the battles of Kennesaw Mountain, Franklin and Nashville   Elizabeth Selden died following childbirth in 1868, Joseph died in a hotel fire in 1900   Fairhope continued to be owned by Selden descendants and operated as a farm for another century after their deaths 

Architecture
The inspiration for the main house at Fairhope Plantation is thought by architectural historians to be an enlarged adaptation of a design by Alexander Jackson Davis, published in Andrew Jackson Downing's Cottage Residences in 1842   The house features numerous Gothic Revival details, including intricate bargeboards on the eaves and gables,  hood moldings over the doors and windows, octagonal brick chimneys, and central gables topped by finials on all four sides   Additionally, it has a one-story cast-iron veranda around three sides of the ground floor   It is one of only about twenty Gothic Revival residential structures remaining in Alabama   Other historic Gothic Revival residences in the area include Waldwic in Gallion and Ashe Cottage in Demopolis 
Passage 5:
Union Oyster House
Union Oyster House, open to diners since 1826, is amongst the oldest operating restaurants in the United States, and the oldest known that has been continuously operating since being opened  The building was listed as a National Historic Landmark on May 27, 2003 

History
The building itself was built prior to 1714, most likely in 1704  Before it became a restaurant, Hopestill Capen's dress goods business occupied the property  In 1771 printer Isaiah Thomas published his newspaper, The Massachusetts Spy, from the second floor  The restaurant originally opened as the Atwood & Bacon Oyster House on August 3, 1826 The Union Oyster House has had a number of famous people in history as diners, including the Kennedy family and Daniel Webster  Webster was known for regularly consuming at least six plates of oysters  Perhaps most surprisingly, in 1796 Louis Philippe, King of the French from 1830 to 1848, lived in exile on the second floor  He earned his living by teaching French to young women  Labor economist and president of Haverford College John Royston Coleman worked here incognito as a "salad-and-sandwich man" for a time in the 1970s and documented the experience in his book The Blue Collar Journal The menu is traditional New England fare, including seafoods such as oysters, clams, and lobsters, as well as poultry, baked beans, steak and chops 

Image gallery
See also
List of the oldest restaurants in the United States
Cuisine of New England
List of National Historic Landmarks in Boston
List of seafood restaurants
National Register of Historic Places listings in northern Boston, Massachusetts
Context 2: Passage 1:
TML Entertainment
TML Entertainment is a record label launched by Canadian rock band Triumph in 2003  It is managed by Triumph's members Gil Moore and Mike Levine 
The label was previously known as TRC from 1995 until 2003  The decision for Triumph to launch their own label came after the band's 10 year/5-album contract with MCA Records expired at the end of 1994  Subsequently, all of Triumph's albums were re-released on the TRC imprint using the 1980s remasters  Then in 2003, TRC changed its name to TML Entertainment with the release of Triumph's live album and DVD Live at the US Festival  Over the last few years, TML has re-released the whole catalog with new remastered versions done in 2004/2005 and the concert DVD A Night with Triumph  Universal Music Group distributes the band's label in Canada and ADA (a small subsidiary of the Warner Music Group) in the US 
Passage 2:
Horse with a Heart
Horse with a Heart is the first studio album by Altan, released in May 1989 on the Green Linnet Records label 

Track listing
All titles arranged by Altan 

"The Curlew/McDermott's/Three Scones of Boxty/Unnamed Reel {= McConnell's}" – 4:11
"The Lass of Glenshee" – 4:38
"Con Cassidy's & Neil Gow's Highlands/Moll and Tiarna/Mcsweeney's Reels" – 4:27
"The Road to Durham" – 3:21
"An t-Oileán Úr" – 2:33
"An Grianán/Horse With a Heart" – 3:01
"A Bhean Udaí Thall" – 3:28
"Welcome Home Gráinne/Con McGinley's" – 3:18
"Tuirse Mo Chroí" – 4:06
"Come Ye by Atholl/Kitty O'Connor" – 3:11
"An Feochán" – 4:45
"Paddy's Trip to Scotland/Dinky's/The Shetland Fiddler" – 4:47All titles are traditional, except the following:

"An Grianán" and "Horse with a Heart" – composed by Frankie Kennedy
"The Curlew" – composed by Josephine Keegan
"McDermott's" – composed by Josie McDermott
"An Feochán" – composed by Tommy Peoples
"The Road to Durham" – composed by Armin Barnett and David MolkSee tune identifications for this album at irishtune info 

Personnel
Altan
Mairéad Ní Mhaonaigh – Fiddle, Vocals
Frankie Kennedy – Flute
Paul O'Shaughnessy — Fiddle
Ciarán Curran – Bouzouki
Mark Kelly – Guitar

Guest musicians
Marie Askin – Piano on "The Lass of Glenshee"
Phil Cunningham – Keyboard, Whistle
Dónal Lunny – Bass Bodhrán on "A Bhean Udaí Thall"
Colm Murphy – Bodhrán
Steve White – Percussion on "A Bhean Udaí Thall"

Production
Phil Cunningham – Producer
Dan Fitzgerald – Engineer
John W  Davis – Assistant Engineer
Stephen Byram – Design
Ross Wilson – Artwork
Dave Harrold - Back cover photograph
Passage 3:
EmArcy Records
EmArcy Records is a jazz record label founded in 1954 by the American Mercury Records  The name is a phonetic spelling of "MRC", the initials for Mercury Record Company During the 1950s and 1960s, musicians such as Max Roach, Clifford Brown, Cannonball Adderley, Dinah Washington, and Sarah Vaughan recorded for EmArcy Today, it is a European jazz label owned by Universal Music Group  The catalogue is managed by the Island Records subsidiary 

