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

Question: What year did the company that published Starship Command end?

The following are given passages.
Context 1: Passage 1:
Ferruccio Ranza
Brigadier General Ferruccio Ranza (9 September 1892—25 April 1973) began his military career as a World War I flying ace credited with seventeen confirmed victories and eight unconfirmed ones  Postwar, he rose to command of several area commands of the resurgent Italian Air Force  He served through the end of World War II 

Biography
Early life
Ferruccio Ranza was born on 9 September 1892 in Fiorenzuola d'Arda, the Kingdom of Italy 

World War I service
Ranza was a Sottotenente in the engineers when World War I broke out, being assigned on 8 November 1914 as a lieutenant in 1st Engineer Regiment  He attended the flight school at Venaria  His first assignment, on 14 October 1915, was to 43a Squadriglia to fly reconnaissance missions  He won a Bronze award of the Medal for Military Valor for carrying out an artillery spotting mission under heavy fire on 1 April 1916 

However, Ranza had no success in aerial warfare until he transitioned to Nieuports and joined 77a Squadriglia on 22 June 1916  Five days later, flying a Nieuport 11, he downed a Hansa-Brandenburg C I  On 14 September 1916, he shot down a seaplane and received another Bronze award  By 25 November, he had four confirmed wins and one unconfirmed  He made another unconfirmed claim on 4 April 1917 Fulco Ruffo di Calabria was removed from command of 91a Squadriglia because of combat fatigue; Ranza was appointed to succeed him in command, on 1 May 1917, while still flying with 77a Squadriglia through June  Ranza scored again on 23 June 1917, and would continue to score through the end of the war, with his last claims being two unconfirmed victories on 29 October 1918  He would be awarded two more Silver Medals for Military Valor  Ranza ended World War I having flown 465 combat sorties and had posted 20 aerial victory claims  In the process, he was promoted to captain  During the war, he had won three Silver awards of the Medal for Military Valor, the Serbian Order of the Star of Karađorđe, four war crosses (two Italian, one French, one Belgian), and the Military Order of Savoy 

Post World War I
The Bongiovanni military intelligence commission verified 17 of Ranza's victory claims in their report of 1 February 1919 Ranza remained in the Italian Air Force postwar  In February 1924, he took command of the 13th Group  On 15 April 1927, he stepped up to command of 2nd Wing  He rose to command of Italian air assets in Tripolitania, in 1928, then returned to Italy as Chief of Staff for 1st Zone Air Place  From January to September 1935, he returned to Italian East Africa being promoted in March to Brigadier General  In May 1939, he moved to become Air Officer Commanding in Albania  The following year, he was appointed AOC Southern Italy  Ranza retired on 29 January 1945  He died in Bologna, Italy on 25 April 1973 

Notes
Passage 2:
Walter Storp
Walter Storp (2 February 1910 – 9 August 1981) was a German bomber pilot and commander of several bomber wings during World War II  He was a recipient of the Knight's Cross of the Iron Cross with Oak Leaves  Storp reached the rank of Generalmajor and ended the war as commander of the 5th Air Division in Norway 
Storp was born on 2 February 1910 in Schnecken, East Prussia, the son of a forester  After he received his Abitur (diploma) in 1928 he joined the military service and served in the navy  Holding the rank of Oberleutnant he served in the Bordfliegerstaffel 1 /106 (on board flyers squadron) until February 1936  From May to September he was a pilot aboard the heavy cruiser Admiral Scheer, participating in the ship's first cruise of the Spanish Civil War in August 1936 Storp was assigned to the Reich Ministry of Aviation on 1 October 1938 and at the same time became the chief pilot of general Hans Jeschonnek  Serving briefly with KG 30 in early 1940, Storp became temporary Gruppenkommandeur  of III gruppe, KG 4 between May and August 1940  He was then appointed group commander of II /Kampfgeschwader 76 (II /KG 76—2nd Group of the 76th Bomber Wing) on 12 September 1940  He and his crew performed a successful low-altitude attack over the English Midlands on 27 September 1940 In April 1941 Storp was appointed commander of Schnellkampfgeschwader 210, leading the unit during operations against the Soviet Union during 1941  He then was transferred to a RLM staff appointment in October 1941, before a further move in September 1942, as Geschwaderkommodore of Kampfgeschwader 6  A return to KG 76 occurred in June 1944, while in February 1945 he became Commander of the 5th Flieger-Division until the end of the war 

Awards
Iron Cross (1939) 2nd Class (2 October 1939) & 1st Class (26 April 1940)
Ehrenpokal der Luftwaffe (20 October 1940)
Knight's Cross of the Iron Cross with Oak Leaves
Knight's Cross (21 October 1940) 149th recipient in the Luftwaffe as Hauptmann and Gruppenkommandeur of the II / Kampfgeschwader 76
Oak Leaves (14 July 1941) as Major und Geschwaderkommodore of the Schnellkampfgeschwader 210
Passage 3:
Hageman Peak
Hageman Peak (71°43′S 70°48′W) is a montane landform pinnacle rising to about 940 metres (3,100 ft) at the northwest end of the Staccato Peaks in southern Alexander Island, Antarctica  The peak was photographed from the air by Lincoln Ellsworth in 1935, and was named by the Advisory Committee on Antarctic Names for Lieutenant Commander Roger H  Hageman, U S  Navy, an LC-130 aircraft commander during Operation Deep Freeze, 1969 

See also
Saint George Peak
Beagle Peak
Giovanni Peak
Passage 4:
Lessons (Star Trek: The Next Generation)
"Lessons" is the 19th episode of the sixth season of the American science fiction television series Star Trek: The Next Generation and was originally aired in the United States on April 5, 1993, in broadcast syndication 
Set in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D  In this episode, Captain Picard's (Patrick Stewart) shared love of music with Lt  Commander Nella Daren (Wendy Hughes) leads to romance, resulting in conflicting emotions on his part  After incorrectly believing that she has died, he realizes that he is incapable of carrying out a relationship with someone under his command 
The episode was directed by Robert Wiemer, the episode was written by Ron Wilkerson and Jean Louise Matthias, with some uncredited revisions by René Echevarria  Stand-ins were used to perform the pieces by Picard and Daren, which required the use of close-up camera angles by the director  The episode was received warmly by critics reviewing it after the end of the series, who praised the performances of Hughes and Stewart 

Plot
Picard is curious when he finds that the stellar cartography department has shut down several systems on the Enterprise, and visits the section to discover what is going on  He meets the head of the department, Lt  Commander Nella Daren, who makes an impression on him  It is a meeting memorable enough to later discuss with Dr  Beverly Crusher (Gates McFadden)  At a musical recital by Lt  Commander Data (Brent Spiner), Picard is surprised to see Daren again, playing the piano  The two discuss music, and later meet in Picard's quarters and participate in a duet  Daren plays a portable piano and Picard performs on his Ressikan flute 
The two begin to meet more often; including in a Jefferies tube, which Daren claims has the best acoustics on the ship  In this private setting, their attraction for one another is expressed in a kiss  The moment of intimacy is fleeting, however  When they enter a turbolift, and are joined by another crewmember, Picard resumes the professional demeanour of Captain  The Enterprise is diverted from its mission, when it is directed to investigate a report of firestorms at a Federation outpost  While in transit, Picard consults Counsellor Troi (Marina Sirtis) about pursuing a relationship with Daren  Picard then goes to Daren to apologize and to explain   He recounts the experience  shown in the episode "The Inner Light" in which he had a wife and family, became a grandfather, grew old, and learned to play the flute   The experience imparted to Picard a deep appreciation for music, and he is pleased to have someone to share it with 
Daren speaks to Commander Riker (Jonathan Frakes) requesting a transfer for another crew member to stellar cartography  Riker says he will consider the request  Afterwards, he speaks with Picard, explaining that Picard and Daren's relationship makes the decision complicated  After determining from Riker that Daren's request is not unusual or taking advantages, Picard assures Riker that he will support any decision he makes  Later at dinner, Picard relates to Daren his talk with Riker, saying that they need to be careful about anyone else misunderstanding their relationship 
The Enterprise arrives at the Federation outpost to find that firestorms are heading toward the facility  Daren suggests a means of deflecting the storms, but the equipment requires trained personnel on the ground to operate it  Daren is assigned to the surface team, along with a number of other crewmembers  The outpost is evacuated during the dangerous mission, leaving only the Enterprise away team on surface  The firestorms overwhelm the position that Daren's team occupies before they can be retrieved  Believing Daren to be dead, Picard sits contemplating his decision in his quarters  He then hears that survivors are being transported aboard, and heads to the transporter room  Daren is not among the initial group of survivors, but is later transported to the ship  Eight members of the team have died 
Afterwards, Picard and Daren discuss their relationship  They conclude that it cannot continue, as Picard could not bear to put her in further danger  They discuss giving up their Starfleet careers to be together  Daren knows that Picard, although still cherishing the family life he experienced as Kamin, has nonetheless chosen duty, career, and loneliness  They both know that Daren must transfer off the Enterprise  They kiss once more, and Daren makes Picard promise not to give up music 

Production
Ron Wilkerson and Jean Louise Matthias received story credits for the episodes "Imaginary Friend" and "Schisms", but for each episode the writing of the teleplay from the initial story idea had been assigned to a staff writer due to time constraints  Co-executive producer Jeri Taylor then allowed the pair to write the teleplay for "Lessons", their first for Star Trek  René Echevarria did some minor uncredited re-writes to the final version of the script as staff-writer Brannon Braga wished to avoid working on "Lessons" after recently working on another love story related script for the episode "Aquiel"  Writer and producer Michael Piller likened "Lessons" to the 1945 Noël Coward film Brief Encounter 

The production crew sought to give Picard a romantic peer and equal in Daren, and were pleased with the actors' performances  Director Robert Wiemer said that "we had really turned-on performances     if we'd had only moderate performances it would have fallen flat"  However, as neither Stewart nor Hughes could play their instruments, it required a number of camera techniques to be used in order to disguise the musicians playing just off screen  Husband and wife duo Natalie and Bryce Martin played the piano and tin whistle respectively to portray Daren and Picard's abilities  Bryce had played his instrument to represent Picard's Ressikan flute since it first appeared in "The Inner Light"  However, while Stewart did the majority of his flute fingering, he was doubled in several scenes by Noel Webb and John Mayham  Webb also doubled for Brent Spiner early in the episode when Data was playing Frédéric Chopin's trio in G minor  A variety of pieces are played throughout the episode, including Frère Jacques, Ludwig van Beethoven's Piano Sonata No  14 and Johann Sebastian Bach's Third Brandenburg Concerto  The "Flute song" by Jay Chattaway, which originally appeared in "The Inner Light", reappears in this episode The firestorm itself was created by Dan Curry and Ronald B  Moore by pouring liquid nitrogen onto black velvet and then blowing it with an air hose  The effect was then enhanced by digital effects and was digitally inserted into the background of the exterior standing set (usually referred to by cast and crew as "planet hell")  "Lessons" was the first appearance of the stellar cartography on board the Enterprise, but the set would be completely replaced for its reappearance in the movie Star Trek Generations 

Reception and home media
James Van Hise and Hal Schuster wrote in their 1995 book, The Complete Next Generation, that they thought the relationship between Picard and Daren was believable, and that the story itself was very effective  They thought that the loneliness Picard feels at the end of the episode was part of an ongoing story which would culminate in the subplot about Picard's loneliness in Star Trek Generations Several reviewers re-watched Star Trek: The Next Generation after the end of the series  Keith DeCandido watched the episode for Tor com, and described the performance of Wendy Hughes as "magnificent" and "never not wonderful"  However, he commented that whenever a double was not used to play the piano, it was obvious that Hughes wasn't playing  Overall, he appreciated the script and thought that the ending was not contrived; however, he would have preferred for the episodic structure of The Next Generation to have been changed a little to allow for the romance to be portrayed as a subplot over several episodes  He gave the episode a score of nine out of ten, saying "this is one of TNG's best romances and an absolute joy " DeCandido subsequently named "Lessons" as one of the best episodes of season six, which he said was the best season of the series Zack Handlen, who reviewed "Lessons" for The A V  Club, thought that the episode works because of Patrick Stewart and that the episode was well-handled  He gave "Lessons" a score of B+, saying that he "wasn't hugely sold on Daren, but when Picard makes a special point of explaining the flute's significance to her, it helps solidify the connection between them "In 2012, Forbes placed "Lessons" in an alternative top ten episodes from TNG The episode was first released on VHS cassette on August 4, 1998  The episode was later included on the Star Trek: The Next Generation season six DVD box set, released in the United States on December 3, 2002, and on Blu-ray on June 24, 2014 

Science education
In 2010, Wired noted this episode of Star Trek as one that could be used to teach real-world science, especially astronomy  The real-world counterpart to the Star Trek stellar cartography can be called uranography 

Notes
Passage 5:
Indianapolis News
The Indianapolis News was an evening newspaper published for 130 years, beginning December 7, 1869, and ending on October 1, 1999   The "Great Hoosier Daily," as it was known, at one time held the largest circulation in the state of Indiana   It was also the oldest Indianapolis newspaper until it closed and was housed in the Indianapolis News Building from 1910 to 1949 : 3–5  After Eugene C  Pulliam, the founder and president of Central Newspapers acquired the News in 1948, he became its publisher, while his son, Eugene S  Pulliam, served as the newspaper's managing editor  Eugene S  Pulliam succeeded his father as publisher of the News in 1975 The Indianapolis News was an evening paper, and its decline matched a growing circulation of the morning newspaper, the Indianapolis Star  Prior to the closing, there had been a partial merging of the newspaper staff with the Star 

Notable staff members
Medford Stanton Evans (1934–2015) was an award-winning journalist, educator, and author who became the head editorial writer for the News in 1959  He was promoted to editor of the News in 1960, at the age twenty-six, and became the youngest editor of a metropolitan daily newspaper at that time  Because of his editorial at the News, Evans was selected in 1960 to draft the Sharon Statement, which outlined the founding principles for the Young Americans for Freedom  The conservative writer remained as editor of the News through 1974, when he left the city and became a nationally syndicated columnist for The Los Angeles Times  Evans also taught journalism as Troy University in Troy, Alabama, for more than thirty years  Among his many other activities, Evans lead the American Conservative Union from 1971 to 1977, authored several books, and founded the National Journalism Center in 1977 in Washington, D C 
Frank McKinney "Kin" Hubbard (1868–1930) was a nationally known American cartoonist, humorist, and journalist whose most famous work was the Abe Martin cartoon series  Hubbard  introduced his Abe Martin character to Indianapolis News readers on December 17, 1904, and it appeared six days a week on the back page of the newspaper for twenty-six years  Hubbard also originated and illustrated a once-a-week humor essay for the "Short Furrows" column in the Sunday edition  The Abe Martin cartoon series went into national print syndication in 1910 and the "Short Furrows" column went into syndication the following year  For years after Hubbard's death in 1930, the News and other newspapers continued to print his Abe Martin cartoon series 
Eugene S  Pulliam (1914–1999) began working at the News as its managing editor in 1948 and rose through the managerial ranks to become assistant publisher of the Indianapolis News and the Star  in 1962  He succeeded his father, Eugene C  Pulliam, as publisher of both newspapers in 1975  Known for his advocacy for First Amendment rights and freedom of the press, Eugene S  Pulliam remained the publisher of the News and the Star  until his death in 1999  He also became president of Central Newspapers in 1979 following the death of his stepmother, Nina Mason Pulliam 
Juliet V  Strauss (1863–1918) was a well-known journalist, author, and public speaker from Rockville, Indiana, who wrote a regular weekly column for the News using the pseudonym of "The Country Contributor" from November 1903 until her death in May 1918  Strauss also was a leader in efforts to generate public and state government support to establish Turkey Run State Park in Parke County, Indiana, in 1916 as Indiana's second state park  She began her journalism career as a regular newspaper columnist at the Rockville Tribune in 1893  In addition to her regular newspaper columns, Strauss authored "The Ideas of a Plain Country Woman," a monthly column for the Ladies' Home Journal from 1905 until 1918  She was also a founder in 1913 of the Woman's Press Club of Indiana 
Passage 6:
Starship Command
Acornsoft's Starship Command is a multidirectional shooter released in 1983 for the BBC Micro and Acorn Electron  It was available on cassette as well as 5 25" disc for the BBC and ROM cartridge for the Acorn Electron Plus 1 expansion module  The game was written by Peter Irvin who, along with Jeremy Smith, went on to create the arcade adventure Exile 

Gameplay
The player assumes the role of captain of a battle starship, charged with defending the frontiers of space from hostile alien ships, which come in two sizes — large and small  Some of the larger ships have cloaking devices which make them invisible  Damage is inflicted on ships when they are shot or rammed by other ships 
The player vessel remains locked in the centre of the screen and the world rotates and moves around it  Player shots also have limited range and are subject to the same rotation as everything else, which means the player needs to predict where shots will need to go in order to hit the enemies  The ship has both long range scanners and shields but may only use one at a time  By default, the game will automatically switch between them based on the proximity of enemy vessels but the player can optionally take full control 
Using shields, thrusting, turning and firing all use up energy which is also depleted when hit by enemies  Energy will automatically replenish, most quickly if the shields are off and the starship is not moving, but this leaves the player open to attack 
Unusually, the player is never expected to return their ship from the frontiers  Each individual voyage is a separate command, and lasts either until the player's vessel is destroyed or until they use an escape capsule  If the escape capsule is successfully launched, which means firing it so that it does not collide with any enemy ships, and the player is judged by Star-Fleet to have killed enough enemies during his command then he is given a new commission and a new and visually different ship  8 points are scored for a small ship and 12 for a large ship  Starfleet's opinion of the player's performance ranges from them being "furious" to "delighted"  The number of points required to reach the next level is not fixed  Sometimes a score of 60 will suffice and sometimes a score of 80 will not be enough to guarantee automatic promotion to the next level, assuming the escape capsule was jettisoned safely  Strangely, more points were awarded when an escape capsule collided with and destroyed an enemy ship as opposed to being shot or colliding with the starship 
Later commands take place in faster environments and with greater numbers of enemy  There are 8 different starship designs, which repeat after level 8 

