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

Question: How many times did the plague occur in the city where Flora's painter died?

The following are given passages.
Context 1: Passage 1:
The Martyrdom of Saint Lawrence (Titian)
The Martyrdom of Saint Lawrence is a 1558 painting by Titian, now in the church of I Gesuiti in Venice  It so impressed Philip II of Spain that he commissioned a second version in 1567 for the basilica at El Escorial 

See also
List of works by Titian
Passage 2:
Black Death
The Black Death (also known as the Pestilence, the Great Mortality or the Plague) was a bubonic plague pandemic occurring in Western Eurasia and North Africa from 1346 to 1353  It is the most fatal pandemic recorded in human history, causing the deaths of 75–200 million people, peaking in Europe from 1347 to 1351  Bubonic plague is caused by the bacterium Yersinia pestis spread by fleas, but during the Black Death it probably also took a secondary form, spread by person-to-person contact via aerosols, causing pneumonic plague The Black Death was the beginning of the second plague pandemic  The plague created religious, social and economic upheavals, with profound effects on the course of European history 
The origin of the Black Death is disputed  Genetic analysis points to the evolution of Yersinia pestis in the Tian Shan mountains on the border between Kyrgyzstan and China 2,600 years ago  The immediate territorial origins of the Black Death and its outbreak remains unclear with some pointing towards Central Asia, China, the Middle East and Europe  The pandemic was reportedly first introduced to Europe during the siege of the Genoese trading port of Kaffa in Crimea by the Golden Horde army of Jani Beg in 1347  From Crimea, it was most likely carried by fleas living on the black rats that travelled on Genoese ships, spreading through the Mediterranean Basin and reaching North Africa, Western Asia and the rest of Europe via Constantinople, Sicily and the Italian Peninsula  There is evidence that once it came ashore, the Black Death mainly spread person-to-person as pneumonic plague, thus explaining the quick inland spread of the epidemic, which was faster than would be expected if the primary vector was rat fleas causing bubonic plague  In 2022, it was discovered that there was a sudden surge of deaths in what is today Kyrgyzstan from the Black Death in the late 1330s; when combined with genetic evidence, this implies that the initial spread may not have been due to Mongol conquests in the 14th century, as previously speculated The Black Death was the second great natural disaster to strike Europe during the Late Middle Ages (the first one being the Great Famine of 1315–1317) and is estimated to have killed 30 percent to 60 percent of the European population, as well as about one-third of the population of the Middle East  The plague might have reduced the world population from c  475 million to 350–375 million in the 14th century  There were further outbreaks throughout the Late Middle Ages and, with other contributing factors (the Crisis of the Late Middle Ages), the European population did not regain its level in 1300 until 1500  Outbreaks of the plague recurred around the world until the early 19th century 

Names
European writers contemporary with the plague described the disease in Latin as pestis or pestilentia, 'pestilence'; epidemia, 'epidemic'; mortalitas, 'mortality'  In English prior to the 18th century, the event was called the "pestilence" or "great pestilence", "the plague" or the "great death"  Subsequent to the pandemic "the furste moreyn" (first murrain) or "first pestilence" was applied, to distinguish the mid-14th century phenomenon from other infectious diseases and epidemics of plague The 1347 pandemic plague was not referred to specifically as "black" in the time of occurrence in any European language, though the expression "black death" had occasionally been applied to fatal disease beforehand  "Black death" was not used to describe the plague pandemic in English until the 1750s; the term is first attested in 1755, where it translated Danish: den sorte død, lit  'the black death'  This expression as a proper name for the pandemic had been popularized by Swedish and Danish chroniclers in the 15th and early 16th centuries, and in the 16th and 17th centuries was transferred to other languages as a calque: Icelandic: svarti dauði, German: der schwarze Tod, and French: la mort noire  Previously, most European languages had named the pandemic a variant or calque of the Latin: magna mortalitas, lit  'Great Death' The phrase 'black death' – describing Death as black – is very old  Homer used it in the Odyssey to describe the monstrous Scylla, with her mouths "full of black Death" (Ancient Greek: πλεῖοι μέλανος Θανάτοιο, romanized: pleîoi mélanos Thanátoio)  Seneca the Younger may have been the first to describe an epidemic as 'black death', (Latin: mors atra) but only in reference to the acute lethality and dark prognosis of disease  The 12th–13th century French physician Gilles de Corbeil had already used atra mors to refer to a "pestilential fever" (febris pestilentialis) in his work On the Signs and Symptoms of Diseases (De signis et symptomatibus aegritudium)  The phrase mors nigra, 'black death', was used in 1350 by Simon de Covino (or Couvin), a Belgian astronomer, in his poem "On the Judgement of the Sun at a Feast of Saturn" (De judicio Solis in convivio Saturni), which attributes the plague to an astrological conjunction of Jupiter and Saturn  His use of the phrase is not connected unambiguously with the plague pandemic of 1347 and appears to refer to the fatal outcome of disease The historian Cardinal Francis Aidan Gasquet wrote about the Great Pestilence in 1893 and suggested that it had been "some form of the ordinary Eastern or bubonic plague"  In 1908, Gasquet said use of the name atra mors for the 14th-century epidemic first appeared in a 1631 book on Danish history by J  I  Pontanus: "Commonly and from its effects, they called it the black death" (Vulgo & ab effectu atram mortem vocitabant) 