Discography
Mono 12" LP series (1954–c  1958)
Passage 4:
Biltmore Records
Biltmore Records was a United States based record label active from 1949 through 1951  The label was headquartered in New York City  Biltmore Records were often reissues of recordings no longer in the catalogues of other labels  When RCA Victor found out that Biltmore were making unauthorized reissues of material originally recorded by Victor, they sued Biltmore, putting Biltmore out of business 
They rereleased recordings by Glenn Miller and His Orchestra recorded for Columbia and Brunswick, Benny Goodman, the Original Dixieland Jazz Band, Duke Ellington, Bix Beiderbecke, and Paul Whiteman 

External links
Biltmore Numerical Listing: http://www 78discography com/Biltmore htm

See also
List of record labels
Passage 5:
Graeme Goodall
Graeme Goodall (1932 – 3 December 2014) was an Australian recording engineer and record label owner who was a key figure in the early days of Jamaica's recording industry, constructing several of the Island's studios, co-founding Island Records, and operating other labels in the United Kingdom releasing Jamaican music 

Career
Born in 1932, Graeme Goodall grew up in Caulfield, Victoria, and studied at Caulfield North Central School and Scotch College  In the early 1950s he worked at Melbourne radio station 3UZ briefly before studying television in London and training as an engineer with the International Broadcasting Company He became involved in the independent record industry and travelled to Jamaica in 1954 to set up the first FM radio network in Kingston — Radio Jamaica Rediffusion  He went on to work as chief engineer of the Jamaica Broadcasting Corporation He began recording local musicians at the Radio Jamaica studios, and went on to build Federal Records, Jamaica's first recording studio (which was rebuilt in 1961 and later became Tuff Gong Recording Studio) with local entrepreneur Ken Khouri to the rear of Khouri's furniture store on King Street  Goodall worked as a recording engineer for Ken Khouri on some of the earliest Jamaican studio recordings  The studio not only provided the Island's first recording facility but also produced acetate discs, allowing sound system operators to record tracks and have them available to play within hours Known to the local musicians as "Mr  Goody", Goddall went on to assist with the construction of several studios, including Dynamic Sound, Studio One and later Channel One Studios, and carry out engineering work for producers such as Clement "Coxsone" Dodd, Byron Lee, and Leslie Kong, engineering recordings by Laurel Aitken ("Boogie in My Bones") Millie ("My Boy Lollipop"), The Wailers, Prince Buster, The Skatalites, Derrick Morgan, and Desmond Dekker, among many others  He also trained Jamaican engineers such as Sylvan Morris and Lynford Anderson In 1959 he co-founded Island Records with Chris Blackwell and Kong, but his relationship with Blackwell broke down and he went on to start his own labels after relocating to the UK in 1965, the most successful of which were Doctor Bird and Pyramid  After Dekker's "Poor Me, Israelites" proved popular in clubs but failed to get much airplay due to its production, Goodall got Kong to send him the master tapes; he remixed it and released it in the UK in 1969 on Pyramid as "Israelites", the single going on to top the UK Singles Chart and sell over two million copies  He also ran West Indies Records and set up the Trojan Records subsidiary Attack Records Goodall married his Jamaican wife Fay in 1961 and in the early 1970s they moved to the US  Goodall later worked as Southern Regional Manager for Sony Pro Audio Graeme Goodall died at his home in Atlanta, Georgia on 3 December 2014 from natural causes, aged 82  He was survived by his wife, two children, and four grandchildren 
Passage 6:
Exit 13
Exit 13 is the thirteenth studio album by American rapper LL Cool J  It was released on September 9, 2008, on the record label Def Jam Recordings  This would be his last album release with the label 

Production
This album is the first LL Cool J album since G O A T  to have the parental advisory label for explicit lyrics   LL said in an interview with Chicago radio personality DJ Z that the vulgarities are not heavy and the edited version has alternate lyrics rather than simply omitting the vulgarities  LL and DJ Kayslay teamed up to release his first mixtape as a prelude to Exit 13 titled  The Return of the G O A T  
Other contributors for this album include 50 Cent, Sheek Louch, Fat Joe, Ryan Leslie, Wyclef Jean, The-Dream, Lil Mo, KRS-One, Funkmaster Flex, Richie Sambora and Darlisa Blackshere 

Singles
A buzz single titled, "Cry," featuring Lil' Mo, was released as a digital download and international 12" single on June 17, 2008  The unofficial street single, "Rockin' with the G O A T ," premiered on June 20, 2008 
The first official single, "Baby" featuring The-Dream was released on July 1, 2008, to the iTunes Music Store  On August 19, 2008, iTunes released the rock remix featuring Richie Sambora, lead guitarist of rock band Bon Jovi, with a rock rhythm and a sped-up tempo 
The second official single, "Feel My Heart Beat" featuring 50 Cent was released on August 26, 2008  The song did not enter the Billboard Hot 100  The official single version of the song was leaked to the Internet on November 27, 2008 

Critical reception
Exit 13 garnered mixed reviews from music critics  At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 57, based on 5 reviews Despite being too lengthy and containing lesser tracks like "American Girl", Jesal Padania of RapReviews praised the album for having a consistent sound of instruments and synths in the tracks and LL's strong lyricism, saying that "In other words, all that effort that LL finally put into Exit 13 has really paid off - and he is getting the best revenge of all    Showing Def Jam what they will be missing " Steve Jones of USA Today called it LL's "most aggressive album in years," praising his standard braggadocio and lady-swooning content for being consistently energetic because of an amalgam of young up-and-coming producers, concluding that "After 10 straight platinum albums, his last two have only gone gold  But he seems to have gotten his swagger back  He may be hitting the Exit, but he is not easing up on the gas "In The New York Times, Jon Pareles felt that LL more than holds his own with the sounds delivered by newer producers that lift his old-school meets new-school lyricism, concluding with, "To his credit, LL Cool J is too romantic to treat women as crudely as younger rappers do  And while this 76-minute album flags near the end, there's still more than enough smooth-tongued, quick-witted rhyming to justify his boasts " AllMusic's Andy Kellman said that despite tracks like "You Better Watch Me" and "This Is Ring Tone M   " that show LL at his best, he criticized the record for being too try-hard in sounding like the mainstream rap albums released that year, concluding that "Out with a whimper, not a bang, Exit 13 is an off-ramp leading to a boulevard of several mismanaged White Castle knock-offs "