Reception
Although none of the Acorn magazines were in the habit of giving review scores at the time, the game received generally very favourable reviews  Peter Gray, writing in the October 1983 edition of Electron User, concluded that "The game seems to have everything  The graphics are superb, the instructions thorough and, once you get used to the way your ship stays still while the aliens move, the whole thing is enthralling"  The BBC version was reviewed in Computer and Video Games and received a score of 90% Starship Command reached number one in the BBC games charts replacing Snooker, another Acornsoft title  It spent one week at the top of the charts before being replaced by another Acornsoft game, Geoff Crammond's Super Invaders 
Passage 7:
Miracles (Jefferson Starship song)
"Miracles" is a song written by Marty Balin and originally recorded by Jefferson Starship, appearing on its 1975 album Red Octopus "Miracles" peaked at number 3 for three weeks on the Billboard Hot 100, making it the highest-charting single the band ever recorded under the name Jefferson Starship or its previous incarnation Jefferson Airplane 

Background and writing
The song was inspired in part by the Indian guru Sathya Sai Baba, whose followers believe him to have been a miracle worker  It was also inspired in part by a woman Balin was in love with at the time  According to Jeff Tamarkin's book Got a Revolution! The Turbulent Flight of Jefferson Airplane, Balin labored over the song "for some time" and "slowly but deliberately crafted" it  However, author Robert Yehling has written that Balin wrote the song in 30 minutes or wrote the lyrics in 45 minutes  According to Balin, when he presented the song to the rest of the band members, "Everybody went, 'I don't know about that  That's pretty weird, man ' I was really worried; nobody liked it  But I told myself, after about five days, 'Maybe they're wrong '"In order to secure more radio airplay for the song, the full-length album version of "Miracles" (6 minutes, 52 seconds long) was cut by more than half its length for the single, which was released at a length of 3 minutes, 25 seconds  This edit was done not only for length, but to remove the sexual reference in the line "I had a taste of the real world when I went down on you, girl "

Critical reception
Commenting on the band's recording of "Miracles", Jeff Tamarkin wrote: "[Larry] Cox nailed the production -- there isn't a wasted, out of place note  Strings glisten, the keyboard sound is contemporary and Grace [Slick] and Paul [Kantner]'s harmonies are relatively traditional  [David] Freiberg came up with the memorable signature organ riff that opens the song and Craig [Chaquico] with a fresh supply of delicious guitar sounds  Marty is at his most open, crooning his words of love like he hasn't in years -- without a hint of irony or awkwardness he uses the word 'baby' at least 25 times     "Upon the single's release, Billboard magazine listed "Miracles" among its Top Single Picks, indicating that the review panel predicted it to reach the top 30 of the Hot 100  The magazine commented, "With a top 10 LP under their belts, the rejuvenated Starship (with Marty Balin back as a full fledged member) come up with the kind of easy rocker that highlighted the early Airplane days  Vocal interchanges between Balin and Grace Slick the high point of the record "  Cash Box said it is "a fine, well-orchestrated love ballad in the Airplane tradition" and "some of their most appealing, well-produced material in years "Reviewing a Balin solo concert in 1981, New York Times critic Stephen Holden referred to "Miracles" as Balin's "little masterpiece of pop pillow talk" Dave Marsh and James Bernard listed "Miracles" among the "Best Songs to Pass the Censor" in The New Book of Rock Lists  In the same book, they also described "I had a taste of the real world / When I went down on you, girl" as the "Most Off-Color Line in the LP Version of a Number One Hit" (although "Miracles" did not, in fact, hit #1) 
In 1998, Balin received a plaque from Broadcast Music Incorporated, a performing rights organization which monitors music performances on radio and elsewhere, recognizing that "Miracles" had achieved 2 million performances William Ruhlmann, writing in All Music Guide Required Listening: Classic Rock, commented, "[T]here can be little doubt that it was Balin's irresistible ballad 'Miracles,' the biggest hit single in the Jefferson Whatever catalog, that propelled Red Octopus to the top of the charts      This must have been sweet vindication for Balin, who founded Jefferson Airplane but then drifted away from the group as it veered away from his musical vision  Now, the collective was incorporating his taste without quite integrating it -- 'Miracles,' with its strings and sax solo by nonband member Irv Cox, was hardly a characteristic Airplane/Starship track "The New Rolling Stone Album Guide, published in 2004, stated that "with Marty Balin's 'Miracles,' Octopus′s massive hit, the band began shifting toward schmaltz  Balin now sounded like a lounge singer     "Philip Dodd, in The Book of Rock: From the 1950s to Today, described "Miracles" as "magnificent" 

Soundtracks
The song has been featured in the films The Family Stone (2005), Crank (2006), and the TV series Supernatural (Season 6, Episode 19, 2011) 

Personnel
Marty Balin – lead and backing vocals
Grace Slick – backing vocals
Paul Kantner – backing vocals, rhythm guitar
Craig Chaquico – lead guitar, backing vocals
Papa John Creach – electric violin
David Freiberg – organ, backing vocals
Pete Sears – bass, electric piano, backing vocals
John Barbata – drums, percussion, backing vocalsAdditional personnel

Bobbye Hall – percussion, congas
Irv Cox – saxophone

Chart performance
Cover versions
Balin released a new version on his 1999 solo album, Marty Balin Greatest Hits 
Passage 8:
Acornsoft
Acornsoft was the software arm of Acorn Computers, and a major publisher of software for the BBC Micro and Acorn Electron  As well as games, it also produced a large number of educational titles, extra computer languages and business and utility packages – these included word processor VIEW and the spreadsheet ViewSheet supplied on ROM and cartridge for the BBC Micro/Acorn Electron and included as standard in the BBC Master and Acorn Business Computer 

History
Acornsoft was formed in late 1980 by Acorn Computers directors Hermann Hauser and Chris Curry, and David Johnson-Davies, author of the first game for a UK personal computer and of the official Acorn Atom manual "Atomic Theory and Practice"  David Johnson-Davies was managing director and in early 1981 was joined by Tim Dobson, Programmer and Chris Jordan, Publications Editor 
While some of their games were clones or remakes of popular arcade games (e g  Hopper is a clone of Sega's Frogger, Snapper is Namco's Pac-Man, Arcadians is Namco's Galaxian), they also published a number of original titles such as Aviator, Elite, and Revs  Acornsoft also published text adventures by authors such as Peter Killworth, including Philosopher's Quest (previously titled Brand X) and Countdown to Doom As a result of the publication of a method to circumvent copy protection measures employed by Acornsoft titles, a High Court injunction against Computing Publications - publisher of Personal Computer World - was granted to Acorn Computers "requiring all copies of the January 1984 issue of PCW to be withdrawn from sale", with the article concerned being regarded as inciting readers to "duplicate computer programs"  This injunction was subsequently lifted as a consequence of an out-of-court settlement between the parties involving a damages payment of £65,000 plus costs to Acorn "to meet Acorn's expenses in developing a new locking device"  The article's author, Guy Kewney, and the magazine's editor, Jane Bird, argued that printing a software routine showing how to save Acornsoft cassette software to disk was a service to the magazine's readers  The cost of printing the magazine issue concerned was estimated at £100,000 Acornsoft became a subsidiary within Acorn Computer Group, distinct from Acorn Computers who were responsible for the development of Acorn's microcomputer systems, but Acornsoft ceased to operate as a separate company upon the departure of David Johnson-Davies in January 1986  Past this date, Acorn Computers used the Acornsoft name on office software it released in the VIEW family for the BBC Master series  In 1986 Superior Software was granted a licence to publish some Acornsoft games and re-released many, individually and as compilations such as the Play It Again Sam and Acornsoft Hits series  By agreement, the Acornsoft name was also used on the packaging of some of the subsequent Superior games  Superior chose not to take on Acornsoft's text adventure games, most of which were released in updated versions by Topologika along with some sequels from the same authors 
In 1997, Acorn sought to revive the Acornsoft brand for new software releases, such as upgrades to RISC OS, programming tools, a new Web browser, multitasking movie playback (using Acorn Replay), and Java for RISC OS  A stated objective was to demonstrate that a "wide range of innovative software at competitive prices" was available for RISC OS, with support also being potentially offered to third-party software producers  Acornsoft products themselves would be supported by marketing, including advertising, and the provision of press review samples 

Branding
Acornsoft titles extended their consistent branding to the software's loading screens 

Select titles
Acheton – A text adventure
Arcadians – A Galaxian clone
Aviator – A Spitfire flight simulator  With aliens   
Black Box & Gambit - 2 board game type games which were the winning entries of a 'design a game' competition on ITV's The Saturday Show  Black Box was a licensed version of the Waddingtons game of the same name developed by Ben Finn who would go on to co-write Sibelius  Gambit was created by the Oliver Twins and their first commercially released game
Bouncer – A Q*Bert clone
Business Games – An educational package
Carousel – A Carnival clone
Castle of Riddles – A text adventure
Countdown to Doom – A text adventure; first in a trilogy (although sequels Return to Doom and Last Days of Doom were not published by Acornsoft)
Crazy Tracer – An Amidar clone
Creative Graphics – A series of graphical demonstrations of the BBC Micro's visual capabilities, with user editable code
Drogna – Strategy game based on a section of the BBC TV game show The Adventure Game
Elite – A 3D space battle and trading game
Firebug – A platform and ladders game
Free Fall – Survival game set in an out of control space station
Gateway to Karos – A text adventure
Graphs and Charts – Graphical mathematical modelling
Hopper – A Frogger clone
JCB Digger – A scrolling 2D dig-em-up
Kingdom of Hamil – A text adventure
Labyrinth – A 2D maze based shoot-em-up
Magic Mushrooms – A platform and ladders game with built-in level editor
Meteor Mission – A Lunar Rescue clone
Meteors – An Asteroids clone
Missile Base – A Missile Command clone
Monsters – A Space Panic clone
Philosopher's Quest – A text adventure
Planetoid – A Defender clone originally released as Defender
Revs – A Formula Three racing car simulation
Rocket Raid – A Scramble clone
Snapper – A Pac-Man clone
Sphinx Adventure – A text adventure
Starship Command – A 2D space battle game
Super Invaders – A Space Invaders clone
Volcano – A game in which you rescue people from the other side of an active volcano with a helicopter

Acornsoft Games range
Including all arcade, text adventure and board games  All games were compatible with the BBC Micro Model B  Games followed by Model A & B were compatible with both machines  Games followed by Electron were also released separately for the Acorn Electron  Games are listed by their catalogue numbers which are roughly the order of release of the BBC versions 

G01 Philosopher's Quest (BBC 1982, Electron 1984)
G02 Defender (BBC 1982) deleted for legal reasons and later re-released as Planetoid
G02 Aviator (BBC 1983) released with G26-G28 but re-used the deleted Defender's number
G03 Monsters (BBC 1982, Electron 1983)
G04 Snapper (BBC 1982, Electron 1983)
G05 Rocket Raid (BBC 1982)
G06 Arcade Action (BBC Model A & B 1982) 4 games: Invaders, Breakout, Dodgems and Snake
G07 Sphinx Adventure (BBC 1982, Electron 1984)
G08 Cube Master (BBC 1982)
G09 JCB Digger (BBC 1983)
G10 Chess (BBC 1982, Electron 1983)
G11 Maze (BBC 1982, Electron 1984)
G12 Sliding-Block Puzzles (BBC 1982)
G13 Meteors (BBC 1982, Electron 1983)
G14 Arcadians (BBC 1982, Electron 1984)
G15 Planetoid (BBC 1982, Electron 1984)
G16 Super Invaders (BBC 1982)
G17 Castle of Riddles (BBC 1982, Electron 1984)
G18 Missile Base (BBC 1982)
G19 Countdown to Doom (BBC 1982, Electron ROM Cartridge 1984)
G20 Draughts & Reversi (BBC Model A & B 1983, Electron 1983)
G21 Snooker (BBC 1983, Electron 1984)
G22 Starship Command (BBC 1983, Electron 1983)
G23 Hopper (BBC 1983, Electron 1984)
G24 Carousel (BBC 1983)
G25 Kingdom of Hamil (BBC 1983)
G26 Crazy Tracer (BBC 1983, Electron 1984)
G27 Drogna (BBC 1983)
G28 Free Fall (BBC 1983, Electron 1984)
G29 Meteor Mission (BBC 1984)
G30 Gateway to Karos (BBC 1983)
G31 Boxer (BBC 1984, Electron 1984)
G32 Tetrapod (BBC 1984)
G33 Volcano (BBC 1984)
G34 Black Box & Gambit (BBC 1984)
G35 Bouncer (BBC 1984)
G36 The Seventh Star (BBC 1984)
G37 Acheton (BBC 1984)
G38 Elite (BBC 1984, Electron 1984)
G39 Firebug (BBC 1984, Electron 1984)
G40 Quondam (BBC 1984)
G41 Labyrinth (BBC 1984)
G42 Go (BBC 1984, Electron 1984)
G43 Revs (BBC 1985)
G44 Revs 4 Tracks (BBC 1985) extra tracks for the main game
G45 Elite original BBC Micro 6502 Second Processor version
G46 Magic Mushrooms (BBC 1985, Electron 1985)
G47 Elite enhanced (BBC 1986) incl  6502 Second Processor and Master 128 versionsThere are also a number of completed but unreleased games that have found their way into the public domain such as Crazy Balloon, Hellforce and Bandit that date from around 1983 

Acornsoft Education range
Acornsoft produced a wide range of educational titles aimed at many different age groups 

E01 Algebraic Manipulation (BBC Model A & B 198?)
E02 Peeko-Computer (BBC Model A & B 198?, Electron 1984)
E03 Business Games (BBC Model A & B 198?, Electron 1984) 2 games: Stokmark and Telemark
E04 Tree of Knowledge (BBC 198?, Electron 1983)
E05 Word Hunt (BBC 198?, Electron 1984)
E06 Word Sequencing (BBC Model A & B 198?, Electron 1984)
E07 Sentence Sequencing (BBC 198?, Electron 1984)
E08 Number Balance (BBC 198?, Electron 1984)
E09 Missing Signs (BBC Model A & B 198?, Electron 1984)
E?? Speed and Light (BBC 198?)
E?? Density and Circuit (BBC 198?)
E12 Chemical Analysis (BBC 198?)
E13 Chemical Simulations (BBC 198?)
E14 Chemical Structures (BBC 198?)
E15 Jars (BBC 198?)
E16 Temperature Control Simulation (BBC 1983)
E17 The Examiner (BBC 198?)
E18 Spooky Manor (BBC 198?)
E19
E20
E21
E22 Talkback (BBC 1984, Electron 1984)
E23 Workshop (BBC 1984, Electron 1984)
E24 ABC (BBC 1984)Acornsoft also published and distributed a range of educational software developed by ASK (Applied Systems Knowledge) that were widely used in schools running BBC Micros  These included Podd (find out which actions a red blobby character can perform (e g  jump, smile, dance), Squeeze (a two player strategy game of squeezing shapes onto a board) and Cranky (solve maths problems to repair a living calculator)  These titles were part of the Acornsoft catalogue but used a different code (XBE?? – all other Acornsoft titles began with S so the Education range on BBC Micro cassettes would be SBE??)  They ran on both the BBC Micro Model B and Acorn Electron 
The Ivan Berg Software range was also mainly educational but had its own distinct code (XBX??)  This included the 6 Grandmaster Quizzes (Theatre, Crime & Detection, Music, History, Science Fiction and Royal), relationship aids "  I Do" Your Guide to a Happy Marriage and The Dating Game and GCE/CSE revision guides (Mathematics, Biology and English) 
Acornsoft also distributed other ranges of educational programs developed by companies such as ICL, Good Housekeeping and Bourne but they are not considered part of the official catalogue 

Acornsoft Business range
Acornsoft produced a range of office software for home and business use 

B01 Desk Diary (BBC 198?, Electron 1984)
B02 Forecast (BBC 198?)
B03 VIEW (BBC 198?, Electron ROM cartridge 1984)
B04 VIEW Printer Drivers (BBC 198?)
B05 Personal Money Management (BBC 198?, Electron 1983)
B06 Database (BBC 1983, Electron 1984)
B07 ViewSheet (BBC 1984, Electron ROM cartridge 1984)
B08 Invoicing (BBC 1984)
B09 Mailing (BBC 1984)
B10 Accounts Receivable (BBC 1984)
B11 Stock Control (BBC 1984)
B12 Order Processing (BBC 1984)
B13 Accounts Payable (BBC 1984)
B14 Purchasing (BBC 1984)
B15 Hi-View (BBC 19??)
B26 P-System (BBC with 6502 Second Processor)The series continues but mainly with add-on products for the VIEW word processor such as ViewIndex (an automatic index generator) and ViewSpell (spell-checker) as well as newer versions 
View Professional (1987) was a combined wordprocessor, spreadsheet and database similar to PipeDream on the Z88 Although primarily a programming language suite, Acornsoft released its P-System product featuring UCSD Pascal and Fortran 77 compilers as part of its business range  Developed by TDI for Acornsoft, the product required a 6502 second processor and disc system, preferably with two drives  Despite the £299 price, various tools including an assembler and linker were omitted from the product, these being made available in a separate Advanced Development Toolkit from TDI 

Acornsoft Languages range
Acorn systems came with a version of the BBC BASIC programming language as standard but Acornsoft also produced a wide range of other languages that could be loaded in by cassette or disc or in some cases, supplied in ROM form 

L01 FORTH (BBC 1982, Electron 1983)
L02 LISP (BBC 1982, Electron 1983, Electron ROM cartridge 1984)
L03 BCPL (BBC 1983)
L04 Microtext (BBC 1983)
L05 6502 Development System (BBC 1985)
L06 Logo (BBC 1983, Electron ROM cartridge 1985)
L07 Turtle Graphics (BBC 1983, Electron 1984)
L08 S-Pascal (BBC 1983, Electron 1984)
L09 LISP Demonstrations (BBC 1984)
L10 BCPL Calculations Package (BBC 198?)
L11
L12 BCPL Stand Alone Generator (BBC 1983)
L13 FORTH – ROM version (BBC 1984)
L14 LISP – ROM version (BBC 1982)
L15
L16
L17 PROLOG Micro (BBC 1985)
L18 ISO-Pascal (BBC 1984, Electron ROM cartridge 1985)
L19 COMAL (BBC 1984) 
L20
L21
L22 BASIC Editor (BBC 1985)
L23 Termulator (BBC 1987)
L24 ISO-Pascal Stand Alone Generator (BBC 198?)The relative performance of some of Acornsoft's languages was evaluated using a benchmark based on the Takeuchi function, Tak by former Acornsoft managing director, David Johnson-Davies, noting that "it is difficult to imagine a language that performs badly on Tak being much use for anything", illustrating a diversity amongst these language implementations in terms of readability, speed and generated code size  A follow-up article expanded the comparison to other language implementations such as Oxford Pascal, Z80 versions of BBC BASIC, Turbo Pascal and Small-C 