Previous plague epidemics
Research from 2017 suggests plague first infected humans in Europe and Asia in the Late Neolithic-Early Bronze Age  Research in 2018 found evidence of Yersinia pestis in an ancient Swedish tomb, which may have been associated with the "Neolithic decline" around 3000 BCE, in which European populations fell significantly  This Y  pestis may have been different from more modern types, with bubonic plague transmissible by fleas first known from Bronze Age remains near Samara The symptoms of bubonic plague are first attested in a fragment of Rufus of Ephesus preserved by Oribasius; these ancient medical authorities suggest bubonic plague had appeared in the Roman Empire before the reign of Trajan, six centuries before arriving at Pelusium in the reign of Justinian I  In 2013, researchers confirmed earlier speculation that the cause of the Plague of Justinian (541–542 CE, with recurrences until 750) was Y  pestis  This is known as the first plague pandemic  In 610, the Chinese physician Chao Yuanfang described a "malignant bubo" "coming in abruptly with high fever together with the appearance of a bundle of nodes beneath the tissue " The Chinese physician Sun Simo who died in 652 also mentioned a "malignant bubo" and plague that was common in Lingnan (Guangzhou)  Ole Jørgen Benedictow believes that this indicates it was an offshoot of the first plague pandemic which made its way eastward to Chinese territory by around 600 

14th-century plague
Causes
Early theory
The most authoritative contemporary account is found in a report from the medical faculty in Paris to Philip VI of France  It blamed the heavens, in the form of a conjunction of three planets in 1345 that caused a "great pestilence in the air" (miasma theory)  Muslim religious scholars taught that the pandemic was a "martyrdom and mercy" from God, assuring the believer's place in paradise  For non-believers, it was a punishment  Some Muslim doctors cautioned against trying to prevent or treat a disease sent by God  Others adopted preventive measures and treatments for plague used by Europeans  These Muslim doctors also depended on the writings of the ancient Greeks 

Predominant modern theory
Due to climate change in Asia, rodents began to flee the dried-out grasslands to more populated areas, spreading the disease  The plague disease, caused by the bacterium Yersinia pestis, is enzootic (commonly present) in populations of fleas carried by ground rodents, including marmots, in various areas, including Central Asia, Kurdistan, Western Asia, North India, Uganda and the western United States Y  pestis was discovered by Alexandre Yersin, a pupil of Louis Pasteur, during an epidemic of bubonic plague in Hong Kong in 1894; Yersin also proved this bacillus was present in rodents and suggested the rat was the main vehicle of transmission  The mechanism by which Y  pestis is usually transmitted was established in 1898 by Paul-Louis Simond and was found to involve the bites of fleas whose midguts had become obstructed by replicating Y  pestis several days after feeding on an infected host  This blockage starves the fleas and drives them to aggressive feeding behaviour and attempts to clear the blockage by regurgitation, resulting in thousands of plague bacteria being flushed into the feeding site, infecting the host  The bubonic plague mechanism was also dependent on two populations of rodents: one resistant to the disease, which act as hosts, keeping the disease endemic, and a second that lacks resistance  When the second population dies, the fleas move on to other hosts, including people, thus creating a human epidemic 

DNA evidence
Definitive confirmation of the role of Y  pestis arrived in 2010 with a publication in PLOS Pathogens by Haensch et al  They assessed the presence of DNA/RNA with polymerase chain reaction (PCR) techniques for Y  pestis from the tooth sockets in human skeletons from mass graves in northern, central and southern Europe that were associated archaeologically with the Black Death and subsequent resurgences  The authors concluded that this new research, together with prior analyses from the south of France and Germany, "ends the debate about the cause of the Black Death, and unambiguously demonstrates that Y  pestis was the causative agent of the epidemic plague that devastated Europe during the Middle Ages"  In 2011, these results were further confirmed with genetic evidence derived from Black Death victims in the East Smithfield burial site in England  Schuenemann et al  concluded in 2011 "that the Black Death in medieval Europe was caused by a variant of Y  pestis that may no longer exist" Later in 2011, Bos et al  reported in Nature the first draft genome of Y  pestis from plague victims from the same East Smithfield cemetery and indicated that the strain that caused the Black Death is ancestral to most modern strains of Y  pestis Since this time, further genomic papers have further confirmed the phylogenetic placement of the Y  pestis strain responsible for the Black Death as both the ancestor of later plague epidemics including the third plague pandemic and as the descendant of the strain responsible for the Plague of Justinian  In addition, plague genomes from significantly earlier in prehistory have been recovered DNA taken from 25 skeletons from 14th century London have shown plague is a strain of Y  pestis almost identical to that which hit Madagascar in 2013  Further DNA evidence also proves the role of Y  Pestis and traces the source to the Tian Shan Mountains in Kyrgyzstan 

Alternative explanations
It is recognised that an epidemiological account of plague is as important as an identification of symptoms, but researchers are hampered by the lack of reliable statistics from this period  Most work has been done on the spread of the disease in England, and even estimates of overall population at the start vary by over 100% as no census was undertaken in England between the time of publication of the Domesday Book of 1086 and the poll tax of the year 1377  Estimates of plague victims are usually extrapolated from figures for the clergy 
Mathematical modelling is used to match the spreading patterns and the means of transmission  A research in 2018 challenged the popular hypothesis that "infected rats died, their flea parasites could have jumped from the recently dead rat hosts to humans"  It suggested an alternative model in which "the disease was spread from human fleas and body lice to other people"  The second model claims to better fit the trends of death toll because the rat-flea-human hypothesis would have produced a delayed but very high spike in deaths, which contradict historical death data Lars Walløe complains that all of these authors "take it for granted that Simond's infection model, black rat → rat flea → human, which was developed to explain the spread of plague in India, is the only way an epidemic of Yersinia pestis infection could spread", whilst pointing to several other possibilities  Similarly, Monica Green has argued that greater attention is needed to the range of (especially non-commensal) animals that might be involved in the transmission of plague Archaeologist Barney Sloane has argued that there is insufficient evidence of the extinction of numerous rats in the archaeological record of the medieval waterfront in London and that the disease spread too quickly to support the thesis that Y  pestis was spread from fleas on rats; he argues that transmission must have been person to person  This theory is supported by research in 2018 which suggested transmission was more likely by body lice and fleas during the second plague pandemic 