Chart performance
Exit 13 debuted and peaked at number nine on the US Billboard 200 in the week of September 27, 2008, selling 44,000 copies in its first week of release  By October 2008, it had sold 80,000 copies in the United States, according to Nielsen SoundScan  Exit 13 would become LL Cool J's final album with Def Jam  In regards to the album's reception and lack of proper marketing, the he stated in 2009: "The record just really honestly, you know, didn't have that support that I wish it would have had  [I] can't blame anyone  It was my last record, and I guess for whatever reason, whether it was quality or business, you know, the company just decided that they were going to write it off and not really give it that shot "

Track listing
Sample credits

"Dear Hip Hop"
"I'm Still a Struggling Man" by Edwin Starr
"Cry"
"Half a Man" by Bunny Sigler
"I Cry" by Ja Rule feat  Lil' Mo
"It's Time for War"
"The Ultimate" by Jarrid Mendelson
"Listen to My Heart Beat"
"Take Me With You" by Lyn Christopher
"Heartbeat" by Taana Gardner
"Old School New School"
"Who Shot Ya?" by The Notorious B I G 
"Ur Only a Customer"
"I've Been Pushed Aside" by McFadden & Whitehead
"Mary Jane (All Night Long) (Remix)" by Mary J  Blige feat  LL Cool J
"We Rollin'"
"90% of Me Is You" by Gwen McCrae
"You Better Watch Me"
"Pee-Wee's Dance" by Joeski Love
"I'm a Hustla" by Cassidy

Charts
Passage 7:
Sleaszy Rider Records
Sleaszy Rider Records is an independent record label which was founded in 1999 by Tolis G  Palantzas  The head office of the label is located in Greece  The label is mainly distributed in Europe by Sony Music/EMI  The label also distributes releases in Greece from numerous labels, including Roadrunner Records, SPV, and Pagan Records 

Artists
Current artists
Aetherius Obscuritas
Ancient
Bomb and Scary
Cold Colours
Cain
Darkwalker
Dedication
Depression
Desert
Dreamlike Horror
Duster 69
Edge Of Anger
Fahrenheit
Foundry
Funeral Revolt
Fragile Vastness
Greifenstein
Grenouer
Hesperia
The Illusion Fades
In Memory
Irony
Jerkstore
Lipstixx N Bulletz
Liquid Graveyard
Lloth
The Lust
Nocta
Odious
Of the Archaengel
On Thorns I Lay
Overtures
Posithrone
Prejudice
Psychotron
Redrum
Ricky Warwick
Sandness
Satarial
Shadowcast
Snowblind
Solar Fragment
Soulskinner
Sound of Silence
Space Mirrors
Spider Kickers
Thokkian Vortex
Through Art
Thurisaz
Vinder
Voodoo Highway
W A N T E D 
W E B 
Weeping Silence

Former artists
Ashes You Leave
D-Noiz
Deva Noctua Entropia
Deviser
En Garde
Enemynside
Fragile Vastness
Hannibal
Hellire B C 
Hortus Animae
Imagika
Insidius Infernus
Kinetic
Korrodead
Midnight Scream
Nordor
Obsecration
Overload
Phantom Lord
Pleurisy
Powertrip
Re-Vision
Rotting Flesh
Sangre Eterna
Sister Sin
Sorrowful Angels
Sotiris Lagonikas
Transcending Bizarre
Underdark
Uranus
Wastefall
Windfall
Womb of Maggots
Passage 8:
Big Wide Grin
Big Wide Grin is the sixth studio album by Keb' Mo', it was released in 2001 by the Sony Wonder record label 

Track listing
"Everybody Be Yoself" (Chic Streetman) - 4:59
"Love Train" (Kenneth Gamble, Leon Huff) - 4:29
"Don't Say No" (Kevin Moore, Cynthia Tarr) - 4:17
"Infinite Eyes" (Essra Mohawk, Kevin Moore, John Lewis Parker) - 4:57
"Grandma's Hands" (Bill Withers) - 3:30
"Color Him Father" (R  Lewis Spencer) - 3:3
"Family Affair" (Sylvester Stewart) - 3:47
"The Flat Fleet Floogie" (Slim Gaillard, Bud Green, Slam Stewart) - 2:04
"I Am Your Mother Too" (Kevin Moore, Zuriani Zonneveld) - 4:03
"Big Yellow Taxi" (Joni Mitchell) - 3:45
"Isn't She Lovely" (Stevie Wonder) - 5:16
"America the Beautiful" (Katherine Lee Bates, Samuel Augustus Ward) - 3:35Sergio Gonzalez - Drums ( tr  1,4,5,7,9 ) Laval Belle - drums ( tr  2, 3) Roy McCurdy - drums ( 8,11 )
Freddie Washington - Bass (tr  1,4,9 ) Kevin McCormick - Bass ( tr  2,3,5,7,10 ), synth ( tr 7 )
Bob Hurst - Upright bass (tr  8, 11)
Luis Conte –  Percussion (tr 1,2,4,5,9,10)
Jeff Young - piano, organ (tr  1, 7), keyboards ( tr 2, 3), piano (tr  8, 11)
Leo Nocentelli – Guitar ( tr 1 )
Greg Leisz - Mandola, Pedal Steel Guitar (tr 2)
Clayton Gibb - Banjo ( tr  3 )
Joellen Friedkin – Electric Piano ( tr 4 )
Gerald Albright  – Tenor Saxophone ( tr 7 ), Charlie "Tuna" Dennis - guitar ( tr  7 )
Passage 9:
Ace Fu Records
Ace Fu Records is an independent record label founded in 1998 by Eric Speck  It is located in Williamsburg, Brooklyn  The label went on indefinite hiatus in 2007 