Acornsoft Graphics range and more
The graphics range was used to demonstrate the graphical power of the Acorn computers but only three titles were made available  The X?? code was then used for other types of software 

X01 Creative Graphics (BBC 198?, Electron 1983)
X02 Graphs & Charts (BBC 198?, Electron 1983)
X03 Picture Maker (BBC 1983, Electron 1984)
X04 Shirley Conran's Magic Garden (BBC 1983)
X05 Collector's Catalogue (BBC 198?)
X06 Membership Manager (BBC 198?)
X07 One To Nine (BBC 198?)
X08 Hooked on Numbers (BBC 1983)
X09
X10 Complete Cocktail Maker (BBC 198?, Electron 1984)
X11 Paul Daniels' Magic Show (BBC 198?, Electron 1984)
X12 100 Programs for the BBC Micro (BBC 198?)
X13 Linkword French (BBC 1984)
X14 Linkword Italian (BBC 1984)
X15 Linkword Spanish (BBC 1984)
X16 Linkword German (BBC 1984)
X17 Watch Your Weight (BBC 198?, Electron 1984)
X18 Me & My Micro (Electron 1984)The range took on various themes including Creative Sound (X26) 
Passage 9:
Lessons (Star Trek: The Next Generation)
"Lessons" is the 19th episode of the sixth season of the American science fiction television series Star Trek: The Next Generation and was originally aired in the United States on April 5, 1993, in broadcast syndication 
Set in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D  In this episode, Captain Picard's (Patrick Stewart) shared love of music with Lt  Commander Nella Daren (Wendy Hughes) leads to romance, resulting in conflicting emotions on his part  After incorrectly believing that she has died, he realizes that he is incapable of carrying out a relationship with someone under his command 
The episode was directed by Robert Wiemer, the episode was written by Ron Wilkerson and Jean Louise Matthias, with some uncredited revisions by René Echevarria  Stand-ins were used to perform the pieces by Picard and Daren, which required the use of close-up camera angles by the director  The episode was received warmly by critics reviewing it after the end of the series, who praised the performances of Hughes and Stewart 

Plot
Picard is curious when he finds that the stellar cartography department has shut down several systems on the Enterprise, and visits the section to discover what is going on  He meets the head of the department, Lt  Commander Nella Daren, who makes an impression on him  It is a meeting memorable enough to later discuss with Dr  Beverly Crusher (Gates McFadden)  At a musical recital by Lt  Commander Data (Brent Spiner), Picard is surprised to see Daren again, playing the piano  The two discuss music, and later meet in Picard's quarters and participate in a duet  Daren plays a portable piano and Picard performs on his Ressikan flute 
The two begin to meet more often; including in a Jefferies tube, which Daren claims has the best acoustics on the ship  In this private setting, their attraction for one another is expressed in a kiss  The moment of intimacy is fleeting, however  When they enter a turbolift, and are joined by another crewmember, Picard resumes the professional demeanour of Captain  The Enterprise is diverted from its mission, when it is directed to investigate a report of firestorms at a Federation outpost  While in transit, Picard consults Counsellor Troi (Marina Sirtis) about pursuing a relationship with Daren  Picard then goes to Daren to apologize and to explain   He recounts the experience  shown in the episode "The Inner Light" in which he had a wife and family, became a grandfather, grew old, and learned to play the flute   The experience imparted to Picard a deep appreciation for music, and he is pleased to have someone to share it with 
Daren speaks to Commander Riker (Jonathan Frakes) requesting a transfer for another crew member to stellar cartography  Riker says he will consider the request  Afterwards, he speaks with Picard, explaining that Picard and Daren's relationship makes the decision complicated  After determining from Riker that Daren's request is not unusual or taking advantages, Picard assures Riker that he will support any decision he makes  Later at dinner, Picard relates to Daren his talk with Riker, saying that they need to be careful about anyone else misunderstanding their relationship 
The Enterprise arrives at the Federation outpost to find that firestorms are heading toward the facility  Daren suggests a means of deflecting the storms, but the equipment requires trained personnel on the ground to operate it  Daren is assigned to the surface team, along with a number of other crewmembers  The outpost is evacuated during the dangerous mission, leaving only the Enterprise away team on surface  The firestorms overwhelm the position that Daren's team occupies before they can be retrieved  Believing Daren to be dead, Picard sits contemplating his decision in his quarters  He then hears that survivors are being transported aboard, and heads to the transporter room  Daren is not among the initial group of survivors, but is later transported to the ship  Eight members of the team have died 
Afterwards, Picard and Daren discuss their relationship  They conclude that it cannot continue, as Picard could not bear to put her in further danger  They discuss giving up their Starfleet careers to be together  Daren knows that Picard, although still cherishing the family life he experienced as Kamin, has nonetheless chosen duty, career, and loneliness  They both know that Daren must transfer off the Enterprise  They kiss once more, and Daren makes Picard promise not to give up music 

Production
Ron Wilkerson and Jean Louise Matthias received story credits for the episodes "Imaginary Friend" and "Schisms", but for each episode the writing of the teleplay from the initial story idea had been assigned to a staff writer due to time constraints  Co-executive producer Jeri Taylor then allowed the pair to write the teleplay for "Lessons", their first for Star Trek  René Echevarria did some minor uncredited re-writes to the final version of the script as staff-writer Brannon Braga wished to avoid working on "Lessons" after recently working on another love story related script for the episode "Aquiel"  Writer and producer Michael Piller likened "Lessons" to the 1945 Noël Coward film Brief Encounter 

The production crew sought to give Picard a romantic peer and equal in Daren, and were pleased with the actors' performances  Director Robert Wiemer said that "we had really turned-on performances     if we'd had only moderate performances it would have fallen flat"  However, as neither Stewart nor Hughes could play their instruments, it required a number of camera techniques to be used in order to disguise the musicians playing just off screen  Husband and wife duo Natalie and Bryce Martin played the piano and tin whistle respectively to portray Daren and Picard's abilities  Bryce had played his instrument to represent Picard's Ressikan flute since it first appeared in "The Inner Light"  However, while Stewart did the majority of his flute fingering, he was doubled in several scenes by Noel Webb and John Mayham  Webb also doubled for Brent Spiner early in the episode when Data was playing Frédéric Chopin's trio in G minor  A variety of pieces are played throughout the episode, including Frère Jacques, Ludwig van Beethoven's Piano Sonata No  14 and Johann Sebastian Bach's Third Brandenburg Concerto  The "Flute song" by Jay Chattaway, which originally appeared in "The Inner Light", reappears in this episode The firestorm itself was created by Dan Curry and Ronald B  Moore by pouring liquid nitrogen onto black velvet and then blowing it with an air hose  The effect was then enhanced by digital effects and was digitally inserted into the background of the exterior standing set (usually referred to by cast and crew as "planet hell")  "Lessons" was the first appearance of the stellar cartography on board the Enterprise, but the set would be completely replaced for its reappearance in the movie Star Trek Generations 

Reception and home media
James Van Hise and Hal Schuster wrote in their 1995 book, The Complete Next Generation, that they thought the relationship between Picard and Daren was believable, and that the story itself was very effective  They thought that the loneliness Picard feels at the end of the episode was part of an ongoing story which would culminate in the subplot about Picard's loneliness in Star Trek Generations Several reviewers re-watched Star Trek: The Next Generation after the end of the series  Keith DeCandido watched the episode for Tor com, and described the performance of Wendy Hughes as "magnificent" and "never not wonderful"  However, he commented that whenever a double was not used to play the piano, it was obvious that Hughes wasn't playing  Overall, he appreciated the script and thought that the ending was not contrived; however, he would have preferred for the episodic structure of The Next Generation to have been changed a little to allow for the romance to be portrayed as a subplot over several episodes  He gave the episode a score of nine out of ten, saying "this is one of TNG's best romances and an absolute joy " DeCandido subsequently named "Lessons" as one of the best episodes of season six, which he said was the best season of the series Zack Handlen, who reviewed "Lessons" for The A V  Club, thought that the episode works because of Patrick Stewart and that the episode was well-handled  He gave "Lessons" a score of B+, saying that he "wasn't hugely sold on Daren, but when Picard makes a special point of explaining the flute's significance to her, it helps solidify the connection between them "In 2012, Forbes placed "Lessons" in an alternative top ten episodes from TNG The episode was first released on VHS cassette on August 4, 1998  The episode was later included on the Star Trek: The Next Generation season six DVD box set, released in the United States on December 3, 2002, and on Blu-ray on June 24, 2014 

Science education
In 2010, Wired noted this episode of Star Trek as one that could be used to teach real-world science, especially astronomy  The real-world counterpart to the Star Trek stellar cartography can be called uranography 

Notes
Passage 10:
Le Mauricien
Le Mauricien is a French-language newspaper, based and distributed in Mauritius  The newspaper, founded in 1908, is released daily and is one of the most read in Mauritius  The publishers, Le Mauricien Ltd , also publish Week-End, Week-End Scope and Turf Magazine  It is an independent newspaper 

History
Le Mauricien was founded in 1908 and celebrated its hundredth anniversary in 2008  Some former editors include Raoul Rivet, André Masson, Lindsay Rivière among others  The editor and director was Raoul Rivet from 1922 to 1957 Le Mauricien adopted the offset press in 1978 and subsequently experienced changes namely by growing from four pages to the current forty-eight page daily edition  Its price has evolved as well  In 1978, the newspaper's office was set on fire which and was later deemed as a criminal act  Le Mauricien adopted a "midi" format known as the Berliner format in 2010  The pages increased to 48 and this becomes similar to leading papers elsewhere like Le Figaro (France), The Guardian (UK)  In 2012, Le Mauricien upgraded its website and aligned it with other papers where readers could send comments to published articles 
The Compact Tabloid Format
As from July 2014, Le Mauricien has adopted the compact tabloid format close to The Times of the UK   The pages have been reduced to 40 while the midi format was repealed   Compared to an older version of the same paper, the paper size is reduced by 55%   This adds to a new era in news publishing 

General information
Le Mauricien headquarters is located on 8 rue St Georges, Port Louis  The current director is Jacques Rivet and deputy director is Bernard Delaître 

See also
List of newspapers in Mauritius
Passage 11:
Someone in the Dark
Someone in the Dark is a collection of fantasy and horror short stories by author August Derleth  It was released in 1941 and was the second book published by Arkham House   1,115 copies were printed, priced at $2 00  In Thirty Years of Arkham House, Derleth implied that this title had sold out by the end of 1944 
However, more than twenty years later, in 1967, Derleth listed Someone in the Dark in an Arkham House bulletin with this announcement: "We have acquired a small stock of this title, Derleth's first collection of macabre tales, published in 1941  They will be sold at $5 00 the copy to patrons interested in acquiring the book   "
Derleth was being disingenuous in suggesting these 'unearthed' copies were the 1941 edition   The additional 300 copies were printed in offset by Hunter Publishing Co  in Winston-Salem in 1965, the reprint probably authorized by Derleth himself   (In The Arkham House Companion, Sheldon Jaffery quotes a letter that seems to indicate this)  The 1965 reprint are a quarter-inch higher than the originals, and are bound with headbands (not present in the 1941 first editions) 
The 1965 edition is scarce  While it is not generally considered an official Arkham House publication, it is considered an essential acquisition for Arkham House completists 
A paperback reprint was issued by Jove Books in 1978 

Contents
Someone in the Dark contains the following tales:

"When the Night and House "
"Glory Hand"
"Compliments of Spectro"
"A Gift for Uncle Herman"
"McGovern's Obsession"
"Three Gentlemen in Black"
"Muggridge's Aunt"
"Bramwell's Guardian"
"Joliper's Gift"
"Altimer's Amulet"
"The Shuttered House"
"The Sheraton Mirror"
"The Wind from the River"
"The Telephone in the Library"
"The Panelled Room"
"The Return of Hastur"
"The Sandwin Compact"

Reception
E  F  Bleiler noted that "the local, regionalistic American stories are best, while those in imitation of Lovecraft are weakest"  New York Times reviewer Louise Maunsell Field gave the collection a relatively favorable review, saying that "The stories are for the most part well told, and lovers of tales of the occult will find the volume entertaining and congenial, although it has little of either sensitivity or beauty " Thrilling Wonder Stories commented that "Mr  Derleth writes quietly and with restraint, in beautifully measured sentences that stick to the essentials of the story he has to tell  His very restraint sometimes plays a trick on him -- and makes his writing appear at time to lack fire" 
Passage 12:
Death Comes as the End
Death Comes as the End is a historical mystery novel by Agatha Christie, first published in the US by Dodd, Mead and Company in October 1944 and in the UK by the Collins Crime Club in March of the following year  The US Edition retailed at $2 00 and the UK edition at seven shillings and sixpence (7/6) It is the only one of Christie's novels not to be set in the 20th century, and - unusually for her - also features no European characters  Instead, the novel is set in Thebes in 2000 BC, a setting for which Christie gained an appreciation whilst working with her archaeologist husband, Sir Max Mallowan, in the Middle East  The novel is notable for its very high number of deaths and is comparable to And Then There Were None from this standpoint  It is also the first full-length novel combining historical fiction and the whodunit/detective story, a genre which would later come to be called the historical whodunit The suggestion to base the story in ancient Egypt came from noted Egyptologist and family friend Stephen Glanville  He also assisted Christie with details of daily household life in Egypt 4000 years ago  In addition he made forceful suggestions to Christie to change the ending of the book  This she did but regretted the fact afterwards, feeling that her (unpublished) ending was better  The novel is based on real letters translated by egyptologist Battiscombe Gunn, from the Egyptian Middle Kingdom period, written by a man called Heqanakhte to his family, complaining about their behaviour and treatment of his concubine It is one of only four Christie novels to have not received an adaptation of any kind, the others being Destination Unknown, Passenger to Frankfurt and Postern of Fate 
Christie uses a theme for her chapter titles, as she did for many of her novels, in this case the Egyptian agricultural calendar 

Plot introduction
The quiet lives of an Egyptian family are disturbed when the father, Imhotep, returns from the north with his new concubine, Nofret, who begins to sow discontent amongst them  Once the deaths begin, fears are aroused of a curse upon the house, but is the killer closer to home?

Plot summary
The novel is primarily written from the perspective of Renisenb, a young widow reacquainting herself with her family when her father Imhotep, a successful but pompous and short-sighted mortuary priest, brings a new "wife", Nofret, into their lives  Nofret soon disrupts and antagonises Imhotep's sons - Yahmose, Sobek and Ipy - as well as their wives  Renisenb realises the housekeeper Henet, while feigning devotion, is full of hatred  She confronts Henet near the end of the story, who in a fit of pique admits she hates Renisenb and hated Renisenb's long-deceased mother 
After Imhotep is called away, Satipy and Kait, the elder sons' wives, try to bully Nofret with tricks, but the plan backfires when Nofret appeals to Imhotep and he threatens to disown his sons and their families upon his return  Suddenly everyone has a motive to kill Nofret and when she is found dead at the foot of a cliff, an accident seems unlikely, although no one will acknowledge anything else 
Next, Satipy falls to her death in terror from the same cliff while walking with Yahmose  Renisenb, and others, wonder if it was Nofret's vengeful spirit that she was looking at over Yahmose's shoulder moments before her death  This theory gathers force when Yahmose and Sobek drink poisoned wine  Sobek dies, but Yahmose lingers on, having drunk less of the wine  A slave boy who says he saw Nofret's ghost poisoning the wine dies of poison shortly afterwards 
The handsome scribe Kameni has fallen in love with Renisenb, and eventually asks her to marry him  Unsure whether she loves him or her father's advisor Hori, whom she has known since she was a child, she leaves the choice effectively in her father's hands and becomes engaged to Kameni  She realises, however, that his relationship with Nofret was closer than she had supposed, and that jealousy may have influenced Nofret's bitter hatred towards the family  Hori and Esa, the elderly mother of Imhotep (a clever woman who although almost completely blind sees things clearer than most others - especially her son) begin to investigate the possibility of a human murderer  Ipy, himself a likely suspect, starts to boast about his new, better position with his father; he plots to get rid of housekeeper Henet and tells her so  The next morning, Ipy is found dead in the lake, drowned 
The field of suspects has been further narrowed  Esa attempts to flush out the murderer by dropping a hint about the death of Satipy, but is herself murdered by means of poisoned unguent, despite the presence of a food taster  Henet - who knows the murderer's identity and is momentarily powerful amid the chaos - is smothered by the linens used to wrap the ever-increasing number of victims 
On the same cliff path where Nofret and Satipy died, Renisenb, apparently summoned by Hori, hears footsteps behind her and turns to see Yahmose  She then sees the look of murderous hatred in her brother's eyes that Satipy saw before she was killed  As Renisenb is about to be killed, however, Hori slays Yahmose with an arrow and saves her  Hori explains to Renisenb that Satipy was not looking in fear at anything beyond Yahmose — she was looking straight at him  He had consumed a non-lethal dose of poison and pretended to recuperate while committing murders, both to make himself chief heir and to indulge his newfound love of violence  Renisenb's final choice is whom to marry: Kameni, a lively husband not unlike her first, or Hori, an older and more enigmatic figure  She makes her choice and falls into Hori's arms 

Characters in Death Comes as the End
Imhotep, a mortuary priest
Nofret, Imhotep's concubine from the north
Esa, Imhotep's mother
Yahmose, Imhotep's eldest son
Satipy, Yahmose's wife
Ipy, Imhotep's youngest son
Renisenb, Imhotep's daughter
Sobek, Imhotep's second son
Kait, Sobek's wife
Henet, obsequious family retainer, poor relation of Ashayet, Imhotep's deceased wife
Hori, the family's scribe
Kameni, a scribe from the North
Teti, Renisenb's daughter
Khay, Renisenb's late husband