Summary
Although academic debate continues, no single alternative solution has achieved widespread acceptance  Many scholars arguing for Y  pestis as the major agent of the pandemic suggest that its extent and symptoms can be explained by a combination of bubonic plague with other diseases, including typhus, smallpox and respiratory infections  In addition to the bubonic infection, others point to additional septicaemic (a type of "blood poisoning") and pneumonic (an airborne plague that attacks the lungs before the rest of the body) forms of plague, which lengthen the duration of outbreaks throughout the seasons and help account for its high mortality rate and additional recorded symptoms  In 2014, Public Health England announced the results of an examination of 25 bodies exhumed in the Clerkenwell area of London, as well as of wills registered in London during the period, which supported the pneumonic hypothesis  Currently, while osteoarcheologists have conclusively verified the presence of Y  pestis bacteria in burial sites across northern Europe through examination of bones and dental pulp, no other epidemic pathogen has been discovered to bolster the alternative explanations 

Transmission
Lack of hygiene
The importance of hygiene was recognised only in the nineteenth century with the development of the germ theory of disease; until then streets were commonly filthy, with live animals of all sorts around and human parasites abounding, facilitating the spread of transmissible disease By the early fourteenth century so much filth had collected inside urban Europe that French and Italian cities were naming streets after human waste  In medieval Paris, several street names were inspired by merde, the French word for "shit"  There were rue Merdeux, rue Merdelet, rue Merdusson, rue des Merdons and rue Merdiere—as well as a rue du Pipi Pigs, cattle, chickens, geese, goats and horses roamed the streets of medieval London and Paris  Medieval homeowners were supposed to police their housefronts, including removing animal dung, but most urbanites were as careless as William E  Cosner, a resident of the London suburb of Farringdon Without  A complaint lodged against Cosner charges that "men could not pass [by his house] for the stink [of]       horse dung and horse piss "One irate Londoner complained that the runoff from the local slaughterhouse had made his garden "stinking and putrid", while another charged that the blood from slain animals flooded nearby streets and lanes, "making a foul corruption and abominable sight to all dwelling near " In much of medieval Europe, sanitation legislation consisted of an ordinance requiring homeowners to shout, "Look out below!" three times before dumping a full chamber pot into the street Early Christians, who thought self-abnegation a cardinal virtue, considered bathing, if not a vice, then a temptation  "Who knows what impure thoughts might arise in a tub of warm water? With this danger in mind, St  Benedict declared, "To those who are well, and especially to the young, bathing shall seldom be permitted " St  Agnes took the injunction to heart and died without ever bathing 

Territorial origins
According to a team of medical geneticists led by Mark Achtman that analysed the genetic variation of the bacterium Yersinia pestis "evolved in or near China" over 2,600 years ago  Later research by a team led by Galina Eroshenko places the origins more specifically in the Tian Shan mountains on the border between Kyrgyzstan and China  However more recent research notes that the previous sampling had a very heavy East Asian bias and that sampling since then has discovered strains of Y  pestis in the Caucasus region that were previously thought to be restricted to China  There is also no physical or specific textual evidence of the Black Death in 14th century China  As a result, China's place in the sequence of the plague's spread is still debated to this day  According to Charles Creighton, records of epidemics in 14th century China suggest nothing more than typhus and major Chinese outbreaks of epidemic disease post-date the European epidemic by several years  The earliest Chinese descriptions of the bubonic plague do not appear until the 1640s Nestorian graves dating to 1338–1339 near Issyk-Kul in Kyrgyzstan have inscriptions referring to plague, which has led some historians and epidemiologists to think they mark the outbreak of the epidemic; this is supported by recent direct findings of Y  pestis DNA in teeth samples from graves in the area with inscriptions referring to "pestilence" as the cause of death  Epidemics killed an estimated 25 million across Asia during the fifteen years before the Black Death reached Constantinople in 1347 
The evidence does not suggest, at least at present, that these mortality crises were caused by plague  Although some scholars, including McNeill and Cao, see the 1333 outbreak as a prelude to the outbreaks in Europe from the late 1340s to the early 1350s, scholars of the Yuan and Ming periods remain skeptical about such an interpretation  Nonetheless, the remarkably high mortality rates during the Datong mortality should discourage us from rejecting the possibility of localized/regional outbreaks of plague in different parts of China, albeit differing in scale from, and unrelated to, the pandemic mortality of the Black Death  What we lack is any indication of a plague pandemic that engulfed vast territories of the Yuan Empire and later moved into western Eurasia through Central Asia 
According to John Norris, evidence from Issyk-Kul indicates a small sporadic outbreak characteristic of transmission from rodents to humans with no wide-scale impact  According to Achtman, the dating of the plague suggests that it was not carried along the Silk Road, and its widespread appearance in that region probably postdates the European outbreak  There are no records of the symptoms of the Black Death from Mongol sources or writings from travelers east of the Black Sea prior to the Crimean outbreak in 1346  Finally, the Silk Road had already been heavily disrupted before the spread of the Black Death  Western and Middle Eastern traders found it difficult to trade on the Silk Road by 1325 and impossible by 1340, making spread of the plague less likely Others still favor an origin in China or even Kurdistan, and not Central Asia  According to the theory of Chinese origin, the disease may have traveled along the Silk Road with Mongol armies and traders, or it could have arrived via ship, but this theory is still contested  It is speculated that rats aboard Zheng He's ships in the 15th century may have carried the plague to Southeast Asia, India and Africa 
Research on the Delhi Sultanate and the Yuan Dynasty shows no evidence of any serious epidemic in fourteenth-century India and no specific evidence of plague in fourteenth-century China, suggesting that the Black Death may not have reached these regions  Ole Benedictow argues that since the first clear reports of the Black Death come from Kaffa, the Black Death most likely originated in the nearby plague focus on the northwestern shore of the Caspian Sea 
Demographic historians estimate that China's population fell by at least 15 percent, and perhaps as much as a third, between 1340 and 1370  This population loss coincided with the Black Death that ravaged Europe and much of the Islamic world in 1347–52  However, there is a conspicuous lack of evidence for pandemic disease on the scale of the Black Death in China at this time  War and famine – and the diseases that typically accompanied them – probably were the main causes of mortality in the final decades of Mongol rule 
Monica H  Green suggests that the reason why other parts of Eurasia outside the west do not contain the same evidence of the Black Plague is because there were actually four strains of Yersinia pestis that became predominant in different parts of the world  Mongol records of illness such as food poisoning may have been referring to the Black Plague  Another theory is that the Black Death originated near Europe and cycled through the Mediterranean, Northern Europe and Russia before making its way to China  Other historians such as John Norris and Ole Benedictaw believe the Black Death likely originated in Europe or the Middle East and never reached China 