Roster
Acid Mothers Temple
Annuals
An Albatross
Aqui
The Dears
Devotchka
Ex Models
Illinois
Kaiser Chiefs
Man Man
Michael Leviton
Oneida
Officer May
Parts & Labor
Pinback
Priestess
Runner and the Thermodynamics
Secret Machines
The Sucka MCs
Ted Leo
Tunng

See also
List of record labels

External links
Official site
Passage 10:
Gramofon
Gramofon is a record label and event agency founded in Sarajevo, Bosnia and Herzegovina in 2003  It's the biggest music label of alternative music in Bosnia and Herzegovina 
Since 2003, Gramofon has organized more than 200 concerts and music events  It is also the organizer of the Sarajevo Jazz Festival and Xenophonia festival Gramofon is the exclusive distributor for Bosnia and Herzegovina of the labels ECM Records, Enja Records, ACT Music, Doublemoon Records, Pi Recordings, ESC Records, and Intakt Records 

Discography
Passage 11:
Takara (band)
Takara was an American rock band, formed in 1987 in Los Angeles, California  Takara recorded 5 studio albums for several different record labels in the U S , Europe, and Japan  Founding member and lead guitarist Neal Grusky, and bassist Carl Demarco remained permanent fixtures in the band since its early days 

Biography
1980s - Early Days
Takara was formed in August 1987  After a few months of rehearsals the band made their debut in October with a show in Hollywood, California  The band proceeded to play many more shows throughout 1987-88  In November 1988, Takara went into the studio to record their first demo with producer Jeff Scott Soto  As they entered the studio it became apparent that the original singer was not ready to record  In order to finish the new Takara demo, Soto was asked to help out by providing vocals for the demo  This was the beginning of a long relationship between the band and Jeff Scott Soto 

1990s - The Soto Era
In 1990, Takara went back into the studio to record what would eventually become their debut album, Eternal Faith  In 1992 Takara regrouped and added new members who would perform in Eternal Faith  The line-up was ultimately completed with Jeff Scott Soto on vocals, Neal Grusky on guitar, Gary Schutt on bass and Bob Duda on drums  In August 1993, Zero Corporation (Japan) and Now and Then records (Europe) offered Takara a deal to release Eternal Faith in December 1993 
After a short break the band began to work on what was to become their second album  Before rehearsals began, bassist Carl Demarco replaced Schutt and they returned to the studio to record Taste of Heaven  The band enlisted Bob Daisley on bass for guest performances on two songs  Taste of Heaven was released in May 1995 by Zero Corporation (Japan) and Long Island records (Europe)  Upon its release, Taste of Heaven had commercial success, and Long Island records brought Takara to Germany for a promo tour 
In 1996 Saraya Recordings, a new US label, asked permission to re-release Eternal Faith and Taste of Heaven as its first releases  Feeling that there was momentum starting to build, the band wasted no time in working on their third album  In 1998 they released Blind in Paradise through Zero Corporation (Japan), Point Music (Europe), and Saraya Recordings (US)  Shortly after the release of ‘Blind in Paradise’, all of Takara's labels released a greatest hits album Eternity: Best of 93 - 98 

2000-2010 Changes to the Lineup
In late 1998, the Takara went through significant lineup changes, leaving only guitarist/band leader Neal Grusky and bassist Carl Demarco to rebuild begin writing new material  The band found drummer Chad Clark and keyboardist Brook Hansen  Brook and Neal had known each other for years and always shared similar ideas on music  The last to come aboard was vocalist Michael J  Flatters, who Grusky found through a mutual friend  With the band complete, Takara re-entered the studio in February 2000 to record their fourth album, Perception of Reality  One year later, it was completed and released on the Avalon Marquee (Japan), Lion Music (Europe), and Metal Mayhem (US) labels 
After a hiatus of several years, Grusky decided to reform Takara in 2008, once again with a new lineup  This lineup saw the arrival of several new members including Bjorn Englen (bass), Patrick Johannson (drums), and vocalist Gus Monsanto  Keyboardist Brook Hansen returned to the lineup  Jeff Scott Soto also returned after ten years to provide harmony vocals for the resulting 2008 album entitled Invitation to Forever  This album, released by Progrock Records, marked a turning point for Takara with Grusky taking his powerful songwriting to a much harder edge than on previous Takara albums  The album subsequently gained mass approval by fans and progressive rock critics alike 

2011-2019 Final Lineup and First Live Performances
After the release of Invitation To Forever guitarist and bandleader Neal Grusky was faced with some tough decisions  Feeling that the band had gone too far in the direction of a studio project with hired musicians contributing internationally, he opted to change the lineup once again in hopes of finding fresh local talent willing to pursue the local LA club scene  Grusky brought back Carl Demarco now "Carla DeMarco" "on bass, reuniting the core of Takara  After a long search for a suitable vocal talent, the band found Jamie Kelli, who had been regularly performing in the LA area  Drummer Gene McEwen, also active in the local scene, completed the lineup  With Kelli filling in temporarily on keyboards, Takara proceeded to prepare for a series of live shows intended to re-introduce the modern LA rock scene to both new and old material from the band  On October 30, 2010, Takara's new lineup performed their first live show to showcase new vocalist Jamie Kelli at Paladino's in Los Angeles, California   In October 2011, Takara announced they would be contributing a song to a Randy Rhoads/Ozzy Osbourne tribute album which was released in the spring of 2012 by Versailles Records  Takara recorded a version of the song "Little Dolls" from the 1981 album "Diary of a Madman" 
In 2019, Grusky announced that the then current members of Takara would be moving on to alternate projects, and that for the time being Takara would no longer be active  Neal Grusky went on to form the LA progressive metal band Prey For Sunday, releasing their first self titled EP in 2021  Vocalist Jamie Kelli relocated to the Boston area where he has since formed the hard rock band Jasper Lane, releasing their debut self titled album in September 2020 