Literary significance and reception
Maurice Willson Disher said in The Times Literary Supplement of 28 April 1945 that, "When a specialist acquires unerring skill there is a temptation to find tasks that are exceptionally difficult  The scenes of Death Comes as the End are laid out in Ancient Egypt  They are painted delicately  The household of the priest, who is depicted not as a sacred personage, but as a humdrum landowner, makes an instant appeal because its members are human  But while the author's skill can cause a stir over the death of an old woman some thousands of years ago, that length of time lessens curiosity concerning why or how she (and others) died "Maurice Richardson, a self-proclaimed admirer of Christie, wrote in the 8 April 1945 issue of The Observer, "One of the best weeks of the war for crime fiction  First, of course, the new Agatha Christie; Death Comes as the End  And it really is startlingly new, with its ancient Egyptian setting in the country household of a mortuary priest who overstrains his already tense family by bringing home an ultra-tough live in concubine from Memphis  Result:  a series of murders  With her special archaeological equipment, Mrs Christie makes you feel just as much at home on the Nile in 1945 B C  as if she were bombarding you with false clues in a chintz-covered drawing room in Leamington Spa  But she has not merely changed scenes; her reconstruction is vivid and she works really hard at her characters  My already insensate admiration for her leaps even higher "In 1990 the novel was included in Crime Writers' Associations' The Top 100 Crime Novels of All Time list     
Robert Barnard: "Hercule Poirot's Christmas, transported to Egypt, ca 2000 B C  Done with tact, yet the result is somehow skeletal - one realises how much the average Christie depends on trappings: clothes, furniture, the paraphernalia of bourgeois living  The culprit in this one is revealed less by detection than by a process of elimination "

Publication history
1944, US, Dodd & Mead, October 1944, hardback (First US edition), 223 pp
1945, UK, The Crime Club Collins, March 1945, hardback (First UK edition), 160 pp
1947, Pocket Books (New York), Paperback, (Pocket number 465), 179 pp
1953, Penguin Books, Paperback, (Penguin number 926), 188 pp
1960, Fontana Books (Imprint of HarperCollins), Paperback, 191 pp
1957, Pan Books, Paperback, 221 pp
1975, Ulverscroft Large-print Edition, Hardcover, 334 pp

Planned Adaptation
A BBC adaptation of the novel was announced in August 2016, as part of a sequence of Christie productions  Gwyneth Hughes was announced as the adaptation's writer in December 2018, with broadcast planned for 2019  However, no further news on the adaptation was subsequently revealed 
Passage 13:
Constantion Bădescu
Constantion Bădescu (July 16, 1892, Mihăești, Vâlcea County – September 10, 1962, Bucharest) was a Romanian brigadier-general during World War II   
Bădescu was born in Mihăești, Vâlcea County in 1892 
He served as commanding officer, 1st Dorobanți Infantry Regiment in 1941, but was called into reserve the following year   He retired in 1943, but was recalled in 1944 and served as commanding officer, 11th Brigade   In 1945, he first served as general officer commanding the 11th Division (12 January–18 February), then commanding officer 11th Brigade, and finally general officer commanding 11th Division again (13 March–12 May) 
He retired in 1947, and died in Bucharest in 1962 

Awards
Order of the Star of Romania, Officer rank (8 June 1940)
Order of Michael the Brave, 3rd class (4 August 1945)



ground_truth: 1986

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

Question: Which country has a body of water that was inspiration for the name of the Mara Region?

The following are given passages.
Context 2: Passage 1:
Aguamarina
Aguamarina, is a 1997 American telenovela produced by Telemundo  Was led by Ruddy Rodríguez and Leonardo García with antagonistic action of Mara Croatto 

Cast
Passage 2:
Tourism in Nepal
Tourism is the largest industry in Nepal and its largest source of foreign exchange and revenue  Possessing eight of the ten highest mountains in the world, Nepal is a hot spot destination for mountaineers, rock climbers and people seeking adventure  The Hindu and Buddhist heritage of Nepal and its cool weather are also strong attractions 

Overview
Mount Everest, the highest mountain peak in the world (8848 88m above the sea level), is located in Nepal  Mountaineering and other types of adventure tourism and ecotourism are important attractions for visitors  The World Heritage Site Lumbini, birthplace of Buddha, is located in the south of the West region of Nepal (which despite the name is located in the center of the country) and there are other important religious pilgrimage sites throughout the country  The tourist industry is seen as a way to alleviate poverty and achieve greater social equity in the country  Tourism brings $471 million a year to Nepal 

According to statistics of 2019, there was a growth rate of 2 1%  According to statistics from Nepal Tourism Board (NTB), a total of 1,197,191 foreign tourists entered the country in 2019 as compared to 1,173,072 in 2018  The government of Nepal declared 2011 to be Nepal Tourism Year, and hoped to attract one million foreign tourists to the country during that year  The government of Nepal has also declared Lumbini Tourism Year 2012 to promote Lumbini  The government of Nepal has also recently declared Visit Nepal 2020 with the aim of bringing in two million tourists by 2020 
According to the statistics of 2017, most of the tourists comes to Nepal for observing the pilgrimage sites and heritages sites of the country i e  70 3%, then 34 5% visit for pleasure, 13 1% of them visit Nepal for mountaineering and trekking and remaining 18 0% of the tourists arrive for official activities, conferences, business etc 
The tourism industry of Nepal was affected after the destructive earthquake in 2015, by the series of earthquakes in 2015  In 2020, the tourism sector in Nepal collapsed due to the COVID-19 pandemic 

Religious sites
The majority religion in Nepal is Hinduism, and the Pashupatinath Temple, the world's largest temple of Shiva, located in Kathmandu, attracts many pilgrims and tourists  Other Hindu pilgrimage sites include the temple complex in Swargadwari in the Pyuthan district; Janaki Mandir in Janakpurdham in Mithila region; Lake Gosainkunda near Dhunche; the temples at Devghat; Kalinchowk Bhagwati Temple in Dolakha ;Manakamana temple in the Gorkha District; Pathibhara near Phungling; and Mahamrityunjaya Shivasan Nepal in Palpa District where the biggest metallic idol of Lord Shiva is located  
Buddhism is the largest minority religion  The World Heritage Site at Lumbini, which is traditionally considered to be the birthplace of Gautama Buddha, is an important pilgrimage site  Another prominent Buddhist site is Swayambhunath, the Monkey Temple, in Kathmandu 
Dang valley is a sacred place for Hindus as well as other religions  Kalika and Malika Devi in Chhillikot hill, Ambekeshawori temple, Krishna temple, Dharapani temple are among the sacred places in Dang district  Chillikot hill is also a good place for sightseeing and also an ancient palace of a king 
Muktinath is a sacred place for Hindus as well as Buddhists  The site is located in Muktinath Valley, Mustang district 
Badimalika temple in Bajura District, Gadhimai Temple in Bara district, Halesi Mahadeva temple in Khotang  Bhageshwori Mandir in Nepalgunj  Bhagbhati mandir in Rajbiraj are also some popular temples in Nepal 

Wilderness tourism
According to Nepal's Ministry of Tourism, major tourist activities include wilderness and adventure activities such as mountain biking, bungee jumping, rock climbing and mountain climbing, trekking, hiking, bird watching, flights, paragliding and hot air ballooning over the mountains of Himalaya, exploring the waterways by raft, kayak or canoe and jungle safaris especially in the Terai region  International elephant polo is played at  Chitwan National Park 

Statistics
In 2007, the number of international tourists visiting Nepal was 526,705, which was an increase of 37 2% compared to the previous year  In 2008, the number of tourists decreased by 5% to 500,277  In 2018, the number of international tourists arrival was 1 17 million  In 2019, the number increased to 1 19 million  In 2020, the COVID-19 pandemic had a major impact on tourism in Nepal, with tourist arrivals dropping to just 230,085 with a decrease of over 80 7% and further decrease by 30% in 2021 with an total number of 150,962  Pokhara is one of the main tourist destinations in Nepal 
In 2008, 55 9% of the foreign visitors came from Asia (18 2% from India), while Western Europeans accounted for 27 5%, 7 6% were from North America, 3 2% from Australia and the Pacific Region, 2 6% from Eastern Europe, 1 5% from Central and South America, 0 3% from Africa and 1 4% from other countries 
Foreign tourists visiting Nepal in 2008 stayed in the country for an average of 11 78 days which has now increased to 15 1 days and 15 5 days in 2020 and 2021 respectively

Arrivals
This statistic shows the number of international tourist arrivals by year, 1993–2021:

Arrivals by country
Most tourists arriving to Nepal on short-term basis were from the following countries of nationality:

See also
Visa policy of Nepal
Passage 3:
Mariett Dances Today
Mariett Dances Today (German: Heut tanzt Mariett) is a 1928 German silent romance film directed by Frederic Zelnik and starring Lya Mara, Fred Louis Lerch and Harry Halm  It was shot at the Staaken Studios in Berlin and on location in the Swiss resort of St  Moritz 
It was made by the German subsidiary of First National Pictures  The film's sets were designed by the art directors Andrej Andrejew and Erich Zander 

Cast
Lya Mara as Mariett
Fred Louis Lerch as Robert van Dammen
Harry Halm as Ein junger Maler
Ralph Arthur Roberts as Prinz Beaufort
Kurt Gerron as Der Besitzer der Bar, Brigon
Jakob Tiedtke as Der Bürgermeister
Sophie Pagay as Die Haushälterin
Karl Harbacher as Der Schuhmacher
Josefine Dora as Seine Mutter
Fritz Kampers
Ivan Koval-Samborsky
Adele Sandrock
Franz Schafheitlin

Plot summary
The story begins like a fairytale: A stork, hunting for food in a Dutch village pond, picks out a baby girl and drops her in the cradle in the mayor's house  The mayor, who is a practical man, connects his saw and the baby's cradle with a string, and with every pull of the saw he rocks little Mariett – which is the name of the tiny foundling – to her sleep 
As the years go by, Mariett grows up to be a merry young woman, albeit a bit naïve, but full of joie de vivre and very fond of dancing  When on her 16th birthday a covert admirer gives her a pair of silk shoes she hurries to the village church to pray to Saint Joseph for a fitting pair of silk stockings  Her prayer, though, is overheard by two affluent young men  The one of them is a painter, copying one of the church windows; he is accompanied by his friend Robert van Dammen  They are very much amused about the girl's simple-mindedness and they plan to hoax her  With her father's consent – who is paid 300 guilder – Mariett is drugged and in her dreams she sees herself as a princess  When she awakes in Robert's palais the men proceed with their hoax, with Robert himself acting as “princess” Mariett's driver  Three days later, however, the fun is over and Mariett is told the truth  She is deeply upset about being had in such a way  So she decides to leave the village to seek her fortune in the big wide world 
Riding a train on her journey she plays her harmonica and dances  A bar operator who watches Mariett is delighted by her unsophisticated naivety, but also her outstanding entertaining talent  So he hires her as a show act for his Paris establishment  And soon the simple Dutch girl rises to be a number one star of the Paris show scene 
Meanwhile the two jokesters have heard about Mariett's racy success  As Robert has fallen in love with her he tries to find the way into her heart, what he undertakes on the skiing slopes and toboggan runs of Saint Moritz  On New Year's Eve Mariett and Robert are reconciled at last 

Production notes
Heut' tanzt Mariett was filmed between 28 November 1927 and 4 February 1928 in Staaken Studios (Berlin) and the location shots were done at Saint Moritz (Switzerland) 
On 10 March 1928 the motion picture passed censorship and was first released five days later in Beba-Palast Atrium, Berlin 
The movie was cleared for minors  It consisted of nine acts, the length of the reel being 2783 meters 
Passage 4:
Indru Nee Nalai Naan
Indru Nee Naalai Naan (transl  Today you, tomorrow me) is a 1983 Indian Tamil-language film, directed by Major Sundarrajan  The film stars Sivakumar, Jaishankar, Lakshmi and Sulakshana  It is based on the novel Thookku Mara Nizhalil by C  A  Balan  The film was released on 12 August 1983 

Plot
Marudhachalam marries Papathi, who prefers his brother Pazhaniappan  Papathi and Valli are childhood friends like sisters  Then Pazhaniappan marries Valli and has a child  Suddenly Marudhachalam dies before she gets to be with him intimately  She becomes a widow and raises Pazhaniappan's child  Now Papathi feels differently about Pazhaniappan and when Valli is gone, to have the second child, she asks Pazhaniappan to marry her  They both are on the way to get married, while they both change their minds  She goes back to being a widow and Pazhaniappan goes to see his wife and child  When Valli finds out, she tries to kill Papathi  Pazhaniappan tries to stop it, but Valli gets upset that he defends Papathi and she runs and falls into a well, hence committing suicide  Pazhaniappan goes to jail, stating he killed Valli as he feels guilty  He gets the death penalty  Papathi comes to see Pazhaniappan in the jail and he tells Papathi to marry someone else, but she refuses and commits suicide in front of Pazhaniappan 

Cast
Sivakumar as Pazhaniappan
Jaishankar as Marudhachalam
Lakshmi as Papathi
Sulakshana as Valli
Thengai Srinivasan as Doctor
Manorama as Kamalam
Major Sundarrajan as a police officer

Production
Indru Nee Naalai Naan was based on the novel Thookku Mara Nizhalil by C  A  Balan which was inspired from true events of his life  It was directed by Major Sundarrajan, his second directorial after Kalthoon (1982) and was produced by his younger brother Sampath alongside Pala  Karuppiah  The film was launched on 12 October 1982  The song "Kaangeyam Kaalaigale" was shot at Aathur Road, Salem  The scenes were also shot at Salem Prison with special permission  L  R  Shanmugam's home at Salem was used as Sivakumar's house for the film 

Soundtrack
Music was composed by Ilaiyaraaja  The song "Ponvaanam Panneer Thoovuthu" is set in the Carnatic raga Gourimanohari, and follows a 78 time signature  Writer Suka said the song uses the "spirit of the rain" to evoke love 

Release and reception
Indru Nee Naalai Naan was released on 12 August 1983  Jayamanmadhan of Kalki praised the performances of the actors and Ilaiyaraaja's music and concluded by praising Sundarrajan for properly narrating a story but felt the end monologue could have been avoided 
Passage 5:
Mara Triangle
The Mara Triangle is the southwestern part of the Maasai Mara National Reserve, Kenya, and is managed by the not-for-profit organisation The Mara Conservancy on behalf of Trans-Mara County Council 
Divided from the rest of the Maasai Mara National Reserve by the Mara River, the Mara Triangle is less visited and less crowded, with a fairly good concentration of wildlife all year-round including the Big Five (lion, leopard, elephant, buffalo and rhino) and diverse plains 'game' such as cheetah, hyena, jackal, wildebeest, zebra, giraffe, waterbuck and many other species 
The Mara Triangle is one of the areas where herds of the Great Migration enter and exit the Maasai Mara National Reserve from the Serengeti National Park in Tanzania, making it one of the prime viewing locations for this wildlife spectacle  Crossings of the Mara River are world-renown for being particularly dramatic, featuring in many wildlife documentaries such as Wild Africa and Big Cat Diary 

Geography
The Mara Triangle is one third of the Maasai Mara National Reserve, with an area of 510 km²  It has two natural borders and one political; to the southwest is the Tanzania/Serengeti border, to the east is the Mara River, and to the northwest is the Oldoinyio Escarpment (also called Oloololo or Siria Escarpment) 
The landscapes of the Mara Triangle include riverine forest, red oat grasslands, volcanic hills and the 400-metre high Oloololo Escarpment 

Tourism
The Mara Triangle is managed by the Mara Conservancy, under contract by the Trans-Mara county council, a local non profit organisation formed by the local Maasai people, and contains a number of anti-poaching units 
There are two permanent lodges inside the Mara Triangle - Mara Serena and Little Governors   There are a few camps on the park's periphery which offer game drives inside the park: Angama Mara, Bateleur Camp, Kichwa Tembo, Kilima Camp, Mara Engai Wilderness Lodge, Mara Siria, and Mpata Safari Club 
It is also possible to take your own camping gear and stay at one of the public or private campsites and a number of seasonal mobile camps are set up to coincide with the arrival of the megaherds of the Great Migration each year 
The Mara Triangle is easy to access by plane with Angama Mara Airfield, Kichwa Tembo, Mara North, Musiara and Serena airstrips, and with daily scheduled flights connecting it with other parks and reserves in Kenya, the Kenyan coast (Mombasa, Diani, Malindi) and Nairobi (Jomo Kenyatta and Wilson airports)  The Mara Triangle is also reachable by road 
Passage 6:
Ann Mara
Ann Mara (June 18, 1929 – February 1, 2015) was an American businesswoman, socialite, philanthropist, the wife  and later widow of Wellington Mara, and the matriarch of the Mara family, which includes New York Giants CEO John Mara, and her granddaughters, actresses Rooney Mara and Kate Mara 

Personal life
Mara was born Ann Maria Teresa Mumm in Manhattan, New York City, the daughter of Olive (née DuBord) and George Mumm  She was of German, French-Canadian, and Irish ancestry  She married Wellington Mara (1916–2005) in 1954 and had eleven children Ann Mumm met Wellington Mara by chance when a woman fainted at a 7:30 a m  Mass that they both regularly attended  Both Ann and Wellington rushed to her side to help  Three of their early dates took place at Yankee Stadium, Madison Square Garden, and the Fordham gymnasium  After that Ann and Wellington were married, in 1954  They took their honeymoon in Southern California  Ann and Wellington had 11 children (7 girls and 4 boys) and 42 grandchildren  All their girls attended Convent of the Sacred Heart 
Her husband is considered  to have been one of the most influential figures in the history of the National Football League as the owner of the New York Giants  Ann Mara had been called the "First Lady of Football"  As a philanthropist, she donated money to various causes  In November 2014 she dedicated the opening of a new building for the San Miguel Academy for children at risk, which was built through the NFL Snowflake Foundation 

Media attention
Mara was an active member of the Giants community  In 2012 she gained media attention after having an argument with Terry Bradshaw 

Death
Mara was in good health until she fell on ice when she was fetching her newspaper outside of her Harrison home  Mara's housekeeper usually went to get the paper but on that day Mara went to get it herself  She died from pneumonia two weeks after her fall, on February 1, 2015  She was 85 years old  She was remembered with a moment of silence during Super Bowl XLIX; also, the Giants wore a patch on the right side of their uniforms, near the shoulders during the following season in her memory, with the letters "ATM" in black on a white circle background 
Passage 7:
The Trial of Madame X
The Trial of Madame X is a 1948 British drama film directed by Paul England and starring England and Mara Russell-Tavernan  It is based on the 1908 play Madame X by the French playwright Alexandre Bisson (1848-1912) 

Plot
A woman is thrown out of her home by her jealous husband and sinks into depravity  Twenty years later, she finds herself accused of murder for saving her son, who does not know who she is  He finds himself defending her without knowing her background 