European outbreak
Plague was reportedly first introduced to Europe via Genoese traders from their port city of Kaffa in the Crimea in 1347  During a protracted siege of the city, in 1345–1346 the Mongol Golden Horde army of Jani Beg, whose mainly Tatar troops were suffering from the disease, catapulted infected corpses over the city walls of Kaffa to infect the inhabitants, though it is more likely that infected rats travelled across the siege lines to spread the epidemic to the inhabitants  As the disease took hold, Genoese traders fled across the Black Sea to Constantinople, where the disease first arrived in Europe in summer 1347 The epidemic there killed the 13-year-old son of the Byzantine emperor, John VI Kantakouzenos, who wrote a description of the disease modelled on Thucydides's account of the 5th century BCE Plague of Athens, but noting the spread of the Black Death by ship between maritime cities  Nicephorus Gregoras also described in writing to Demetrios Kydones the rising death toll, the futility of medicine, and the panic of the citizens  The first outbreak in Constantinople lasted a year, but the disease recurred ten times before 1400 Carried by twelve Genoese galleys, plague arrived by ship in Sicily in October 1347; the disease spread rapidly all over the island  Galleys from Kaffa reached Genoa and Venice in January 1348, but it was the outbreak in Pisa a few weeks later that was the entry point to northern Italy  Towards the end of January, one of the galleys expelled from Italy arrived in Marseilles From Italy, the disease spread northwest across Europe, striking France, Spain (the epidemic began to wreak havoc first on the Crown of Aragon in the spring of 1348), Portugal and England by June 1348, then spread east and north through Germany, Scotland and Scandinavia from 1348 to 1350  It was introduced into Norway in 1349 when a ship landed at Askøy, then spread to Bjørgvin (modern Bergen) and Iceland  Finally, it spread to northwestern Russia in 1351  Plague was somewhat more uncommon in parts of Europe with less developed trade with their neighbours, including the majority of the Basque Country, isolated parts of Belgium and the Netherlands, and isolated Alpine villages throughout the continent According to some epidemiologists, periods of unfavourable weather decimated plague-infected rodent populations and forced their fleas onto alternative hosts, inducing plague outbreaks which often peaked in the hot summers of the Mediterranean, as well as during the cool autumn months of the southern Baltic region  Among many other culprits of plague contagiousness, malnutrition, even if distantly, also contributed to such an immense loss in European population, since it weakened immune systems 

Western Asian and North African outbreak
The disease struck various regions in the Middle East and North Africa during the pandemic, leading to serious depopulation and permanent change in both economic and social structures  As infected rodents infected new rodents, the disease spread across the region, entering also from southern Russia 
By autumn 1347, plague had reached Alexandria in Egypt, transmitted by sea from Constantinople; according to a contemporary witness, from a single merchant ship carrying slaves  By late summer 1348 it reached Cairo, capital of the Mamluk Sultanate, cultural centre of the Islamic world, and the largest city in the Mediterranean Basin; the Bahriyya child sultan an-Nasir Hasan fled and more than a third of the 600,000 residents died  The Nile was choked with corpses despite Cairo having a medieval hospital, the late 13th century bimaristan of the Qalawun complex  The historian al-Maqrizi described the abundant work for grave-diggers and practitioners of funeral rites, and plague recurred in Cairo more than fifty times over the following one and a half centuries During 1347, the disease travelled eastward to Gaza by April; by July it had reached Damascus, and in October plague had broken out in Aleppo  That year, in the territory of modern Lebanon, Syria, Israel and Palestine, the cities of Ascalon, Acre, Jerusalem, Sidon and Homs were all infected  In 1348–1349, the disease reached Antioch  The city's residents fled to the north, but most of them ended up dying during the journey  Within two years, the plague had spread throughout the Islamic world, from Arabia across North Africa  The pandemic spread westwards from Alexandria along the African coast, while in April 1348 Tunis was infected by ship from Sicily  Tunis was then under attack by an army from Morocco; this army dispersed in 1348 and brought the contagion with them to Morocco, whose epidemic may also have been seeded from the Islamic city of Almería in al-Andalus Mecca became infected in 1348 by pilgrims performing the Hajj  In 1351 or 1352, the Rasulid sultan of the Yemen, al-Mujahid Ali, was released from Mamluk captivity in Egypt and carried plague with him on his return home  During 1348, records show the city of Mosul suffered a massive epidemic, and the city of Baghdad experienced a second round of the disease 