Discography
Studio albums
1993 - Eternal Faith
1995 - Taste of Heaven
1998 - Blind in Paradise
2001 - Perception of Reality
2008 - Invitation to Forever

Compilations
1998 - Eternity: Best of 93 – 98

Related Projects
Talisman
W E T 
Prey For Sunday
Soul Sign
Jasper Lane
Passage 12:
Equity Music Group
Equity Music Group was an American country music record label founded in 2003 by singer Clint Black  The label was distributed by Koch Entertainment (now E1 Entertainment) 
The name "Equity" was chosen to represent the equality between the artist and the label  According to Equity, "The artists will own what they create and get paid from the first scanned sale  In turn, the label has a vested interest in other aspects of the artist's career " The label closed in December 2008 due to financial difficulties 

Artist roster
The following acts were signed to Equity Music Group:

Clint Black
Laura Bryna
Carolina Rain
Kevin Fowler
Carolyn Dawn Johnson
Shannon Lawson
Little Big Town
Mark Wills
Blake Wise
Passage 13:
Metalworks Institute
Metalworks Institute is a post-secondary institution based in Mississauga, Ontario, Canada and Fredericton, New Brunswick, Canada  Metalworks Institute offers certificates, diplomas, and advanced diplomas, on-campus and online, educating students for direct entry into careers in the entertainment industry or for articulation into undergraduate degrees  The institute was founded by Gil Moore (Inductee of the Mississauga Music Walk of Fame) of the Canadian rock band Triumph (inductees into the Canadian Music Hall of Fame), and is the educational extension of Metalworks Studios, Canada's largest music recording studio, and Metalworks Production Group   Metalworks Institute delivers programs in four core streams: Live Music, Recorded Music, Entertainment Business and Music Performance, at the flagship Mississauga campus and at the Fredericton campus Metalworks Institute received the inaugural Canadian Music & Broadcast Industry award for Music School of the Year in 2016  and again in 2019 

History and accreditation
Metalworks Institute Mississauga was founded in 2005 and is registered as a Private Career College under the Private Career Colleges Act, 2005  Metalworks Institute Fredericton was founded in 2020 and is a Private Occupational Training Organization registered under the Private Occupational Training Act, 1996  Metalworks Institute offers diploma and advanced diploma programs, on-campus and online, as well as individual certificate courses  The Institute includes over 80 full-time staff members and has an enrollment of more than 250 students On November 20, 2013, the Metalworks Group was the recipient of the SME Excellence Award at the Ontario Business Achievement Awards (OBAA), presented by the Ontario Chamber of Commerce  In 2016, Metalworks Institute received the inaugural Canadian Music & Broadcast Industry award for Music School of the Year  They then received the Canadian Music & Broadcast Industry award for Music School of the Year a second time in 2019  In 2019, Metalworks Institute received the inaugural Paul Kitchin Award for Community Involvement from Career Colleges Ontario for their sponsorship of the Sound Engineering Program at Interprovincial Music Camp (IMC) 

Academic programs
Metalworks Institute delivers programs on-campus and online in four core streams:

Live Music
Live Event & Concert Production Diploma 
Live Sound Diploma 
Stage Lighting & Video Diploma

Music Business
Music Business Diploma

Music Performance
Music Performance Advanced Diploma

Recorded Music
Audio Production & Engineering Diploma 
Electronic Music Production Diploma 
Music Mixing & Mastering (Post Graduate) Diploma 
Recording Engineering Diploma

Interdisciplinary Programs
Music Performance & Technology Advanced Diploma 
Professional Sound (Audio Specialist) Diploma 
Professional Sound & Business (Studio Production Major) Advanced Diploma 
Professional Sound & Business (Recording Engineering Major) Advanced Diploma 
Professional Sound & Business (Live Production Major) Advanced Diploma

Part-time certificate courses
Metalworks Institute is officially certified as an Avid Certified Learning Partner and offers certified training in Pro Tools  for both music and post-production as well as for live Venue (sound system)  They also offer certificate courses in Apple's Logic Pro, Steinberg Cubase, Ableton Live  and Reason as well as official certification courses in Waves Audio 

Flagship Campus and Educational Facilities
Metalworks Institute's flagship campus is located in Mississauga, Ontario, adjacent to Metalworks Studios and Metalworks Production Group  There are regularly scheduled campus tours which are open to the public  Prospective students and parents are able to meet the school faculty and find information related to the programs, courses, and student resources offered at Metalworks Institute 

Educational Amenities
Metalworks Institute's studios were designed by acoustician Terry Medwedyk  The equipment used by the institute to educate its students is the same as that used by the professional clients who make use of Metalworks Studios  The studios are equipped with SSL and ICON consoles, Pro Tools HD systems and a wide variety of industry standard microphones, plug-ins and vintage outboard equipment  The Institute's partnership with Metalworks Production Group also gives the show production students access to the equipment used to produce a large variety of live events such as concerts, theatrical productions, large and small scale business conferences trade shows and conventions   The institute has four professional recording studios dedicated to student use 

Notable alumni
Akeel Henry, Jack Richardson Recording Engineer of the Year at the Juno Awards of 2023
Alessia De Gasperis, formerly known as Kai, Canadian singer-songwriter
Michael "Mickey" Brandolino, guitarist in Juno-nominated (2021, 2022) Valley
Nav, rapper
Noel Cadastre, Award-winning mixer, music producer, audio engineer (OVO Sound)
Riley Bell, Jack Richardson Recording Engineer of the Year at the Juno Awards of 2018
Tim Oxford, musician in The Arkells
WondaGurl, record producer
Passage 14:
The Autumn Offering
The Autumn Offering was an American metalcore band that formed in Daytona Beach, Florida, in 1999  After achieving some degree of local success, the band was signed to Stillborn Records, founded by Jamey Jasta of Hatebreed, in 2003  The band released one album through this label  The Autumn Offering later signed to Victory Records in 2005 and released four studio albums before ceasing activity in 2010 