Cast
Mara Russell-Tavernan as Jacqueline
Paul England as Perrisard
Frank Hawkins as La Roque
Eddie Leslie as Raymond
Hamilton Deane as Noel
Hamilton Keene as Louis
Jean Le Roy as Madeleine

See also
Madame X

External links
The Trial of Madame X at IMDb
Passage 8:
Serengeti District
Serengeti District is one of the seven districts of Mara Region of Tanzania  Its administrative centre is the town of Mugumu  It is home to part of the world-famous Serengeti National Park a UNESCO World Heritage Site and contains one of the western gates to the park According to the 2012 Tanzania National Census, the population of Serengeti District was 249,420 

Transport
There are no paved roads connecting Serengeti District with the rest of the country  The unpaved trunk road T17 from Musoma to Arusha passes through the district from west to east 

Administrative subdivisions
As of 2012, Serengeti District was administratively divided into 28 wards 

Wards
Passage 9:
The Girl from Capri
The Girl from Capri (German: Das Mädel von Capri) is a 1924 German silent comedy film directed by Frederic Zelnik and starring Lya Mara, Ulrich Bettac and Robert Scholz  It premiered in Berlin on 10 July 1924 

Cast
Lya Mara
Ulrich Bettac
Robert Scholz
Hermann Böttcher
Julia Serda
Passage 10:
Rhône-Alpes
Rhône-Alpes (French pronunciation: [ʁon alp] (listen)) was an administrative region of France  Since 1 January 2016, it is part of the new region Auvergne-Rhône-Alpes  It is located on the eastern border of the country, towards the south  The region was named after the river Rhône and the Alps mountain range  Its capital, Lyon, is the second-largest metropolitan area in France after Paris  Rhône-Alpes has the sixth-largest economy of any European region 

Geography
Rhône-Alpes is located in the southeast of France  The neighboring (pre-2016) regions are Bourgogne (Burgundy) and Franche-Comté to the north, Auvergne to the west, Languedoc-Roussillon to the southwest, and Provence-Alpes-Côte d'Azur to the south  The eastern part of the region is in the Alps, and borders Switzerland and Italy  The highest peak is Mont Blanc, on the French-Italian border  The central part of the region comprises the river valleys of the Rhône and the Saône  The confluence of these two rivers is at Lyon  The western part of the region contains the start of the Massif Central mountain range  The region also borders or contains major lakes such as Lake Geneva (Lac Léman) and Lake Annecy  The Ardèche flows through the southwest portion of the region, where it has carved the deepest gorge in Europe 
As with the rest of France, French is the only official language of the region  Until the mid-20th century, Arpitan was widely spoken in the whole region, while many of the inhabitants of the south spoke varieties of Occitan; both are in steep decline in this region  There are immigrant populations from Armenia, Italy, North Africa, Poland and Portugal, and elsewhere 
Rhône-Alpes is made up of the following departments:

Ain (01)  Capital: Bourg-en-Bresse
Ardèche (07)  Capital: Privas
Drôme (26)  Capital: Valence
Isère (38)  Capital: Grenoble
Loire (42)  Capital: Saint-Étienne
Rhône (69)  Capital: Lyon
Savoie (73)  Capital: Chambéry
Haute-Savoie (74)  Capital: AnnecyAnd, since 2015, Metropolis with territorial collectivity statute:

Metropolis of Lyon (69)  Capital: Lyon

Lakes
There are six main lakes in Rhône-Alpes:

Lac de Paladru
Lac d'Aiguebelette
Lac du Bourget
Lac d'Annecy
Lac de Nantua
Lac Léman

Prefectures
Prefectures listed in descending order of size:

Lyon (Rhône)
Grenoble (Isère)
Saint-Étienne (Loire)
Valence (Drôme)
Chambéry (Savoie)
Annecy (Haute-Savoie)
Bourg-en-Bresse (Ain)
Privas (Ardèche)

History
Although there have been people in Rhône-Alpes since pre-historic times, the earliest recorded settlers of the region were the Gauls (Celts)  Cities such as Lyon were founded by them and the region traded with both northern and southern Europe  Most of the area became part of Roman territory during the invasion of Celtic Gaul led by Julius Caesar and was at various times part of the regions of Lugdunensis and Gallia  Lyon itself became a major city in the Roman Empire 
The region, excepting Savoy, was part of the Merovingian and Carolingian Kingdoms before becoming a royal territory under the Capetians  As it became a royal territory early on in French history, its cultural, political and economic influences and developments paralleled those of greater France  (See History of France )

Transportation
Rhône-Alpes is a major European transit hub, linking northern France and Europe to the Mediterranean area  Millions travel along its motorways in summertime from Paris to holidays at the sea  The E15 Euroroute (Britain to Spain) runs through the region  There are international airports at Lyon, Grenoble and Saint-Étienne and many other minor airports and airfields 
The region is also a transport hub for the rail network with the TGV running through Lyon from Paris and the north, to the Mediterranean  A high-speed rail link is planned from Lyon to Turin 

Economy
Rhône-Alpes is a prosperous region which can be seen by its per capita GDP of about €31,231 ($40,000), which is higher than the French average, and an average income of €35,910 ($50,246), its economy second in size only to Île-de-France in France  This can be attributed to the diversity of the production in different sectors  The region is one of the Four Motors for Europe 

Industry, in particular:
Light engineering and high-tech
Mechanical engineering in the area of Annecy
Precision machining in the area of Cluses
Services, in particular:
High-tech industries, nanotechnology, biotechnology especially in Grenoble with 62,300 jobs in these sectors thanks to the presence of the Polygone Scientifique, Inovallée and some large companies as Schneider Electric 
Optic and design in Saint-Étienne
Tourism with the Alps (for skiing), Lyon and Grenoble (for culture) and the Ardèche (adventure sports/camping) particularly popular
Education, with major universities in Lyon, Grenoble and Saint-Étienne In the past mining, especially coal mining was an important sector, particularly around Saint-Étienne, although this has declined since the 1970s 
The area of the region that lies close to Switzerland has an economy linked to that of Geneva  This area forms a hinterland for the Geneva hub The Triangle of Lyon, Saint-Étienne and Grenoble contribute a GDP of €145 billion to the region  Add Valence to it, it is almost €150 billion  In addition, Lyon alone has a Gross Metropolitan Product of about €85 billion 
The region has been part of Alps–Mediterranean Euroregion since 10 July 2007 

Major cities
Winter Olympics
Rhône-Alpes region has hosted the Winter Olympics three times; in 1924 at Chamonix, 1968 at Grenoble, and 1992 at Albertville 

Tourism
Situated between Paris and the Côte d’Azur, on the border with both Switzerland and Italy, and offering access to two international airports (Lyon and Geneva), rail connections and a vast motorway network, the Rhône-Alpes region is at "the crossroads of Europe" 
Boasting eight natural parks and peerless sites such as Mont Blanc and the Gorges de l’Ardèche, Rhône-Alpes offers a wide range of different landscapes: mountains, vineyards and gentle valleys, fields of lavender and olive groves 
Every form of sport is readily available, set against a natural backdrop: skiing, hiking, mountain biking or even paragliding and canoeing  Besides hosting three Winter Olympics games due to its being the largest ski area in the world, Rhône-Alpes is the second most important golfing region in France with over 60 courses 

Enthusiasts of art and culture will not be disappointed by the region's Villes d’Art: Lyon, which is classified by UNESCO as a World Heritage site, Annecy, Grenoble, Chambéry, and Saint-Étienne 
And last but not least, connoisseurs of good food and wine will be spoilt for choice by the range of local specialties available to taste along with a Beaujolais or a Côtes du Rhône, and by the sheer number of famous restaurants (with Paul Bocuse at the top of the list) in the region 

Gastronomy
Lyon is noted as a gastronomic centre of France and specialities served in its traditional bouchons include Lyon sausage, sophisticated salami (known there as "rosette"), tripe and quenelles  In the east of the region the food has an Alpine flavour with dishes such as fondue, raclette common, gratin dauphinois and gratin savoyard  The region is also famous for its Bresse poultry and the many varieties of cheese including Tomme de Savoie, Bleu de Bresse, Reblochon, Saint-Marcellin and Vacherin du Haut-Doubs Wines in this region include Beaujolais, Côtes du Rhône and Savoy wine  Chartreuse liqueur is made in the region 
Lyon is the home of very typical and traditional restaurants: the bouchons  Bouchons are usually convivial restaurants serving local dishes, and local wines 
Lyon is famous for its morning snacks, the mâchons, made up of local charcuterie, especially the rosette and usually accompanied by Beaujolais red wine  Traditional local dishes include saucisson de Lyon (sausage), andouillette, coq au vin, esox (pike) quenelle, gras double (tripe cooked with onions), salade lyonnaise (lettuce with bacon, croûtons and a poached egg), marrons glacés and cardoon au gratin 

See also
List of châteaux in Rhône-Alpes
Transport in Rhône-Alpes
Passage 11:
Trans Mara District
Trans Mara District was an administrative district in the former Rift Valley Province of Kenya  Its capital town was Kilgoris  The district had a population of 170,591 (1999 census) and an area of 2,846 km² [1]  It was created in 1994, when Trans Mara District was split from Narok District 
The Mara Triangle (part of the Masai Mara reserve) is located in Trans-Mara District  The district had only one local authority, Trans Mara county council  Kilgoris Constituency was the only constituency of the district 
Under the 2010 Constitution of Kenya and the new devolved form of government, the Trans Mara area was merged into Narok County   It continues as the Kilgoris Constituency electorally and administratively 
Its name refers to the territory "across the Mara River" from the perspective of the rest of Narok County   The term "Trans Mara" is still used to refer to the geographical area 

External links
Aridland go ke
Reliefweb int
Passage 12:
A Ghost Story
A Ghost Story is a 2017 American supernatural drama film written and directed by David Lowery and starring Casey Affleck and Rooney Mara, with Will Oldham, Liz Cardenas Franke, Sonia Acevedo, and Rob Zabrecky in supporting roles  It is about a man who becomes a ghost and remains in the house he shared with his wife 
The film had its world premiere at the Sundance Film Festival on January 22, 2017, and was released by A24 in the United States on July 7, 2017  It received positive reviews from critics 

Plot
A woman mentions to her musician husband that she moved a lot as a child and took to hiding little notes wherever she lived  The couple are in disagreement about moving away  Occasionally they hear strange noises and one night there is a loud bang, the source of which they are unable to define 
Shortly afterwards the husband is killed in a car accident a short distance from the house  At the hospital his wife views his body, covering it with a sheet before departing  The husband awakens and, still covered by the sheet, wanders through the hospital  He is invisible to the living, as he is now a ghost  A door of light opens before him but he makes no attempt to approach it and it closes 
The ghost walks home and sees Linda, his landlord, drop off a pie  When the wife gets home she sits on the floor and eats the pie until she vomits 
Unable to communicate, the ghost watches while the wife grieves and then begins to proceed with her life  In the house next door he sees a ghost covered by a flower-print sheet who communicates that it is waiting for someone, though it does not remember who 
The wife comes home with a man whom she kisses in the doorway, and the ghost makes the lights flicker and knocks books from a shelf  Later, the wife listens to one of her husband's songs and recalls when he played her the recording for the first time  She moves away but first writes a short note and hides it in a gap between some molding, which she paints over  The ghost picks at the paint but he is unable to reach the note 
A Spanish-speaking mother moves into the house with her young son and daughter  The ghost watches them eat, play the piano and celebrate Christmas  The children begin to sense his presence and become frightened  One night, the ghost knocks a framed photo of the family off the piano and smashes dishes in the kitchen  The family moves out and the ghost again scrapes at the paint 
At a party thrown by the next occupants a woman says she has stopped working on her novel and a man responds by musing about what the point is of any creative pursuit, even one as uplifting and universally known as Beethoven's 9th Symphony, given that the sun will eventually engulf Earth and the universe will eventually rip itself apart  The partygoers notice the lights flicker 
The house is abandoned and becomes derelict and the ghost's efforts to retrieve the note are interrupted by a bulldozer crashing through a wall  The house next door is also torn down and the flower-print ghost communicates that it does not think whoever it is waiting for is coming, and it disappears from beneath its sheet  A skyscraper is built where the house was and, when the work is done, the ghost looks at a futuristic cityscape from a balcony before jumping off the ledge 
The celestial sphere rotates in reverse, and the ghost finds himself in a field in the 19th century with a man who is driving stakes into the ground  The man's wife and three daughters arrive in a covered wagon, and the family prepares to build a house  The youngest daughter writes a note and hides it under a rock while humming the tune of the husband's song  Native Americans attack and kill the family, and the ghost watches the girl's corpse decay 
Back in the house, which is empty except for the piano, the ghost sees himself and his wife enter and look around, and his life in the house repeats itself  The husband's resistance to the wife's desire to move causes tension in their relationship and, the night before his death, he finally acquiesces  Hearing this, the ghost sits down heavily at the piano, causing the bang that had earlier startled himself and his wife  Later, the ghost watches his earlier ghost-self watch the wife leave the house for the last time  He retrieves the note and, upon reading it, disappears, his empty sheet collapsing to the floor 

Cast
Production
Development
David Lowery had wanted to make a film featuring a man in a rudimentary ghost costume "for a while", telling Comingsoon net: "I just loved that image  I love taking something that is understood to be funny or charming or sweet or naive and instilling it with some degree of gravity " When he and his wife got in an argument about moving back to Texas, he began to write down the argument "thinking about my own attachment to physical spaces " After he thought to combine this with the idea about the ghost costume, he came up with the basic concept for the movie fairly quickly and began to write the screenplay in the spring of 2016  Lowery also used the film to work through what he termed "An existential crisis" brought on by reading an article about the possibility of a catastrophic earthquake, saying: "I was not feeling optimistic about the future of mankind  I felt the world was on its way to ending  The film became my way of dealing with those issues " The film's atypical 1 33:1 aspect ratio was chosen by Lowery partially because he thought it was thematically appropriate: "It’s about someone basically trapped in a box for eternity, and I felt the claustrophobia of that situation could be amplified by the boxiness of the aspect ratio "The ghost costume that was ultimately designed for the film ended up being more complicated than Lowery had anticipated  At first, the filmmakers attempted to simply use a normal bed sheet, but they found that even a king-sized sheet does not fully cover an adult male  The final costume required Affleck to wear certain other garments beneath the fabric to achieve the desired look, and the filmmakers found they had to resort to some "puppeteering" to keep the eyes in place  Beyond the practical constraints of the costume, Lowery also found that it impeded Affleck's ability to act, noting: "every unique physical trait as a human being was pronounced and exaggerated by this sheet over his head " This did not give Lowery the results he wanted, and he eventually solved the problem by reducing the amount Affleck moved, so "it became a matter of patience and posture and moving very specifically, slowly and rigidly "

Filming
Principal photography began in June 2016  The majority of the film takes place within a single house, which was chosen by Lowery because it closely resembled the first house he lived in with his wife  As the house was about to be demolished, the film crew were allowed to use it for free  Some shots of the ghost, specifically those done during pickups or reshoots, do not feature Affleck, instead replacing him with the film's art director, David Pink, who was found to have a similar build As the filmmakers did not know how the final product would turn out, the film was shot in secret and not officially announced until November 2016, at which point it was confirmed that Mara and Affleck were the leads  It was later revealed that Kesha would appear in the film in a cameo role 

Music
Daniel Hart composed the score for the film, as he had for all of Lowery's previous features and one short film  A soundtrack of the score was released by Milan Records on July 7, 2017 

Release
Prior to the film's world premiere at the Sundance Film Festival on January 22, 2017, A24 acquired its worldwide distribution rights  The company released the film in the United States on July 7, 2017 

Box office
The film earned $104,030 from four theaters during its opening weekend (an average per-location gross of $26,008), finishing in 26th place at the American box office  By the end of its theatrical run, it had grossed $1,596,371 domestically and $355,312 internationally, for a worldwide total of just under $2 million 

Reception
Critical response
On review aggregator website Rotten Tomatoes, the film has an approval rating of 91% based on 285 reviews, with an average score of 8/10; the website's "critics consensus" reads: "A Ghost Story deftly manages its ambitious themes through an inventive, artful, and ultimately poignant exploration of love and loss " On Metacritic, the film has a weighted average rating of 84 out of 100 based on reviews from 46 critics, indicating "universal acclaim" Peter Debruge of Variety gave the film a positive review, writing: "While Lowery's actual method of delivery may not be scary, it's sure to haunt those who open themselves up to the experience " David Rooney of The Hollywood Reporter also gave the film a positive review, writing: "A poetic meditation on time, memory and spiritual connection that is utterly true to its title " Eric Kohn of IndieWire gave the film an "A" rating, calling it "an extraordinary mood piece that amounts to [Lowery's] best movie yet " Gary Thompson of the Philadelphia Inquirer gave the film two and a half stars out of four and wrote: "The movie is trippy and almost willfully opaque—all I can say for sure is I left A Ghost Story feeling full "Richard Brody, writing for The New Yorker, included A Ghost Story in his list of the 27 best films of the decade 

Accolades
On September 9, 2017, the film won three awards at the 43rd Deauville American Film Festival: the Revelation Prize, the Critics Prize and the Jury Prize; additionally, David Lowery was nominated for the Grand Special Prize  On October 14, the film won two awards at the Sitges Film Festival: Best Photography and the Carnet Jove Jury Award  At the Fantasia Film Festival, the film won the Camera Lucida Award 
Passage 13:
Mara Marini
Mara Marini is a Canadian actress best known for her reoccurring role as Brandi Maxxxx in the NBC comedy series Parks and Recreation  She has performed in several independent films and plays in the Los Angeles theater scene, as well as making other television appearances 

Early life
Mara Marini was born in Winnipeg, Manitoba, and had wanted to be an actress since the age of four  She was accepted to the University of Hawaii for marine biology, but ultimately attended York University in Toronto  After graduating, she auditioned for and was accepted to the American Academy of Dramatic Arts in Los Angeles, where she moved to study acting 