Signs and symptoms
Bubonic plague
Symptoms of the disease include fever of 38–41 °C (100–106 °F), headaches, painful aching joints, nausea and vomiting, and a general feeling of malaise  Left untreated, of those that contract the bubonic plague, 80 percent die within eight days Contemporary accounts of the pandemic are varied and often imprecise  The most commonly noted symptom was the appearance of buboes (or gavocciolos) in the groin, neck and armpits, which oozed pus and bled when opened  Boccaccio's description:

In men and women alike it first betrayed itself by the emergence of certain tumours in the groin or armpits, some of which grew as large as a common apple, others as an egg     From the two said parts of the body this deadly gavocciolo soon began to propagate and spread itself in all directions indifferently; after which the form of the malady began to change, black spots or livid making their appearance in many cases on the arm or the thigh or elsewhere, now few and large, now minute and numerous  As the gavocciolo had been and still was an infallible token of approaching death, such also were these spots on whomsoever they showed themselves 
This was followed by acute fever and vomiting of blood  Most people died two to seven days after initial infection  Freckle-like spots and rashes, which could have been caused by flea-bites, were identified as another potential sign of plague 

Pneumonic plague
Lodewijk Heyligen, whose master the Cardinal Colonna died of plague in 1348, noted a distinct form of the disease, pneumonic plague, that infected the lungs and led to respiratory problems  Symptoms include fever, cough and blood-tinged sputum  As the disease progresses, sputum becomes free-flowing and bright red  Pneumonic plague has a mortality rate of 90 to 95 percent 

Septicaemic plague
Septicaemic plague is the least common of the three forms, with a mortality rate near 100%  Symptoms are high fevers and purple skin patches (purpura due to disseminated intravascular coagulation)  In cases of pneumonic and particularly septicaemic plague, the progress of the disease is so rapid that there would often be no time for the development of the enlarged lymph nodes that were noted as buboes 

Consequences
Deaths
There are no exact figures for the death toll; the rate varied widely by locality  In urban centres, the greater the population before the outbreak, the longer the duration of the period of abnormal mortality  It killed some 75 to 200 million people in Eurasia  A study published in 2022 of pollen samples across Europe between 1250 and 1450 was used to estimate changes in agricultural output before and after the Black Death  The authors found great variability in different regions, with evidence for high mortality in areas of Scandinavia, France, western Germany, Greece and central Italy, but uninterrupted agricultural growth in central and eastern Europe, Iberia and Ireland The mortality rate of the Black Death in the 14th century was far greater than the worst 20th-century outbreaks of Y  pestis plague, which occurred in India and killed as much as 3% of the population of certain cities  The overwhelming number of deceased bodies produced by the Black Death caused the necessity of mass burial sites in Europe, sometimes including up to several hundred or several thousand skeletons  The mass burial sites that have been excavated have allowed archaeologists to continue interpreting and defining the biological, sociological, historical and anthropological implications of the Black Death According to medieval historian Philip Daileader, it is likely that over four years, 45–50% of the European population died of plague  Norwegian historian Ole Benedictow suggests it could have been as much as 60% of the European population  In 1348, the disease spread so rapidly that before any physicians or government authorities had time to reflect upon its origins, about a third of the European population had already perished  In crowded cities, it was not uncommon for as much as 50% of the population to die  Half of Paris' population of 100,000 people died  In Italy, the population of Florence was reduced from between 110,000 and 120,000 inhabitants in 1338 down to 50,000 in 1351  At least 60% of the population of Hamburg and Bremen perished, and a similar percentage of Londoners may have died from the disease as well, with a death toll of approximately 62,000 between 1346 and 1353  Florence's tax records suggest that 80% of the city's population died within four months in 1348  Before 1350, there were about 170,000 settlements in Germany, and this was reduced by nearly 40,000 by 1450  The disease bypassed some areas, with the most isolated areas being less vulnerable to contagion  Plague did not appear in Douai in Flanders until the turn of the 15th century, and the impact was less severe on the populations of Hainaut, Finland, northern Germany and areas of Poland  Monks, nuns and priests were especially hard-hit since they cared for people with the Black Death 

The physician to the Avignon Papacy, Raimundo Chalmel de Vinario (Latin: Magister Raimundus, lit  'Master Raymond'), observed the decreasing mortality rate of successive outbreaks of plague in 1347–48, 1362, 1371 and 1382 in his 1382 treatise On Epidemics (De epidemica)  In the first outbreak, two thirds of the population contracted the illness and most patients died; in the next, half the population became ill but only some died; by the third, a tenth were affected and many survived; while by the fourth occurrence, only one in twenty people were sickened and most of them survived  By the 1380s in Europe, it predominantly affected children  Chalmel de Vinario recognised that bloodletting was ineffective (though he continued to prescribe bleeding for members of the Roman Curia, whom he disliked), and said that all true cases of plague were caused by astrological factors and were incurable; he himself was never able to effect a cure The most widely accepted estimate for the Middle East, including Iraq, Iran and Syria, during this time, is for a death toll of about a third of the population  The Black Death killed about 40% of Egypt's population  In Cairo, with a population numbering as many as 600,000, and possibly the largest city west of China, between one third and 40% of the inhabitants died within eight months Italian chronicler Agnolo di Tura recorded his experience from Siena, where plague arrived in May 1348:

Father abandoned child, wife husband, one brother another; for this illness seemed to strike through the breath and sight  And so they died  And none could be found to bury the dead for money or friendship  Members of a household brought their dead to a ditch as best they could, without priest, without divine offices     great pits were dug and piled deep with the multitude of dead  And they died by the hundreds both day and night     And as soon as those ditches were filled more were dug     And I, Agnolo di Tura     buried my five children with my own hands  And there were also those who were so sparsely covered with earth that the dogs dragged them forth and devoured many bodies throughout the city  There was no one who wept for any death, for all awaited death  And so many died that all believed it was the end of the world 

Economic
It has been suggested that the plague, like some others in history, disproportionately affected the poorest people, who were already in generally worse physical condition than the wealthier citizens   Nevertheless, with such a large overall population decline from the pandemic, wages soared in response to a labour shortage  On the other hand, in the quarter century after the Black Death in England, it is clear many labourers, artisans and craftsmen, those living from money-wages alone, did suffer a reduction in real incomes owing to rampant inflation  Landowners were also pushed to substitute monetary rents for labour services in an effort to keep tenants 

Environmental
A study performed by Thomas Van Hoof of the Utrecht University suggests that the innumerable deaths brought on by the pandemic cooled the climate by freeing up land and triggering reforestation  This may have led to the Little Ice Age 

Persecutions
Renewed religious fervour and fanaticism bloomed in the wake of the Black Death  Some Europeans targeted "various groups such as Jews, friars, foreigners, beggars, pilgrims", lepers and Romani, blaming them for the crisis  Lepers, and others with skin diseases such as acne or psoriasis, were killed throughout Europe 
Because 14th-century healers and governments were at a loss to explain or stop the disease, Europeans turned to astrological forces, earthquakes and the poisoning of wells by Jews as possible reasons for outbreaks  Many believed the epidemic was a punishment by God for their sins, and could be relieved by winning God's forgiveness There were many attacks against Jewish communities  In the Strasbourg massacre of February 1349, about 2,000 Jews were murdered  In August 1349, the Jewish communities in Mainz and Cologne were annihilated  By 1351, 60 major and 150 smaller Jewish communities had been destroyed  During this period many Jews relocated to Poland, where they received a warm welcome from King Casimir the Great 

Social
One theory that has been advanced is that the devastation in Florence caused by the Black Death, which hit Europe between 1348 and 1350, resulted in a shift in the world view of people in 14th-century Italy and led to the Renaissance  Italy was particularly badly hit by the pandemic, and it has been speculated that the resulting familiarity with death caused thinkers to dwell more on their lives on Earth, rather than on spirituality and the afterlife  It has also been argued that the Black Death prompted a new wave of piety, manifested in the sponsorship of religious works of art This does not fully explain why the Renaissance occurred in Italy in the 14th century  The Black Death was a pandemic that affected all of Europe in the ways described, not only Italy  The Renaissance's emergence in Italy was most likely the result of the complex interaction of the above factors, in combination with an influx of Greek scholars following the fall of the Byzantine Empire  As a result of the drastic reduction in the populace the value of the working class increased, and commoners came to enjoy more freedom  To answer the increased need for labour, workers travelled in search of the most favorable position economically Prior to the emergence of the Black Death, the workings of Europe were run by the Catholic Church and the continent was considered a feudalistic society, composed of fiefs and city-states  The pandemic completely restructured both religion and political forces; survivors began to turn to other forms of spirituality and the power dynamics of the fiefs and city-states crumbled Cairo's population, partly owing to the numerous plague epidemics, was in the early 18th century half of what it was in 1347  The populations of some Italian cities, notably Florence, did not regain their pre-14th century size until the 19th century  The demographic decline due to the pandemic had economic consequences: the prices of food dropped and land values declined by 30–40% in most parts of Europe between 1350 and 1400  Landholders faced a great loss, but for ordinary men and women it was a windfall  The survivors of the pandemic found not only that the prices of food were lower but also that lands were more abundant, and many of them inherited property from their dead relatives, and this probably destabilised feudalism The word "quarantine" has its roots in this period, though the concept of isolating people to prevent the spread of disease is older  In the city-state of Ragusa (modern Dubrovnik, Croatia), a thirty-day isolation period was implemented in 1377 for new arrivals to the city from plague-affected areas  The isolation period was later extended to forty days, and given the name "quarantino" from the Italian word for "forty" 

Recurrences
Second plague pandemic
The plague repeatedly returned to haunt Europe and the Mediterranean throughout the 14th to 17th centuries  According to Jean-Noël Biraben, the plague was present somewhere in Europe in every year between 1346 and 1671  (Note that some researchers have cautions about the uncritical use of Biraben's data ) The second pandemic was particularly widespread in the following years: 1360–63; 1374; 1400; 1438–39; 1456–57; 1464–66; 1481–85; 1500–03; 1518–31; 1544–48; 1563–66; 1573–88; 1596–99; 1602–11; 1623–40; 1644–54; and 1664–67  Subsequent outbreaks, though severe, marked the retreat from most of Europe (18th century) and northern Africa (19th century)  The historian George Sussman argued that the plague had not occurred in East Africa until the 1900s  However, other sources suggest that the Second pandemic did indeed reach Sub-Saharan Africa According to historian Geoffrey Parker, "France alone lost almost a million people to the plague in the epidemic of 1628–31 " In the first half of the 17th century, a plague killed some 1 7 million people in Italy  More than 1 25 million deaths resulted from the extreme incidence of plague in 17th-century Spain The Black Death ravaged much of the Islamic world  Plague could be found in the Islamic world almost every year between 1500 and 1850  Sometimes the outbreaks affected small areas, while other outbreaks affected multiple regions  Plague repeatedly struck the cities of North Africa  Algiers lost 30,000–50,000 inhabitants to it in 1620–21, and again in 1654–57, 1665, 1691 and 1740–42  Cairo suffered more than fifty plague epidemics within 150 years from the plague's first appearance, with the final outbreak of the second pandemic there in the 1840s  Plague remained a major event in Ottoman society until the second quarter of the 19th century  Between 1701 and 1750, thirty-seven larger and smaller epidemics were recorded in Constantinople, and an additional thirty-one between 1751 and 1800  Baghdad has suffered severely from visitations of the plague, and sometimes two-thirds of its population had died 