History
Formation and debut album (1999–2004)
The Autumn Offering was formed in 1999 while all the members were still in high school and by 2003, they had completed several regional tours and self-booked US tours  Hatebreed vocalist Jamey Jasta took notice of the band, and signed them to his own Stillborn Records in December 2003  The Autumn Offering released their debut album Revelations of the Unsung on July 27, 2004, through Stillborn and was recorded by Zeuss at Planet-Z 

Signing to Victory Records and second album (2005–2006)
In 2005, founding member and lead guitarist George Moore parted ways with the band and was soon after replaced by Tommy Church, guitarist from End of All, which later became known as Killwhitneydead  The Autumn Offering signed to Victory Records in September 2005  Their first release through the label was a reissue of their debut album in early 2006, which was followed by their second studio album Embrace the Gutter on May 16, 2006  Embrace the Gutter was recorded with Jason Suecof (Chimaira, Trivium) at Audiohammer Studios 

New vocalist and Fear Will Cast No Shadow (2007–2008)
After completing Embrace the Gutter and a few national tours, singer Dennis Miller quit the band to pursue a normal life  The band continued on and eventually chose good touring friend Matt McChesney from Hell Within to replace him  The band also separated with original drummer Nick Gelyon in the studio during the recording of Embrace the Gutter  He was replaced by Brian Sculley soon after 
The band's next album, Fear Will Cast No Shadow was released on October 30, 2007, with new singer Matt McChesney  The album featured a slight change in sound for the band, having a more melodic sound and using more clean vocals than on previous releases 

Requiem (2009)
The Autumn Offering entered the studio on February 1, 2009, to begin recording Requiem at AudioHammer Studios with Mark Lewis  Recording was finished by March 2009, and the album was later released on June 9, 2009, through Victory Records  A music video for the song "The Curtain Hits the Cast" from Requiem was released For the band's fourth studio album, The Autumn Offering took their music in a heavier direction contrasting the more pop and melody driven Fear Will Cast No Shadow  The album was described by the band as a more "mature" album featuring "longer songs, complex rhythms, and dynamic vocals " Further distancing themselves from their previous album, vocalist Matt McChesney wrote darker lyrics about substance abuse and being raised in a broken home, as opposed to songs about relationships  The song "Narcosis" is about McChesney's experience of being revived with an adrenaline shot after snorting heroin and cocaine at the same time Requiem became The Autumn Offering's first charting album, peaking at number 36 on Billboard's Top Heatseekers chart 

The Autumn Offering (2010)
For the band's fifth studio album, The Autumn Offering recruited two members: guitarist Jesse Nunn of Silent Civilian and Scum of the Earth who replaced Matt Johnson, and bassist Carl Bensley of Instinct of Aggression who replaced Mike Poggione The Autumn Offering was released on August 31, 2010, through Victory Records  The album featured another stylistic change for the band, this time going into a more melodic death metal and deathcore direction  Late that year, following the departure of guitarist Tommy Church, vocalist Matt McChesney stated that the band would be ending, citing burn out and "a million other things "

Band members
Current membersCarl Bensley – bass guitar (2010)
Tommy Church – guitars (2005–2010) (ex-Mushroomhead)
Matt McChesney – vocals (2007–2010) (ex-Hell Within)
Jesse Nunn (Saint) – guitars (2010)
Brian Sculley – drums (2008–2010)Former membersTony Cesaro – guitars (1999–2002)
Mike Bortle – drums (1999–2003)
George Moore – guitars (1999–2005) (ex-Trivium)
Dennis Miller – vocals (1999–2007)
Nick Gelyon – drums (2003–2007)
Jonathon Lee – drums (2007)
Allen Royal – drums (2007-2008)
Sean Robbins – bass guitar  (1999–2008)
Mike Poggione – bass guitar, vocals (2008–2009)
Erik Tisinger - bass guitar  (2009)
Matt Johnson – guitars (1999–2010)Timeline

Discography
Studio albumsRevelations of the Unsung (2004)
Embrace the Gutter (2006)
Fear Will Cast No Shadow (2007)
Requiem (2009)
The Autumn Offering (2010)

Music videos
Passage 15:
Mona Bone Jakon
Mona Bone Jakon is the third studio album by singer-songwriter Cat Stevens, released in April 1970 on the Island Records label in the United Kingdom and on A&M in the United States and Canada 

Overview
After a meteoric start to his career, surprising even his original producer at Deram Records with the hit singles "I Love My Dog", "Matthew and Son", and "I'm Gonna Get Me a Gun", Stevens' debut album, Matthew and Son, began charting  However, after the pressure for a repeat album of the same calibre, Stevens, considered a young teen sensation, was overwhelmed by a new lifestyle as well as the demands of writing, recording, performing, publicity appearances, and touring  His second album was a commercial failure and in the autumn of 1968, he was hospitalized, with a diagnosis of tuberculosis and a collapsed lung  For over a year, while recovering, Stevens virtually disappeared from the British pop scene  Mona Bone Jakon is notable not only for his return but for the emergence of a very different artist  The album sold slowly (at first) but over time has been certified Gold for sales/shipments of more than 500,000 copies in the United States 