Career
Marini appeared in a number of independent films starting in the mid-2000s, particularly horror films, including In The Dark (2004), Slaughterhouse Phi: Death Sisters (2006), Darkworld (2006), Blood Legend (2006), Gothic Vampires from Hell (2007) and Munch (2008)  She has also experimented with stand-up comedy Marini, who had some theater experience in Canada, started performing on stage in the Los Angeles area, and became an active member of The Road Theatre Company  Among her credits with that company in 2007 was "Biblio," a Wayne Peter Liebman one-act play about a girl whose psychological issues invoke a barrage of images, including a Marilyn Monroe character portrayed by Marini  Also in 2007, she appeared in "Bitch", a dark comedy by Susan Rubin that played at the Bootleg Theater  Marini portrayed a giddy receptionist who has an affair with one of the main characters, a hedonistic public relations firm partner  In 2008, she appeared in a Road Theatre production of "The Friendly Hour" at the Road Theatre, playing one of a group of South Dakota housewives whose life stories are told over a 73-year period Marini appeared in the 2008 horror short film Deader Living Through Chemistry, a horror short film about zombies that appeared on the DVD release of George A  Romero's film Diary of the Dead  In 2009, Marini performed in a 15-week run of "Bram Stoker's Dracula" at the NoHo Theatre in Los Angeles, directed by Ken Sawyer  She portrayed Mina Harker, although on rare occasions she served as an understudy for the Lucy Westenra role  Marini received positive reviews; in a review of one of her Lucy performances, Culture Spot LA writer Julie Riggott said she "made a convincing transformation from meek innocent to voluptuous vampire"  Robert Machray of BlogCritics org wrote she "should get an award for her bloodcurdling screams" Marini had a supporting role in the 2009 film Ballistica, and played a Texan art dealer in the film The Back-Up Bride (2010)  She appeared in the film Psychosomatika (2010) after director Jeff Graham, who directed her in Blood Legend, contacted her and asked her to audition for a role  Also in 2010 she appeared in comedy sketches for the E! late night talk show Chelsea Lately, and a commercial for the website Vevo with American Idol runner-up Adam Lambert  Marini filmed a number of television pilots around this time, including ones for the Spike and the Oxygen channels Marini was cast in a guest appearance in the NBC comedy series Parks and Recreation as Brandi Maxxxx, a pornographic film actress  Marini had previously participated in a workshop with Dorian Frankel, the show's casting director, before auditioning for the Brandi Maxxxx role  Marini was concerned she didn't do her best at the audition, but was nevertheless chosen for the role  She first appeared in the third season episode "Jerry's Painting", which originally aired on April 28, 2011  In the episode, Brandi appears on a television news program along with Leslie Knope (Amy Poehler) in which Leslie is defending a painting that depicts her as a centaur with her breasts exposed  While Leslie defends the artistic merit of the painting, Brandi defends the painting while simultaneously comparing it to pornography, unwittingly undermining Leslie's arguments  Marini later reprised the role in the fourth season episode "The Debate", where Brandi Maxxxx ran for city council against Leslie and participated in a political debate against Bobby Newport (Paul Rudd) and two other candidates Marini returned to the stage in 2011, appearing in the Laurel Ollstein comedy "Esther's Moustache" at the Studio/Stage Theatre in Los Angeles  The play was about a female artist who draws magazine cartoons of beautiful goddesses, and Marini played Lilith, a sex-obsessed imaginary goddess who appears before the protagonist as her alter ego  She received positive reviews for the performance  LA Weekly writer Steven Leigh Morris called her a "scene-stealer", and the Los Angeles Times called her "an amusingly empty-headed statuesque siren"  Natalia Evdikimova of Culver City News wrote that Marini was "superbly cast" and "hard to ignore", adding: "Mara Marini is everything that a sex-loving goddess should be: bossy, sassy and provocative"  In 2011, Marini also appeared in the ABC legal drama series The Whole Truth, and that show's casting director called her for auditions in several other television roles Marini appeared in the 2012 film Sushi Girl, reuniting Marini with director Kern Saxton, who directed her in Deader Living Through Chemistry  Marini also portrayed Gloria, who she described as a "Marilyn Monroe-type scarlet-wannabe", in the 2013 film Rock and Roll: The Movie  She also has filmed performances for the upcoming films Alongside the Night and King of the Road 

Filmography
Passage 14:
Philippine television drama
Philippine television drama, also known as teledrama, Filipino telenovelas or P-drama, is a form of melodramatic, serialized, televised fiction in the Philippines  Teledrama is derived from two Filipino words: "tele", short for "telebisyón" (television) and "drama" (drama series) 
Teledramas share characteristics with and have roots similar to soap operas and telenovelas  They have evolved into a genre with unique characteristics, however, and often reflect Filipino social reality  Teledramas are aired in the afternoon and prime time, five days a week  Their audience crosses age and gender lines, and they have the highest advertising rates in the Philippine television industry  Series last from three months to a year or longer, depending on ratings 
Philippine TV dramas also include serials and anthologies, usually shown weekly  These dramas have a finite number of episodes and usually last one season, again depending on ratings 

History
1940s-1980s
Soap operas in the Philippines began with Gulong ng Palad (Wheel of Fortune) on radio in 1949, and the genre expanded into television during the early 1960s  The first Philippine TV soap opera was Hiwaga sa Bahay na Bato (Mystery at the Stone House) in 1963, produced by ABS-CBN  Larawan ng Pag-ibig (Picture of Love), Prinsipe Amante (Prince Amante), and a number of others followed Gulong ng Palad, co-written by Loida Virina, was the longest-running radio serial and ran until the mid-1980s  Its TV version starred Marianne Dela Riva and Ronald Corveau and introduced young actors, including Romnick Sarmenta  Veteran actress Caridad Sanchez enhanced the series' popularity 
The government closed several networks (including ABS-CBN) during the 1972–1986 martial-law period, leaving RPN and GMA the country's only two commercial television networks  The lack of a diverse media base aided the emergence of nationwide satellite broadcasting, and competition between the two networks spurred afternoon and prime-time sitcoms and serials  Philippine TV schedules resembled those in the U S , with networks scheduling shows in daily time blocks instead of separate weekday and weekend programming 
RPN produced María Flordeluna, starring Janice de Belén  Its cast also included Dindo Fernando and actress-director Laurice Guillen  GMA produced Anna Liza, starring Julie Vega  Before the introduction of a TV ratings system in the Philippines during the 1990s, the shows were rivals  Anna Liza, canceled in 1985 after Vega's death, had an unfinished storyline and a two-hour special in 1986 

1990s
Until the late 1980s, Philippine television dramas were broadcast during the afternoon  ABS-CBN resumed operations after the end of the Marcos dictatorship in 1986, and regained its audience lead by the end of the decade  During the early and mid-1990s, local sitcoms dominated Philippine television with the rise of ABS-CBN's Palibhasa Lalake, Home Along Da Riles, Oki Doki Doc and the political satire Abangan Ang Susunod Na Kabanata and GMA Network's Bubble Gang  International television swept the Philippines, beginning with Mexican telenovelas 
The decade is considered the golden age of Philippine television drama  Most, such as Agila, Anna Luna, Valiente and Mara Clara, were aired on ABS-CBN 
The most popular was the Las Tres Marias trilogy, produced by Televisa and starring Thalía  Marimar and Maria la del Barrio were broadcast in prime time on RPN, and Maria Mercedes was broadcast on ABS-CBN)  Major networks began to reschedule Filipino telenovelas in prime time to attract increased advertising revenue  By the mid-1990s, teledramas surpassed sitcoms in Filipino prime-time television 
One of the country's best-known TV series was Mara Clara, which aired from 1992 to 1997  The longest-running teledrama in the post-martial-law era, it had frequent time-slot changes before settling into the standard 7-8:00 pm prime-time block by late 1995  In mid-1997, Mula sa Puso (another ABS-CBN series) saw the rise of Claudine Barretto  Barretto played the heiress Via in the two-year soap; Rico Yan and Diether Ocampo were her leading men, and Princess Punzalan played Selina (the series' most influential character)  Mula Sa Puso was the country's first middle-class primetime series, differing from the telenovelas with protagonists from the lower socioeconomic classes 
GMA retained and popularized its afternoon dramas, such as 1995–1997's Villa Quintana (with Donna Cruz, Keempee de Leon and Isabel Rivas); it was followed by 1997–1998's Ikaw na Sana, with Angelu de Leon and Bobby Andrews  Both were moved to prime time 

2000s
Philippine television dramas evolved into teleserye, a portmanteau of the Filipino words telebisyon ("television") and serye ("series")  The term originated with the ABS-CBN drama Pangako Sa 'Yo, airing from 2000 to 2002 and starring Jericho Rosales and Kristine Hermosa, and the rivalry between actresses Eula Valdez and Jean Garcia  Pangako Sa'Yo, the Philippines' first teleserye, was considered a turning point in Philippine television because of its production and fast-paced, multiple-arc plotlines which distinguished it from telenovelas  Broadcast in the Americas, Africa and Asia, it remains the most successful Philippine television series worldwide  At the end of its run in 2002, Pangako Sa 'Yo had the highest-rated series-finale episode of a Philippine show  Kay Tagal Kang Hinintay, which ended in 2003, was the Philippines' first series which was a finalist in the Best Drama Series category of the 2003 International Emmy Awards 
ABS-CBN's 2004's Marina popularized the fantasy of most Filipino teleseryes  GMA Network's political drama Kung Mawawala Ka examined corruption, starring Eddie Garcia; it ran from 2001 to 2002, and received an award from the Philippine Movie Press Club (PMPC) 
Sana'y Wala Nang Wakas, aired between 2003 and 2004, was the world's first drama series to allow viewers to choose a story's ending by texting  A contemporary ABS-CBN teleserye, Basta't Kasama Kita, starred Judy Ann Santos and Robin Padilla; notable for its depiction of the National Bureau of Investigation, it was the first Filipino series to broadcast a live series-finale episode in 2004  In 2004, GMA Network overtook ABS-CBN in popularity when it introduced an all-fantaserye prime-time lineup featuring female-lead shows such as Encantadia and Mulawin  GMA gained a ratings foothold with Darna, starring Angel Locsin 
The Philippines emerged as one of the world's largest television-drama-producing nations in the middle of the decade  International hits included ABS-CBN's 2006 Gulong ng Palad, starring Kristine Hermosa and TJ Trinidad, which was carried on TFC  A 2007 remake of Maria Flordeluna, which had aired on RPN-9 during the 1970s and 1980s, starred Eliza Pineda; the 93-episode series received the 2008 PMPC Star Award for Best Television Series 
TV adaptations of films included ABS-CBN's Panday (starring Jericho Rosales and Heart Evangelista), Mga Anghel na Walang Langit and Kampanerang Kuba, starring Anne Curtis  The "sineserye" genre was introduced with Bituing Walang Ningning, starring Sarah Geronimo and Angelika de la Cruz 
2005 marked the start of domination of religious-oriented teleseryes, and trend of airing family-oriented drama series produced by ABS-CBN's Dreamscape Entertainment on series based on Fernando Poe Jr 's movies with Mga Anghel na Walang Langit which lasted for 210 episodes from May 9, 2005, to February 2006  Religious teleseryes continued to dominate on the following years and decades 
Late in the decade, GMA-7 and ABS-CBN became rivals  GMA aired its 2007 remake of the international telenovela MariMar  Three ABS-CBN series became popular: the remake of the 1977–1985 soap opera Gulong ng Palad, the teleserye Sa Piling Mo and the series Maging Sino Ka Man—the most popular teleserye internationally after Pangako Sa'Yo 
ABS-CBN produced its most expensive series, Lobo, in 2008; it starred Piolo Pascual and Angel Locsin—the first Filipino nominated for an International Emmy for a lead role  I Love Betty La Fea, a Filipino remake of the Colombian telenovela Yo soy Betty, la fea, was broadcast that same year; it was the most successful Philippine remake of a Latin telenovela since GMA Network's Marimar remake the year before 

2010s
ABS-CBN and GMA Network both claimed to be the Philippines' most popular network  GMA Network began appealing to viewers in Mega Manila during the mid-2000s; ABS-CBN's prime-time shows attracted viewers in other parts of the country, particularly Visayas and Mindanao  Philippine media experts attributed the trend to ABS-CBN's return to Filipino programming 
The 2010s featured two successful teleseryes (Dahil May Isang Ikaw and May Bukas Pa)  Dahil May Isang Ikaw began during the previous decade and ended on January 15, 2010  Religious teleseryes continued dominating television from the late 2000s since the premiere of Mga Anghel na Walang Langit on May 9, 2005  Among these religious teleseryes aired during the 2010s include May Bukas Pa, 100 Days to Heaven, Oh My G!, and Nathaniel, all of which were aired on ABS-CBN 
With the earlier success of the 2007 remake of Maria Flordeluna and the 2010 remake of Mara Clara (which introduced Julia Montes and Kathryn Bernardo), ABS-CBN popularized the revival of teen-themed telenovelas  Mara Clara's success inspired a remake of 1997's Mula sa Puso  In 2011, a number of actors moved between ABS-CBN and GMA Network  Both networks' hold on prime-time television was challenged by TV5's teleserye Babaeng Hampaslupa 
Teleseryes began to include storylines reflecting contemporary Philippine controversy  ABS-CBN's 2012 Walang Hanggan addressed adultery, while the network's 2012–2013 series Ina, Kapatid, Anak explored surrogate motherhood 
GMA Network premiered the big-budget historical drama series Amaya, starring Marian Rivera; Rivera also appeared in Temptation Of Wife, the Filipino version of a popular Korean series, with Dennis Trillo  Trillo later appeared in the 2013 teleserye My Husband's Lover, the Philippines' first gay-themed prime-time series 
ABS-CBN's 2014 series, The Legal Wife, was followed by the 2015 remake of Pangako Sa'Yo, starring Kathryn Bernardo and Daniel Padilla  The 2015 teleseryes Bridges of Love was broadcast as Puentes de Amor; the first Philippine drama aired in Latin America, it premiered on April 25, 2016, on Panamericana Televisión in Peru  The 2017–2018 series Wildflower was the first Philippine prime-time teleserye to explore nepotism, human rights abuses and mental illness 
The decade marked the renewed popularity of long-running dramas after the early 2000s  May Bukas Pa, which premiered in the previous 2000s decade on February 2, 2009 and ended in the 2010s decade on February 5, 2010, ran for 1 year and 3 days  Be Careful With My Heart aired for 2 years from 2012 to 2014  from 2014 to 2016, GMA broadcast The Half Sisters  ABS-CBN's afternoon teleserye Doble Kara ran between 2015 and 2017  Ang Probinsyano, starred by Coco Martin, attracted national attention for depicting the Philippine Drug War and the Philippine National Police despite renewed MTRCB censorship, ran for 7 years from September 28, 2015 and ended in the 2020s decade on August 12, 2022, and currently holds the title for being the country's longest-running drama series since June 26, 2020 which surpassed the five-year run 1992–1997's Mara Clara  GMA Network dominated the late afternoon between 2016 and 2018 with its teleserye Ika-6 na Utos  Kadenang Ginto, also aired on ABS-CBN, premiered on October 8, 2018, and ended in the next decade on February 7, 2020 
Live teleserye finales returned for the first time since GMA's 2007 remake of Marimar  ABS-CBN's On the Wings of Love starred James Reid and Nadine Lustre  Born for You was the first musical teleserye since ABS-CBN's 2006 TV version of Bituing Walang Ningning 
ABS-CBN's series 2019 military drama The General's Daughter was replaced by The Killer Bride, which has been praised for depicting the Duterte administration 

2020s
Teleserye production was suspended In 2020 due to the COVID-19 pandemic  Interest in boys' love series developed after the Thai series 2gether: The series aired on ABS-CBN's Kapamilya Channel and blocktime agreement with ZOE Broadcasting Network through A2Z On June 26, 2020, the action drama series Ang Probinsyano surpassed the 1992–1997 series Mara Clara upon airing its 1,166th episode, with the former now the longest-running drama series on Philippine television since the said date 
Domination of religious-oriented drama series continued throughout the 2020s decade, with teleseryes belonging to this genre that aired in the 2020s are Huwag Kang Mangamba topbilled by The Gold Squad (Andrea Brillantes, Seth Fedelin, Kyle Echarri, and Francine Diaz), Maria Clara at Ibarra, and FPJ's Batang Quiapo 
After 7 years of airing, Ang Probinsyano ended on August 12, 2022, with 1,696 episodes and was replaced with the 2022 version of Darna, marking the change in ABS-CBN's primetime slot after its news program TV Patrol that was not seen since the start of airing of the said action drama series on September 28, 2015 

Impact
Philippine TV drama became popular during the early 2000s in Asia, Africa and Filipino communities in North America  Teleseryes have evolved from the telenovelas on which they were based  Philippine teleseryes have also attracted audiences in Indonesia, Malaysia and China  Often dubbed into local languages, they are sometimes shown with English and other foreign subtitles 
ABS-CBN and GMA were among the first Asian television producers to export dramas with a universal message, reflecting the reality of Filipino and other Asian societies  Pangako Sa 'Yo is the Philippines' most successful TV series worldwide  Before leading the Chinese television ratings during the mid-2000s, the series was seen by over one billion viewers in Southeast Asia and Africa  ABS-CBN introduced its International Sales website, providing access to its shows  The network shows Sana Maulit Muli (Taiwan), Lobo (dubbed as She-Wolf: The Last Sentinel), Tayong Dalawa, Dahil May Isang Ikaw, Kahit Isang Saglit, Katorse, Mara Clara, Magkaribal, Be Careful With My Heart (Vietnam) and Walang Hanggan were exported  They were followed by Ina, Kapatid, Anak, May Bukas Pa, Forevermore, Till I Met You, Wildflower and Ang Probinsyano 
GMA Network has the highest-rated pilot episodes with Darna and Encantadia in 2005, and made fantaserye a popular genre  The network produced Boys Next Door, a teen melodrama which was the first Philippine television series aired in South Korea  The 2007 Philippine adaptation of MariMar, GMA's most successful domestic television series, was also aired in Thailand, Malaysia, China, Singapore, Indonesia, Cambodia, Vietnam, Uganda, Tanzania, Kenya and Hawaii  Other GMA shows, such as Habang Kapiling Ka, Kahit Kailan, Bakekang, Muli, Impostora, Mga Mata ni Anghelita, Dyesebel and Encantadia, are still broadcast elsewhere in Asia and Africa 
Ang Probinsyano has had a wide-ranging effect on Philippine pop culture and society  Called the Pambansang Teleserye, the series has been nominated for and received a number of awards The show is widely regarded for tackling timely issues, and has generated controversy for its negative portrayal of the government and its agencies  It was defended, with viewers saying that the government should take heed  The series has been considered a kingmaker, with a high endorsement value in the 2019 midterm elections, and is a desirable platform for actors wishing to run for public office  A party list with the show's name, endorsed by series leads Coco Martin and Yassi Pressman, finished fifth in 2019 and won a seat in the House of Representatives  The series' lead character, Cardo Dalisay, has been called "steadfast and incorruptible"  Ang Probinsyano is popular, and has been credited with reviving the action genre in film and television  Netflix streams the show under its international title, Brothers 