Third plague pandemic
The third plague pandemic (1855–1859) started in China in the mid-19th century, spreading to all inhabited continents and killing 10 million people in India alone  The investigation of the pathogen that caused the 19th-century plague was begun by teams of scientists who visited Hong Kong in 1894, among whom was the French-Swiss bacteriologist Alexandre Yersin, after whom the pathogen was named Twelve plague outbreaks in Australia between 1900 and 1925 resulted in well over 1,000 deaths, chiefly in Sydney  This led to the establishment of a Public Health Department there which undertook some leading-edge research on plague transmission from rat fleas to humans via the bacillus Yersinia pestis The first North American plague epidemic was the San Francisco plague of 1900–1904, followed by another outbreak in 1907–1908 

Modern-day
Modern treatment methods include insecticides, the use of antibiotics, and a plague vaccine  It is feared that the plague bacterium could develop drug resistance and again become a major health threat  One case of a drug-resistant form of the bacterium was found in Madagascar in 1995  A further outbreak in Madagascar was reported in November 2014  In October 2017, the deadliest outbreak of the plague in modern times hit Madagascar, killing 170 people and infecting thousands An estimate of the case fatality rate for the modern bubonic plague, following the introduction of antibiotics, is 11%, although it may be higher in underdeveloped regions 

See also
Black Death in England
Black Death in medieval culture
Crisis of the Late Middle Ages
Flagellant
Globalization and disease
List of epidemics
Second plague pandemic
Timeline of plague
Passage 3:
Black Death in England
The Black Death was a bubonic plague pandemic, which reached England in June 1348  It was the first and most severe manifestation of the second pandemic, caused by Yersinia pestis bacteria  The term Black Death was not used until the late 17th century 
Originating in Asia, it spread west along the trade routes across Europe and arrived on the British Isles from the English province of Gascony  The plague was spread by flea-infected rats, as well as individuals who had been infected on the continent  Rats were the reservoir hosts of the Y  pestis bacteria and the Oriental rat flea was the primary vector 
The first-known case in England was a seaman who arrived at Weymouth, Dorset, from Gascony in June 1348  By autumn, the plague had reached London, and by summer 1349 it covered the entire country, before dying down by December  Low estimates of mortality in the early twentieth century have been revised upwards due to re-examination of data and new information, and a figure of 40–60 percent of the population is widely accepted 
The most immediate consequence was a halt to the campaigns of the Hundred Years' War  In the long term, the decrease in population caused a shortage of labour, with subsequent rise in wages, resisted by the landowners, which caused deep resentment among the lower classes  The Peasants' Revolt of 1381 was largely a result of this resentment, and even though the rebellion was suppressed, in the long term serfdom was ended in England  The Black Death also affected artistic and cultural efforts, and may have helped advance the use of the vernacular 
In 1361–62 the plague returned to England, this time causing the death of around 20 per cent of the population  After this the plague continued to return intermittently throughout the 14th and 15th centuries, in local or national outbreaks  From this point on its effect became less severe, and one of the last outbreaks of the plague in England was the Great Plague of London in 1665–1666 

Background
England in the mid-14th century
It is impossible to establish with any certainty the exact number of inhabitants in England at the eve of the Black Death, and estimates range from 3 to 7 million  The number is probably in the higher end, and an estimate of around 6 million inhabitants seems likely  Earlier demographic crises—in particular the Great Famine of 1315–1317—had resulted in great numbers of deaths, but there is no evidence of any significant decrease in the population prior to 1348  England was still a predominantly rural and agrarian society; close to 90 per cent of the population lived in the countryside  Of the major cities, London was in a class of its own, with perhaps as many as 70,000 inhabitants  Further down the scale were Norwich, with around 12,000 people, and York with around 10,000  The main export, and the source of the nation's wealth, was wool  Until the middle of the century the export had consisted primarily of raw wool to cloth makers in Flanders  Gradually though, the technology for cloth making used on the Continent was appropriated by English manufacturers, who started an export of cloths around mid-century that would boom over the following decades Politically, the kingdom was evolving into a major European power, through the youthful and energetic kingship of Edward III  In 1346, the English had won a decisive battle over the Scots at the Battle of Neville's Cross, and it seemed that Edward III would realise his grandfather Edward I's ambition of bringing the Scots under the suzerainty of the English crown  The English were also experiencing military success on the continent  Less than two months before the Battle of Neville's Cross, a numerically inferior English army led by the king himself won a spectacular victory over the French royal forces at the Battle of Crécy  The victory was immediately followed by Edward laying siege to the port city of Calais  When the city fell the next year, this provided the English with a strategically important enclave that would remain in their possession for over two centuries 