Background
During his hospital-dictated year of bedrest, Stevens began writing a catalogue of songs to fill far more than his next album  After his recovery, he negotiated out of his contract with Deram Records and worked with former Yardbirds bassist Paul Samwell-Smith on a stripped-down sound  In contrast to his first two albums, these new songs were sparse arrangements  They were played on acoustic guitars and keyboards and accompanied by a smaller backing band, consisting of three other performers: second guitarist Alun Davies, bassist John Ryan, and drummer Harvey Burns—and on one song, "Katmandu", Peter Gabriel on the flute  Samwell-Smith also produced the album and brought Stevens a high-fidelity sound that was not as present on his previous releases  Samwell-Smith was one of the early producers in rock to push the lower bass frequencies more prominently into the mix in an attempt to keep up with the new audiophile generation, which was embracing larger home speakers and high-end phonographic cartridges  Stevens began to make the transition from pop musician to a folk-rock performer when the term "singer-songwriter" was just being coined The songs themselves were darker in tone: the madrigal-inspired ballad "Lady D'Arbanville" elevated the tragedy of a lost lover (in this case, Stevens' former girlfriend Patti D'Arbanville) to that of a deceased one and "Trouble" was a plea to stave off death  There were also lighter songs: "Pop Star" showcased Stevens' dramatic change in voice by satirising the triviality of celebrity 
Though "Lady D'Arbanville" would reach No  8 on the British charts, Mona Bone Jakon was only a modest success upon its initial release  The album attracted attention, however, in the wake of the commercial breakthrough of its follow-up, Tea for the Tillerman, and with the inclusion of three of its songs ("Trouble", "I Wish, I Wish", and "I Think I See the Light") in Hal Ashby and Colin Higgins's 1971 black comedy, Harold and Maude 

Origin of title
According to a 1972 interview with Stevens, the inspiration for the title was a name he created to describe his penis: "'Mona Bone Jakon' is another name for my penis  It's the name I give it  It's not some sort of secret vocabulary, it's just something I made up "Journalist Robert Chalmers reiterated this point for a 2003 interview with Yusuf Islam for The Independent on Sunday when he wrote: "When [Stevens] re-emerged in 1969, he had more than 40 new songs and released three triumphant albums in 15 months on Chris Blackwell's Island label: Mona Bone Jakon (his pet word for penis), Tea for the Tillerman and Teaser and the Firecat "

Critical reception
In a contemporary review for The Village Voice, music critic Robert Christgau gave the album a B+, noting that "this one has a nice post-creative trauma feel, intimate and sensitive  Recommended to singer/songwriter specialists " Later, he revised his review to a B- and expressed a newfound dislike for the songs "Lady D'Arbanville," "Trouble," and "I Wish, I Wish" In a retrospective review, Allmusic's William Ruhlmann gave it four out of five stars and called it "a group of simple, heartfelt songs played in spare arrangements on acoustic guitars and keyboards and driven by a restrained rhythm section"  He added that "Stevens' craggy voice, with its odd breaks of tone and occasional huskiness, lent these sometimes sketchy songs depth" 

Track listing
Personnel
Cat Stevens – acoustic guitar, classical guitar, keyboards, vocals
Alun Davies – acoustic guitar, backing vocals
John Ryan – double bass
Harvey Burns – drums, percussion
Peter Gabriel – flute on "Katmandu"
Del Newman – strings, arrangements

Production
Producer – Paul Samwell-Smith
Engineer – Michael Bobak
Mixing – Paul Hicks
Supervisor – Bill Levenson
Coordinator – Beth Stempel
Mastering – Ted Jensen
Design – Roland Young, Mike Diehl
Illustrations – Cat Stevens
Photography – Grazia Neri, Richard Stirling

Charts
Certifications and sales


== Notes ==
Passage 16:
Trevor Wyatt
Trevor Wyatt is a British record company manager and record producer 
Wyatt was Chris Blackwell's first employee at Island Records London  Trevor drove the Island cab, delivering records to the stores as well as taking the artists around when they came to town  As Island grew, Trevor became the studio manager, UK A&R manager, and house producer, first in Island's Basing Street Studios and then at Island's HQ at St Peter's Square in Hammersmith  As such, he became a source of knowledge on who had recorded what in the studio and where their sessions could be found  Many compilations on the Island label existed purely because Trevor found material in the archives and brought it to the appropriate label manager's attention  He was responsible for the Island Reggae Greats series of releases, and also found many alternate takes and demos for box sets by Nick Drake and Sandy Denny 
After the takeover by Universal Records, Wyatt followed Blackwell to Palm Pictures, where he worked for some years  He is now an independent artist manager 
Passage 17:
Necessary Records
Necessary Records is a record label based in the UK, founded by Warren Clarke, a former A&R executive at London Records and Edel, in 2003  Clarke describes that the label was born out of a creative necessity  "It's an outlet for records that should and must be heard  An outlet for artists that deserve to and will, touch the widest possible audience "It is most notable for being the record label of English indie rock band Hard-FiThe label was responsible for the release of Hard Fi's debut album, Stars of CCTV, before the label secured a two album worldwide licensing deal with Atlantic, which saw the album re-released in the UK and subsequently nominated for a Mercury Prize and two Brit Awards  The album also peaked at #1 in the UK albums chart in January 2006, reaching sales of 1 2 million copies worldwide, with over 830,000 in the UK alone  The band's second album, Once Upon a Time in the West, released by Necessary/Atlantic, also reached #1 on the UK album charts  The band's third album, Killer Sounds, released by Necessary/Atlantic went to #9 on the UK album charts Necessary also have a publishing and management company 

Artist roster
Nights
Distophia
Hard-Fi
Maupa

See also
List of record labels
Passage 18:
Super Grit Cowboy Band
Super Grit Cowboy Band is an American country music band formed in North Carolina  It was founded by Clyde Mattocks, Libby Mattocks, Bill Lyerly, Danny Vinson, Dave Cavanaugh  and Alfred Ward  Active since 1974, the band recorded first with Sound Hut Studios  Beginning with their 1981 album, the band has recorded on its own Hoodswamp label 