Adaptations
Philippine television dramas have spawned adaptations in other Asian countries:
Impostora (GMA): Impostors, Cambodia, 2012
Pangako Sa 'Yo (ABS-CBN): The Promise (សន្យាស្នេហ៍), Cambodia, 2013
Sana'y Wala Nang Wakas (ABS-CBN): Cinta Tiada Ganti, Malaysia, 2018
Kadenang Ginto (ABS-CBN): Putri Mahkota, Indonesia, 2020
Love Thy Woman (ABS-CBN): Belenggu Dua Hati, Indonesia, 2020
Sino ang Maysala?: Mea Culpa (ABS-CBN): Bukan Salah Cinta, Indonesia, 2020
Tayong Dalawa (ABS-CBN): Angkara Cinta, Malaysia, 2020
Hanggang Saan (ABS-CBN): Bir Annenin Günahı, Turkey, 2020
Forevermore (ABS-CBN): Vermem Seni Ellere, Turkey, 2023

See also
Television in the Philippines
List of Philippine drama series
List of ABS-CBN drama series
List of programs aired by TV5 (Philippine TV network)
List of GMA Network original drama series
Passage 15:
Labanoras Regional Park
Labanoras Regional Park, established in 1992, is located 80 kilometers northeast of Lithuania's capital, Vilnius  Covering 553 18 km², it is the largest regional park in the country  Its administration is in the small town of Labanoras 

Nature

The park contains about 70 lakes; about 80% of its land is forested  Its floral biodiversity is high, and it is home to the densest population of nesting white stork couples in Europe  It also contains areas with archeological, architectural, ethnographic, and historic value 
It is the largest Lithuania regional park, distinguished by a variety of landscapes, extremely rich flora and fauna  The largest part of the park is occupied by forests (80%), mostly pine forests  Labanoras forest with abundant wetlands and lakes is characterized by an abundance of protected species  Lakes occupy 14 percent  park areas  Spectacular Black Lakajai and White Lakajai, Stirniai, Siesartis and other lakes in Molėtai Lake District, 15 8 km long Aisetas lake  Lakaja, one of the most beautiful and exotic rivers, was loved not only by water birds but also by water tourists 
There are 285 lakes in Labanoras Regional Park - the largest of all Lithuanian regional parks  Largest: Stirniai, White Lakajai, Kertuojai  About 30 streams flow through the park  These are Lakaja, Peršokšna, Dumblė, Luknelė  In addition to these water bodies, the park protects swamp ecosystems, valuable calcareous marshes 
A whole complex of high marshes and lakeside low marshes is protected - Kanija raistas and many larger and smaller wetlands  In the Girutiškis Nature Reserve here, the Beržalotas upland swamp shines with the mirrors of the lakes 
Pine forests make up 81 percent  of all the forests in the park  Along with abundant lakes, swamps, hilly and undulating terrain, they are very picturesque 
The distant surroundings of Aukštaitija National Park can be seen from the observation tower of the Lithuanian Museum of Ethnocosmology 
The park is a famous breeding ground for elks,  wolves  and lynxes 
Passage 16:
Kirumi Bridge
Kirumi Bridge is a cable-stayed bridge in northern Tanzania across the Mara River on the border of Butiama and Rorya Districts of Mara Region  Its construction was financed via a loan from the African Development Fund  It was inaugurated in October 1985 by Julius Nyerere, the country's first president 
Context 3: Passage 1:
CJRL-FM
CJRL-FM is a Canadian radio station, broadcasting at 89 5 FM in Kenora, Ontario  The station broadcasts an adult contemporary format branded as 89 5 The Lake 
The station was originally launched in 1938 as CKCA 1420 kHz  In 1941, CKCA moved to 1450  In 1943, Kenora Broadcasting Co  Ltd  took ownership of CKCA and changed the frequency to 1220 with a new callsign CJRL 
CJRL went through different ownerships over the years 
In 2004, CJRL was given approval by the CRTC to convert to 89 5 FM and began broadcasting in November 2004 as 89 5 Mix FM  Following the flip to FM, the station shifted format to adult contemporary from hot adult contemporary 
Formerly owned and operated by Fawcett Broadcasting, the station was acquired in 2007 by Acadia Broadcasting Limited of Saint John, New Brunswick 
As of June 30, 2011, CJRL was rebranded 89 5 The Lake, continuing as an adult contemporary station, the station's playlist now primarily includes pop and rock hits from the 1970s to today  Following the unexpected passing of Charlie Tuna in early 2016, the 70's Show that aired on weekends was replaced with the Totally Awesome 80's show with Kent Jones 
Passage 2:
KLAG
The following is a list of full-power radio stations, HD Radio subchannels and low-power translators in the United States broadcasting K-Love programming, which can be sorted by their call signs, frequencies, city of license, state and broadcast area 

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

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

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

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

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

External links
Official Website

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Personnel
(Credits from the album liner notes)MercyMe

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

Paltrow Performance Group – stringsTechnical

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

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

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

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

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

Albums
Before the television show:

The Mini Pops (1982)After the television show:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

See also
Adult Contemporary, a chart appearing in Billboard since 1961  This chart is typically (but not exclusively) closer to soft AC 
New-age music
Yacht rock



ground_truth: Tanzania

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

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

The following are given passages.
Context 4:  In 1977, the Spinners had recorded two versions of the track  One had all of the Spinners, the other with only lead singer John Edwards on vocals  Finally in 1979, the John Edwards version was released making it to number 42 on the UK Singles Chart 

In popular culture
"Are You Ready for Love" was featured on the European version of Donkey Konga 2 

See also
List of number-one dance singles of 2004 (U S )
Passage 10:
Back to the Future (soundtrack)
The music of the Back to the Future series is composed in conjunction with the development of several feature films and a stage musical, within the Back to the Future franchise created by Robert Zemeckis and Bob Gale  All music in the franchise was composed by American composer Alan Silvestri, with The Musical being co-written with Glen Ballard 

Back to the Future (1985)
Soundtrack
Back to the Future: Music from the Motion Picture Soundtrack is the soundtrack album to the film of the same name, released on July 8, 1985, by MCA Records  The soundtrack includes two tracks from American composer Alan Silvestri's score for the film, two pop tracks from American rock band Huey Lewis and the News, two songs played by the fictional Marvin Berry and The Starlighters, one played by the fictional Marty McFly with The Starlighters, and two pop songs that are very briefly heard in the background of the film 
"The Power of Love" was released as the album's lead single in June 1985, becoming Huey Lewis and the News's first chart topper on the US Billboard Hot 100, as well as being certified Gold and nominated for an Academy Award for Best Original Song  The soundtrack spent nineteen weeks on the Billboard 200, peaking at number twelve in October 1985 

Development
American rock band Huey Lewis and the News performed "The Power of Love" and "Back in Time"  Huey Lewis was approached to write a theme song for the film  He met with Bob Gale, Steven Spielberg, and Robert Zemeckis, from the film's production team, who intended that the band be Marty McFly's favorite band  Though flattered, Lewis did not want to participate because he did not know how to write film songs and did not want to write one called "Back to the Future"  Zemeckis assured Lewis he could write any song he wanted  Lewis agreed to submit the next song he wrote, which was "The Power of Love"  The lyrics do not make any mention of the film's storyline Lewis was asked by Zemeckis to write one more song for the film's end credits, which came to be "Back in Time"  Unlike "The Power of Love", the lyrics for "Back in Time" center around the movie's story points  In an interview with People in 2015, Lewis states: "Sean [Hopper], [Chris] Hayes and I put together "Back in Time" – and it turned out that it's actually quite easy to write for film! In a way, it's easier, in that you don't have to invest yourself in it  So that was a lot of fun, actually" "Johnny B  Goode", written by Chuck Berry, is performed by the characters Marty McFly, and Marvin Berry and the Starlighters in the film, with lead vocals by Mark Campbell as Marty McFly, Harry Waters Jr  as Marvin Berry, and the guitar solo by Tim May  Campbell and May received a "special thanks" acknowledgment in the film's end credits, with the recording credit going to the fictional characters  Campbell did not receive credit as the filmmakers wanted to create the illusion that Fox was singing  When music supervisor Bones Howe learned of this, he secured Campbell a small percentage of the soundtrack revenue as compensation  Berry withheld permission to use "Johnny B  Goode" until the day before filming, and was paid $50,000 for the rights 

In the film
In the film, Marvin Berry, a fictitious cousin of Chuck Berry, phones Chuck and lets him listen to the music  The real "Johnny B  Goode" was released in 1958, three years after the time it is played in the film Huey Lewis portrays a high-school band audition judge who rejects Marty McFly's band, the "Pinheads", as they perform an instrumental hard rock version of "The Power of Love"  Lewis mentioned that his character was inspired by a Chrysalis Records executive  "Time Bomb Town", "Heaven Is One Step Away", and "Back in Time" are very briefly played in the background in some scenes during the film; "Back in Time" is additionally played in full in the film's end credits 

Track listing
^a  Lead vocals provided by Harry Waters Jr 
^b  Lead vocals provided by Mark CampbellSongs in the film but not included on the soundtrack album:
"The Washington Post" – composed by John Philip Sousa
"Mr  Sandman" – performed by The Four Aces
"The Ballad of Davy Crockett" – performed by Fess Parker
"Pledging My Love" – performed by Johnny Ace
"Out the Window" – Performed by Edward Van HalenThe tracks are not presented in the order they appear in the film  In chronological order, the track listing goes: 1, 2, 7, the first 90 seconds of 6, 8, 9, 10, the remainder of 6, 4, 5, and 3  "Back to the Future Overture" consists of the following cues, as released in its original form, on the subsequent score album:

Marty's Letter
Clocktower
'85 Lone Pine Mall

Charts
Certifications
Film score
Back to the Future: Intrada Special Collection was released by Intrada Records on November 24, 2009, and contains Alan Silvestri's complete score for Back to the Future  It is a two-disc release: the first disc contains the complete orchestral score for the film, along with two source cues that Silvestri wrote  The second disc contains alternate approaches that Silvestri took with a large portion of the score, with a darker and more serious tone  The two-disc set had a limited release of 10,000 units and sold nearly 6,000 units by the end of January 2010 The soundtrack was reissued on October 12, 2015, as a single-disc release, titled Back to the Future: Original Motion Picture Soundtrack (Expanded Edition), to commemorate the film's 30th anniversary  This release only contains the music on disc one of the initial limited two-disc set 

Development
Alan Silvestri had previously worked with director Robert Zemeckis on the score for Romancing the Stone  In composing the score, the only direction Zemeckis gave him was "it's got to be big"  Silvestri used an orchestral score to create a sound that contrasted with the small-town setting and the significant time-changing events occurring within it, and developed a heroic theme that was designed to be instantly recognizable in just a few notes For moments in the film where Silvestri's score was shortened (i e  the final moments of "Einstein Disintegrated" and "Peabody Barn; Marty Ditches DeLorean"), replaced with source music ("Town Square") or unused ("Logo"), the full score cue is presented as originally recorded 
The themes from the score have since been included in the scores of the film's sequels, in Back to the Future: The Ride, and used as ambient music at Universal Studios theme parks 

Track listing
Disc 1: The Complete Original Motion Picture Soundtrack

"Logo"
"DeLorean Reveal"
"Einstein Disintegrated"
"'85 Twin Pines Mall"
"Peabody Barn; Marty Ditches DeLorean"
"'55 Town Square"
"Lorraine's Bedroom"
"Retrieve DeLorean"
"1 21 Jigowatts"
"The Picture"
"Picture Fades"
"Skateboard Chase"
"Marty's Letter"
"George to the Rescue – Pt  1"
"Marvin Be-Bop"
"George to the Rescue – Pt  2"
"Tension; The Kiss"
"Goodnight Marty"
"It's Been Educational; Clocktower"
"Helicopter"
"'85 Lone Pine Mall"
"4x4"
"Doc Returns"
"Back to the Future"Disc 2: The Creation of a Classic    alternate Early Sessions

"DeLorean Reveal"
"Einstein Disintegrated"
"Peabody Barn"
"Marty Ditches DeLorean"
"'55 Town Square #1"
"'55 Town Square #2"
"Retrieve DeLorean"
"1 21 Jigowatts"
"The Picture"
"Skateboard Chase"
"George to the Rescue"
"Tension; The Kiss"
"Clocktower"
"'85 Lone Pine Mall"
"Doc Returns"
"Ling Ting Ring"

Back to the Future Part II (1989)
Back to the Future Part II: Original Motion Picture Soundtrack is the film score to the 1989 film of the same name, the second installment in the Back to the Future trilogy  It was released under MCA Records on November 22, 1989, and features most of the film score by American composer Alan Silvestri  AllMusic rated it four-and-a-half stars out of five  Unlike the previous soundtrack, it only contains the musical score by Silvestri, none of the vocal songs featured throughout the film are included 
Intrada Records reissued the soundtrack as a two-disc expanded edition on October 12, 2015, in commemoration of the first film's 30th anniversary  The soundtrack includes the complete score (22 tracks) on disc one and an arrangement of alternate cues and source music on disc two 

Track listings
Standard edition

"Main Title"
"The Future"
"Hoverboard Chase"
"A Flying DeLorean?"
"My Father!"
"Alternate 1985"
"If They Ever Did"
"Pair O' Docs"
"The Book"
"Tunnel Chase"
"Burn The Book"
"Western Union"
"End Title"Expanded edition – Disc 1: The Film Score"

"Back to Back / It's Your Kids"
"Main Title (extended version)"
"The Future"
"Chicken / Hoverboard Chase"
"A Flying DeLorean?"
"I'm in The Future / Biff Steals DeLorean"
"Chicken Needles / Jenn Sees Jenn"
"Biff's World / 27th Floor"
"My Father!"
"Alternate 1985"
"Gray's Sports Almanac / If They Ever Did"
"Something Inconspicuous"
"You'll Never Lose / Old New DeLorean"
"Pair O' Docs"
"The Book"
"Nobody / Tunnel Chase"
"Burn The Book"
"He's Gone"
"Western Union"
"I'm Back / End Logo"
"The West"
"End Title"Expanded edition – Disc 2: Alternates

"Back to Back (alternate)"
"Main Title (alternate)"
"The Future (alternate)"
"Hoverboard Chase (alternate)"
"A Flying DeLorean? (alternate)"
"Biff's World (alternate)"
"If They Ever Did (alternate segment)"
"You'll Never Lose (alternate)"
"Western Union (alternate #1)"
"I'm Back (alternate #1)"
"Western Union (alternate #2)"
"I'm Back (alternate #2)"
"End Logo (alternate)"
"The West (alternate)"
"End Title (alternate)"

Back to the Future Part III (1990)
Back to the Future Part III: Original Motion Picture Soundtrack is the film score to the film of the same name, the third and final installment in the Back to the Future trilogy  It was released under Varèse Sarabande on May 29, 1990, and features most of the film score by American composer Alan Silvestri  The soundtrack includes the acoustic instrumental version of the song "Doubleback" as performed during the film, but does not include the original ZZ Top version of the song played in the end credits 
Varèse Sarabande reissued the soundtrack as a two-disc expanded edition on October 12, 2015, in commemoration of the film's 25th anniversary  The soundtrack includes the complete score (26 tracks) in chronological order on disc one, and an arrangement of alternate cues, source music and acoustic renditions of traditional folk songs on disc two 

Track listings
Standard edition

"Main Title"
"It's Clara (The Train, Part II)"
"Hill Valley"
"The Hanging"
"At First Sight"
"Indians"
"Goodbye Clara"
"Doc Returns"
"Point of No Return (The Train, Part III)"
"The Future Isn't Written"
"The Showdown"
"Doc to the Rescue"
"The Kiss"
"We're Out of Gas"
"Wake Up Juice"
"A Science Experiment (The Train, Part I)"
"Doubleback (acoustic instrumental version)"
"End Credits"25th Anniversary edition – Disc 1: The Film Score

"Back to Back / Court House"
"Main Title"
"Into the Mine / Tombstone / It's Me"
"Warmed Up"
"Indians (film version)"
"Safe and Sound"
"Hill Valley"
"The Hanging"
"We're Out of Gas"
"There is No Bridge / Doc to the Rescue"
"At First Sight"
"Yellow"
"The Kiss"
"You Talkin' to Me?"
"The Future Isn't Written"
"Goodbye Clara"
"What's Up Doc / Marty Gallops / To the Future"
"Wake Up Juice"
"Callin' You Out / Count Off"
"The Showdown / The Kick"
"A Science Experiment (The Train – Part I)"
"It's Clara (The Train – Part II)"
"Point of No Return (The Train – Part III)"
"It's Destroyed / Back to the Girlfriend / It's Erased"
"Doc Returns"
"End Credits25th Anniversary edition – Disc 2: Alternates

"Back to Back / Court House (alternate)"
"I'm Back / Main Title (alternate)"
"Into the Mine / Tombstone (alternate)"
"Warmed Up (alternate)"
"Indians (alternate)"
"The Hanging (alternate)"
"Goodbye Clara (alternate segment)"
"Count Off (alternate)"
"The Kick (alternate)"
"Doc's Return (alternate)"
"Clock Dedication / Battle Cry of Freedom"
"Doubleback (extended version)"
"Turkey in the Straw"
"My Darling Clementine"
"Saloon Piano Melody"
"Arkansas Traveler"
"Devil's Dream"
"Pop Goes the Weasel"
"Virginia Reel (Tip-Top)"
"I'm Back (alternate #2)"
"Into the Mine (alternate #2)"
"Indians (alternate #2)"
"Doc Returns (alternate #2)"On the standard edition, the tracks are not presented in the order they appear in the film  In chronological order, the track listing goes 1, 6, 3, 4, 14, 12, 5, 17, 13, 10, 7, 15, 11, 16, 2, 9, 8, and 18 
Songs in the film not included on the soundtrack album:
"Doubleback" (original version) – performed by ZZ Top
"The Power of Love" – performed by Huey Lewis and the News

The Back to the Future Trilogy
The Back to the Future Trilogy is a soundtrack compilation album, released by Varèse Sarabande on September 21, 1999  The album is a compilation of Alan Silvestri compositions from all three Back to the Future film scores, as well the theme from Back to the Future: The Ride  Whilst the tracks from Part III are from the film's original soundtrack, the tracks for Part I, Part II and The Ride are re-recorded renditions performed by John Debney and the Royal Scottish National Orchestra at the Glasgow City Halls 

Track listing
Back to the Future: The Musical (2020)
Back to the Future: The Musical (Original Cast Recording) is the cast recording of the musical of the same name, with music and lyrics by Alan Silvestri and Glen Ballard, and a book by Bob Gale  Recorded by the musical's original West End cast, it was released by Sony Music's Masterworks Broadway imprint on March 11, 2022  The musical's score was nominated for the Laurence Olivier Award for Best Original Score or New Orchestrations in 2022 

Background
The Back to the Future website originally announced on October 21, 2020 ("Back to the Future Day") that a cast recording of the West End production will be released in summer 2021  The announcement was accompanied by the release of Dobson's rendition of "Back in Time", which was originally written for and featured in the first film, in addition to the original track "Put Your Mind to It"  The cast recording was originally set to be released on November 26, 2021, but was delayed several times, eventually releasing on March 11, 2022 

Track listing
Passage 11:
Pulse (1988 film)
Pulse is a 1988 American science-fiction horror film written and directed by Paul Golding, drawing influence from previous works of science fiction and horror, and starring Cliff De Young, Roxanne Hart, Joseph Lawrence, Matthew Lawrence, and Charles Tyner  The film's title refers to a highly aggressive and intelligent pulse of electricity that terrorizes the occupants of a suburban house in Los Angeles, California  The film was produced through Columbia Pictures and the Aspen Film Society and distributed by Columbia Pictures  The titular Pulse and its accompanying elements were designed by Cinema Research Corporation 

Plot
A highly aggressive, paranormal intelligence thriving within the electrical grid system of Los Angeles, California is moving from house to house  It terrorizes the occupants by taking control of the appliances, killing them or causing them to wreck the house in an effort to destroy it  Once this has been accomplished, it travels along the power lines to the next house, and the terror restarts  Having thus wrecked one household in a quiet, suburban neighborhood, the pulse finds itself in the home of a boy's divorced father whom he is visiting  It gradually takes control of everything, injuring the stepmother, and trapping father and son, who must fight their way out 

Cast
Cliff De Young as Bill Rockland
Roxanne Hart as Ellen Rockland
Joey Lawrence as David Rockland
Matthew Lawrence as Stevie
Charles Tyner as Old Man Holger
Dennis Redfield as Pete
Robert Romanus as Paul
Myron Healey as Howard
Michael Rider as Foreman
Jean Sincere as Ruby
Terry Beaver as Policeman
Greg Norberg as Policeman
Tim Russ as Policeman

Release
The film was promoted by the taglines "It traps you in your house   then pulls the plug," "In every second of every day, it improves our lives  And in a flash, it can end them," and also "the ultimate shocker "

Production
The film was produced by Aspen Film Society, a film production company founded by Steve Martin and William E  McEuen Paul Golding got the idea for Pulse from two unrelated events with the first being when the screenwriter Caleb Deschanel spent the night in his house and told him that at night he’d been listening to “the sounds of the house…  the house was alive and it was taking care of me“, and the second was when he heard about a computer that reprogrammed itself  Golding wrote the screenplay under the working titles of House, Tract and Currents in 1981 but couldn’t get it made until Columbia eventually took it on seven years later  David Morse and Tommy Lee Jones both auditioned for the role of Bill but lost to Cliff De Young  Production was completed a day early and $1 million dollars under its $6 million dollar budget, and as a result were able to afford Oxford Scientific Films to do many of the special effects 

Release
David V  Picker, the head of Paramount Pictures at the time, was impressed by the film and intended to position it as a wide release, but changes in studio management curtailed this and it was only released theatrically in Texas and Oklahoma, while it went straight to video elsewhere  The movie did however become a success on video 

Reception
Pulse has a 64% approval rating at the online review aggregator Rotten Tomatoes based on 14 reviews 

Music
The musical score for Pulse was composed by Jay Ferguson, who also composed "Pictures of You" from the soundtrack to The Terminator, and the film score to A Nightmare on Elm Street 5: The Dream Child 
Passage 12:
Nothin' My Love Can't Fix
"Nothin' My Love Can't Fix" is a song by American actor and singer Joey Lawrence, released as the first single from his self-titled debut album on February 15, 1993, by MCA Records subsidiary Impact Records  Written by Lawrence, Alexandra Forbes and Eric Beall and produced by Forbes, Beall, Steve Barri and Tony Peluso, "Nothin' My Love Can't Fix" is Lawrence's most successful single, peaking at number 19 on the US Billboard Hot 100 and number 10 on the Billboard Mainstream Top 40  It also reached number 13 in the United Kingdom, number 22 in Ireland, number 50 in Canada and number 68 in Australia 

Background
"Nothin' My Love Can't Fix" was written by Joey Lawrence, Alexandra Forbes, and Eric Beall  The song was written when Lawrence was approximately fifteen years old 

Composition
According to the sheet music published at Musicnotes com by Alfred Publishing, the song is written in the key of F major and is set in time signature of common time with a tempo of 108 beats per minute  Lawrence's vocal range spans three octaves, from F3 to F♯6 

Chart performance
In the United States, "Nothin' My Love Can't Fix" debuted at number 68 on the Billboard Hot 100 for the issue dated March 6, 1993  The song spent 20 weeks on the chart, reaching its peak position of number 19 for the issue dated May 8, 1993  On the 1993 year-end chart, the song achieved a position of number 92 

Music video
The video premiered on February 15, 1993, during an episode of Blossom  Prior to its broadcast, the video was promoted through advertisements on MTV and NBC  The music video received heavy airplay on many outlets, including MTV, and Lawrence was invited to perform on MTV Spring Break, The Arsenio Hall Show, and Top of the Pops 

Track listings and formats
Personnel
Personnel are adapted from the Joey Lawrence album liner notes 
Joey Lawrence – vocals, writing
Steve Barri – production
Alexandra Forbes – production, writing
Eric Beall – production, writing
Tony Peluso – production, vocal recording, mixing
Steve Skinner – keyboards, drum programming
Fred Tenny – recording
Axel Niehaus – assistant recording engineer
Fred Kelly – assistant mixing engineer
Julie Barri – production assistance
Steve Hall – mastering

Charts
Release history
In popular culture
"Nothin' My Love Can't Fix" was used as the end-title theme for the 1993 film Cop and a Half 
Passage 13:
Can't Live with You, Can't Live Without You
"Can't Live with You, Can't Live Without You" is a duet between Billy Newton-Davis and Celine Dion, released as a single in July 1989 in Canada  The song was featured on Newton-Davis' album Spellbound  "Can't Live with You, Can't Live Without You" was later included on Dion's Japanese maxi-single "Unison" (1991)  It was written by Dan Hill who also wrote for Dion "Seduces Me" on her 1996 album Falling into You 

Background
The "Can't Live with You, Can't Live Without You" music video received a MuchMusic Video Award for Best MOR Video in 1990 The song was Dion's second commercial English single after her 1985 "Listen to the Magic Man"  It reached number 41 on the Canadian Singles Chart and number 12 on the Adult Contemporary Chart  In Quebec, it peaked at number 19 Dion performed this song during her Unison Tour 

Track listings and formats
Canadian 7" single"Can't Live with You, Can't Live Without You" – 4:16
"Stop Me (Before I Dream Again)" – 3:40

Charts
Release history
Passage 14:
I Still Can't Get Over Loving You
"I Still Can't Get Over Loving You" is a 1983 song written and performed by Ray Parker Jr  It was the lead single from his Woman Out of Control album of the same year, and it reached #12 on the Billboard Hot 100 in early 1984  It was Parker's fifth top 20 hit, the sixth being 1984's "Ghostbusters" 

Background
The song is an up-tempo ballad with electronic instruments 
While initially the song speaks of lost love and an ended relationship, the lyrics gradually take a considerably more sinister tone, ultimately implying that the man either is stalking his former girlfriend, or potentially preparing to do harm to her  A turning point in the tone occurs when Parker borrows a line from  The Police's "Every Breath You Take", "Every breath you take, I'll be watching you " It is summarily followed by closing lines which indicate that the relationship has taken a dark turn:  "There's no way that this thing is through, no; Not yet, I ain't through lovin' you; I'm gettin' mad, girl, don't you ever try to leave, no, no; It'll be the last thing you'll ever do "

Charts
Weekly charts
Year-end charts
Passage 15:
You Can't Beat Love
You Can't Beat Love is a 1937 American comedy film directed by Christy Cabanne and written by Maxwell Shane and David Silverstein  The film stars Preston Foster, Joan Fontaine, Herbert Mundin, William Brisbane and Alan Bruce  The film was released on June 25, 1937 

Plot
Jimmy Hughes (Preston Foster) is a fun-loving carouser who can't resist a dare  He is awakened by his gentleman's gentleman Jasper (Herbert Mundin) after a drunken evening in which he misappropriated a milk truck, and instructs Jasper to see that the damages (thirty dollars' worth of lost milk) are paid and the truck is returned  Accompanied by Jasper, Jimmy then fulfills a bet by putting in a day of hard work digging ditches in formal wear, good-naturedly tangling with other crew members in the process  He donates his winnings to a children's charity 
When a campaign truck stops by the site to dispense free cake and solicit support for Mayor Olson's re-election, Jimmy engages in a heckling match with a campaign worker who proves to be the mayor's daughter, Trudy Olson (Joan Fontaine)  Trudy angrily suggests that he throw his hat in the ring, and in a bluff, he declares that he will 
When the newspapers run with the story, Jimmy is caught by surprise and the mayor's campaign is concerned  Trudy visits Jimmy at his home with a cake to patch things up, and as he pledges to clear up the misunderstanding, the two become mutually attracted  Trudy accompanies Jimmy to the newspaper office the next day to help him announce his withdrawal, but she mistakenly dares him to run for real, obliging him to do so 
Jimmy pledges a clean campaign, but still ruffles Trudy at times as he continues to pursue her  Things begin to go well between them again as Jimmy helps Trudy save a child who has stolen ice from an ice truck from punishment, and they steal a fun ride on the back of the truck together 
The corrupt police chief, who works for the mayor, secretly attempts to frame Jimmy by luring him to a phony love nest with a hired woman (Barbara Pepper) and a waiting photographer, but catches Jimmy's friend instead  In retaliation, Jimmy recruits the woman's jealous boyfriend, a gangster, to involve the police chief in a citywide gambling ring 
As the mayor comes under criticism for the resulting scandal, Trudy visits Jimmy's campaign office and overhears him colluding with the gamblers  At a debate on election eve, she accuses him of being behind the ring  Jimmy produces a check designating all gambling proceeds to a children's charity, and plays a recording for the crowd of the police chief agreeing to participate in the criminal profits  He also has a recording of the mayor angrily confronting the police chief, proving the mayor's innocence  Jimmy then endorses the mayor for re-election as the guilty parties are arrested  The press asks for a photo of Jimmy kissing Trudy, and she dares him 

Cast
Preston Foster as James Ellsworth 'Jimmy' Hughes
Joan Fontaine as Trudy Olson
Herbert Mundin as Jasper 'Meadows' Hives
William Brisbane as Clem Bruner
Alan Bruce as Scoop Gallagher
Paul Hurst as Foreman Butch Mehaffey
Bradley Page as Dwight Parsons
Berton Churchill as Police Chief Brennan
Frank M  Thomas as Mayor Olson
Harold Huber as Pretty Boy Jones
Paul Guilfoyle as Louie the Weasel
Barbara Pepper as May 'Bubbles' Smith
Passage 16:
Can't Go for That
"Can't Go for That" is a song by Canadian recording artist Tamia  It was written by Missy Elliott, Brycyn Evans and Roosevelt "Bink" Harrell for her second studio album A Nu Day (2000), featuring main production from the latter with Elliottt and Evans serving as co-producers  Musically, the song includes an interpolation of "I Can't Go For That (No Can Do)" as performed by Hall & Oates 
"Can't Go for That" was released as the album's lead single in 2000 and peaked at number 84 on the US Billboard Hot 100 and 23 on Billboard's Hot R&B/Hip-Hop Singles & Tracks chart  The single was remixed by Jonathan Peters  There is another remix version as the album bonus track which features 213 members Nate Dogg, Snoop Dogg and Warren G 

Music video
A music video for "Can't Go for That" was directed by Chris Hafner in the week of July 1, 2000  It was filmed in Los Angeles 

Track listings
Notes

^[a]  denotes co-producer
^[b]  denotes additional producer

Credits and personnel
Credits adapted from the liner notes of A Nu Day 
Co-producer – Brycyn Evans, Missy Elliott
Assistant engineer – Edith Luis
Mixing, recording – Bill Importico
Producer – Bink!

Charts
Weekly charts
Passage 17:
Can't Nobody
"Can't Nobody" is a song performed by American recording artist Kelly Rowland  It was written and produced by Rich Harrison for Rowland's solo debut album Simply Deep (2002)  The song is built around a sample of "Let's Get Small" (1982) by American R&B band Trouble Funk  Due to the inclusion of the sample, band members Robert "Syke Dyke" Reed and Tony Fisher are also credited as songwriters  Musically, the uptempo track has been described as an "airy hip hop funk" song, that has Rowland describing an infatuation as she tries to convince the object of desire of her charms and advantages 
The song was released as the second single from Simply Deep on January 21, 2003, following lead "Stole" and Rowland's duet single "Dilemma" with Nelly from his album Nellyville (2002)  While it widely failed to match the success of its predecessors, "Can't Nobody" reached the top-five in the United Kingdom and became a top-twenty hit in Australia, Denmark, Ireland, the Netherlands, and Scotland  In the US, the song entered Billboard's Mainstream Top 40  An accompanying music video was directed by Benny Boom and shot in Los Angeles, California in January 2003  In further promotion of the song, Rowland performed the song on television shows such as Top of the Pops and made it part of the setlist of her Simply Deeper Tour (2003) 

Background
After the release of her former group Destiny's Child's 2001 album Survivor, Rowland launched a solo career when American rapper Nelly asked her to appear as a featured artist on his song "Dilemma"  The record originally appeared on his album Nellyville (2002) and was released as its third single  An instant success, it became a worldwide number-one hit that year and prompted Rowland's label Columbia Records to advance the release date of her solo album from 2003 to late 2002 to capitalize on the success of "Dilemma"  Rowland was forced to complete the album within a month   "Can't Nobody" was written by producer and songwriter Rich Harrison  Known for his work on fellow Columbia Records signee Amerie's debut album All I Have (2002), the song marked his first collaboration with a Destiny's Child member  In contrast to his own production style and major parts of Simply Deep, which featured mid-tempo tracks and wide influences by pop and rock music, the track includes a beat driven but poppy and radio-friendly instrumental, involving elements from "Let's Get Small", a song written by Robert Reed and Tony Fisher and performed by Trouble Funk 

Critical reception
"Can't Nobody" received generally mixed reviews from music critics  AllMusic editor Jon O'Brien named the song one of the album's highlights along with "Stole", "Dilemma" and "Everytime You Walk Out That Door" and complimented the production on "Can't Nobody" due to its "clattering percussion"  Chuck Taylor from Billboard found that "while the single has its charms, its skittish production and overly busy chorus tend to grate after a few spins, limiting its chances to go to the long haul " Sal Cinquemani of Slant compared the song to Rowland's previous single "Dilemma" and wrote: "'Can’t Nobody' features a catchy, retro hook and slick production, but Rowland’s voice isn’t as powerful as Whitney Houston’s or even Beyoncé Knowles's " Vibe journalist Craig Seymour named "Can’t Nobody" one of the better tracks on Simply Deep, calling it "a morsel of airy hip hop funk [   ] But while the tune offers her a good rump-wiggling groove, it can't quite fill the need for an authentic identity "

Commercial performance
The song was first issued as the album's second single in the United States on January 21, 2003  However, "Can't Nobody" received little commercial response in Rowland's native, where it was less successful than previous single "Stole", debuting and peaking at number ninety-seven on the US Billboard Hot 100 and number seventy-two on Billboard's Hot R&B/Hip-Hop Songs, respectively  It also entered the US Mainstream Top 40, reaching number forty  The single fared better overseas, where it became Rowland's third consecutive top five hit on the UK Singles Chart, peaking at number five, as well as her ninth best-selling solo single as of November 2011  The song also entered the top ten of the Scottish Singles Chart, reaching number nine, and peaked within the top twenty in Denmark, Ireland, and the Netherlands  In Australia, "Can't Nobody" peaked at number thirteen and was eventually certified gold by the Australian Recording Industry Association (ARIA), indicating sales in excess of 35,000 copies 

Music video
Rowland reteamed with "Dilemma" director Benny Boom to craft a music video for "Can't Nobody" which was shot in Los Angeles, California at the weekend of January 4, 2003  Filming locations include the Orpheum Theatre on Broadway and the Chinatown neighborhood, both set in the Downtown Los Angeles district  Joe Oz served as first assistant director, while production was helmed by Veronica Zelle for now defunct Gorilla Flix Productions  Main camera was operated by Paul Cameron  Upon its release, the music video for "Can't Nobody" was included on the European maxi-single as an enhanced video element  It was later also included on the Japanese edition of Destiny's Child's Destiny's Child World Tour concert DVD, released in 2003, as well as the 2004 Wal-Mart exclusive limited Destiny's Child's Fan Pack DVD which was released a week before the release of Destiny Fulfilled (2004) In the video, Rowland is waiting outside of the Orpheum Theatre nightclub for her boyfriend, who is surprising her with tickets for a fictional Simply Deep musical  She arrives after her boyfriend leaves and after buying a ticket for the musical and waiting for him to meet her, she is disturbed upon seeing a hologram of the two of them waiting in line together  Frustrated, Rowland walks around the Chinatown neighborhood seeing couples all around her until she comes across the Grand Star Jazz Club  She enters the club and begins enjoying herself while dancing until she sees her boyfriend nearby  She confronts him over his absence at the theatre, and he reveals he was going to surprise her with tickets to the musical  Rowland is relieved and after the two laugh over the misunderstanding, they both proceed to dance together in the club  The video ends with the two leaving the club to go watch the musical at the theatre  In a report surrounding the production of the short film, MTV News noted that the video was "a take-off of the Christian Slater flick True Romance "

Track listings
Credits and personnel
Credits adapted from the liner notes of Simply Deep 

Charts
Certifications
Release history



ground_truth: Michael Bublé