History
The band formed in 1974, comprising Clyde Mattocks (steel guitar, Dobro, banjo, electric guitar), Danny Vinson (drums), Mike Kinzie (fiddle, saxophone, piano, harmonica, acoustic guitar), Bill Ellis (bass guitar, keyboards) and Curtis Wright (lead guitar) The band recorded their first album in 1977 featuring Bill Lyerly (Bill Lyerly Band) 
Later the band recorded for its own label, Hoodswamp Records, and released three albums on it  In 1981, the band charted for the first time on Hot Country Songs with "If You Don't Know Me by Now," which reached No  71  Between then and 1983, four more of the band's singles reached the country charts, including its highest-charting, the No  48 "She Is the Woman " Billboard gave the band's 1981 album If You Can't Hang a positive review, praising the instrumentation as well as the rock influences At one point, Don Cox was a member of the band  He later recorded All Over Town for Step One Records and charted at No  29 on the country music charts with its title track  Wright later joined Vern Gosdin's road band, of which he was a member until 1989  After quitting that band, Wright was a solo artist for Airborne and Liberty Records, charting in the Top 40 with "She's Got a Man on Her Mind" in 1990 and releasing a self-titled album in 1992  He later recorded one album with Robert Ellis Orrall in the duo Orrall & Wright, then joined Shenandoah from 2000 to 2008  Wright has also written singles for Shenandoah, Ronnie Milsap, Daryle Singletary, and Carolina Rain 
Since 2010, the band has consisted of Mattocks and Kinzie, along with guitarist Mark Golladay, drummer Dexter Horton and bass guitarist Carroll Wade 

Discography
Albums
Singles
Passage 19:
Raised on Radio
Raised on Radio is the ninth studio album by the American rock band Journey, released in April 1986 on the Columbia Records label  It is the first album to not feature founding bassist Ross Valory, who was replaced initially by session bassist Bob Glaub and then by  Randy Jackson  Drummer Steve Smith contributed to a few tracks, but was replaced during the recording by session drummer Larrie Londin and then Mike Baird for the subsequent tour 
The album spawned three top 20 singles in the US: "Girl Can't Help It" (No  17), "I'll Be Alright Without You" (No  14), and "Suzanne" (No  17)  It also spawned a top ten single "Be Good to Yourself" (No  9) It went to No  4 on the Billboard 200 chart, and it was certified double platinum in the USA 

Background
Raised on Radio was released three years after Frontiers (1983)  In 1984, both lead guitarist Neal Schon and lead singer Steve Perry released albums on their own; Schon in the band HSAS (Through the Fire), and Perry with his debut solo album, Street Talk  Perry considered leaving Journey following the release of Street Talk which he has referred to as "one of the most fun experiences I've had"  Perry decided to return to working with Journey when he received a call from keyboardist Jonathan Cain, who wanted him to work on some unfinished songs Following Perry's return to Journey, he began to take more control over the band's direction  Bassist Ross Valory and drummer Steve Smith were fired from the band, against the wishes of manager Herbie Herbert  According to Perry, Valory and Smith "weren't pleased with the kind of music we were playing and weren't too keen on touring"  Smith later said of the initial recording process: "There was a lot of pressure to do it the way Steve Perry wanted, which I had a lot of problems with because I felt it should be a group record, like all the other records " Valory was replaced by Randy Jackson (bass guitar) and Smith was replaced by session musician Larrie Londin (drums)  In the VH-1 Behind the Music episode featuring the band, Perry expressed regret over his decision, stating he'd have done things differently  Smith did record three tracks with Journey on the album, and he and Valory still received revenues from the record and subsequent tour  Both returned to Journey in 1995 
The band decided that Perry, who had proved his production capabilities on Street Talk, was the best fit to produce the album  According to Perry, this gave the rest of the band members as much creative control as possible: "Journey knows what it should sound like, so we all agreed I would be a good, safe, nondictator-type producer "Perry changed the original title of this project from Freedom to Raised on Radio, which drew the ire of Herbert and some of the band members, as it varied from the one-word general theme in most of their previous albums  The band would end up using the Freedom title 36 years later for their fifteenth studio album 
The subsequent tour featured Schon, Perry, Cain, and Jackson, with drummer Mike Baird  

Artwork
The cover of the album (by Prairie Prince, an early member of the band) was modeled after the studios and antennas for KNGS in Hanford, California, which was owned by Perry's parents, Ray and Mary Perry 

Songs
Cash Box said of "Suzanne" that "Somewhat brooding verses give way to explosive choruses which feature Steve Perry’s potent singing" and that "Journey has captured the essence of teen romance " Billboard said of it that Journey's "power rock style gets adapted just a bit here toward the techno-dance idiom "Cash Box said of "Why Can't This Night Go On Forever" that it's a "rousing, emotional ballad is pure Journey" with a "bracing, high-wire vocal" from Steve Perry 

Track listing
Personnel
Credits for Raised on Radio adapted from liner notes Journey

Steve Perry – lead vocals
Jonathan Cain – keyboards, backing vocals
Neal Schon – guitars, guitar synthesizer, backing vocals, keyboards (10)
Randy Jackson – bass (all tracks except 2, 10 and 11), backing vocals (all tracks except 2, 10 and 11)
Steve Smith – drums (2, 10 and 11)Additional musicians

Bob Glaub – bass (2, 10 and 11)
Larrie Londin – drums (all tracks except 2, 10 and 11)
Mike Baird – drums (12 and 13) (2006 CD reissue only)
Steve Minkins – percussion (3)
Danny Hull (credited as Dan Hull) – saxophone (2 and 7), harp (7)Production

Steve Perry – producer
Jonathan Cain – additional vocal co-production
Randy Goodrum – additional vocal co-production
Jim Gaines – associate producer, engineer
Mark McKenna – engineer
Steve Rinkoff – engineer
Robert Missbach – assistant engineer
Bob Clearmountain – mixing at Bearsville Studios and The Power Station (New York, NY)
Bob Ludwig – mastering at Masterdisk (New York, NY), remastering
Brian Lee – remastering

Charts
Certifications



ground_truth: College of Charles Towne

Charles Towne

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 record label of the Metalworks Studio founder?

The following are given passages.
Context 3: 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



ground_truth: TML Entertainment

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 3: 
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