The Black Death
The term "Black Death"—which refers to the first and most serious outbreak of the second pandemic—was not used by contemporaries, who preferred such names as the "Great Pestilence" or the "Great Mortality"  It was not until the 17th century that the term under which we know the outbreak today became common, probably derived from Scandinavian languages  It is generally agreed today that the disease in question was plague, caused by Yersinia pestis bacteria  These bacteria are carried by fleas, which can be transferred to humans through contact with rats  Flea bites carry the disease into the lymphatic system, through which it makes its way to the lymph nodes  Here the bacteria multiply and form swellings called buboes, from which the term bubonic plague is derived  After three or four days the bacteria enter the bloodstream, and infect organs such as the spleen and the lungs  The patient will then normally die after a few days  A different strain of the disease is pneumonic plague, where the bacteria become airborne and enter directly into the patient's lungs  This strain is far more virulent, as it spreads directly from person to person  These types of infection probably both played a significant part in the Black Death, while a third strain was more rare  This is the septicaemic plague, where the flea bite carries the bacteria directly into the blood stream, and death occurs very rapidly A study reported in 2011 of skeletons exhumed from the Black Death cemetery in East Smithfield, London, found Yersinia pestis DNA  An archaeological dig in the vicinity of Thornton Abbey in Lincolnshire was reported in the science section of The Guardian for 30 November 2016, not only confirming evidence of the Y  pestis DNA in the human remains exhumed there but also dating the remains to mid-1349 
Genotyping showed that it was [at that time] a newly evolved strain, ancestor of all modern strains and proved the Black Death was bubonic plague  Modern medical knowledge suggests that because it was a new strain, the human immune system would have had little or no defence against it, helping to explain the plague's virulence and high death rates The Black Death seems to have originated in Central Asia, where the Y  pestis bacterium is endemic in the rodent population  It is unknown exactly what caused the outbreak, but a series of natural occurrences likely brought humans into contact with the infected rodents  The epidemic reached Constantinople in the late spring of 1347, through Genoese merchants trading in the Black Sea  From here it reached Sicily in October that same year, and by early 1348 it had spread over the entire Italian mainland  It spread rapidly through France, and had reached as far north as Paris by June 1348  Moving simultaneously westward, it arrived in the English province of Gascony around the same time 

Progress of the plague
According to the chronicle of the grey friars at King's Lynn, the plague arrived by ship from Gascony to Melcombe in Dorset—today normally referred to as Weymouth—shortly before the Feast of St  John the Baptist on 24 June 1348  Other sources mention different points of arrival, including Bristol and Southampton  Though the plague might have arrived independently at Bristol at a later point, the Grey Friars' Chronicle is considered the most authoritative account  If it is assumed that the chronicle reports the first outbreak of the plague, rather than its actual arrival, then the arrival most likely happened around 8 May From Weymouth the disease spread rapidly across the south-west  The first major city to be struck was Bristol  The disease reached London in the autumn of 1348, before most of the surrounding countryside  This had certainly happened by November, though according to some accounts as early as 29 September  Arrival in London happened by three principal roads: overland from Weymouth—through Salisbury and Winchester—overland from Gloucester, and along the coast by ship  The full effect of the plague was felt in the capital early the next year  Conditions in London were ideal for the plague: the streets were narrow and flowing with sewage, and houses were overcrowded and poorly ventilated  By March 1349 the disease was spreading haphazardly across all of southern England During the first half of 1349 the Black Death spread northwards  A second front opened up when the plague arrived by ship at the Humber, after which it spread both south and north  In May it reached York, and during the summer months of June, July and August, it ravaged the north  Certain northern counties, like Durham and Cumberland, had been the victim of violent incursions from the Scots, and were therefore left particularly vulnerable to the devastations of the plague  Pestilence is less virulent during the winter months, and spreads less rapidly  The Black Death in England had survived the winter of 1348–49, but during the following winter it gave in, and by December 1349 conditions were returning to relative normality  It had taken the disease approximately 500 days to traverse the entire country 

Medical practice
Various methods were used including sweating, bloodletting, forced vomiting and urinating to treat patients infected with the plague  Several symptoms of the illness included blotches, hardening of the glands under the groin and underarms, and dementia  Within the initial phase of the disease, bloodletting was performed on the same side of where the physical manifestations of the buboes or risings appeared  For instance, if a rising appeared on the right side of the groin the physician would bleed a vein in the ankle on the same side  In the case of sweating, it was achieved with such medicines as Mithridate, Venice-Treacle, Matthiolus, Bezoar-Water, Serpentary Roots and Electuarium de Ovo  Sweating was used when measures were desperate; if a patient had tokens, a severe version of risings, the physician would wrap the naked patient in a blanket drenched in cold water  This measure was only performed while the patient still had natural heat in his system  The desired effect was to make the patient sweat violently and thus purge all corruption from the blood which was caused by the disease Another practice was the use of pigeons when treating swellings  Swellings which were white in appearance and deep were unlikely to break and were anointed with Oil of Lillies or Camomil  Once the swelling rose to a head and was red in appearance and not deep in the flesh, it was broken with the use of a feather from a young pigeon's tail  The feather's fundament was held to the swelling and would draw out the venom  However, if the swelling dropped and became black in appearance, the physician had to be cautious when drawing the cold from the swelling  If it was too late to prevent, the physician would take the young pigeon, cut it open from breast to back, break it open and apply the pigeon (while still alive) over the cold swelling  The cupping therapy was an alternative method which was heated and then placed over the swellings  Once the sore was broken, the physician would apply Mellilot Plaister with Linimentum Arcei and heal the sore with digence 

Victims
Death toll
Although historical records for England were more extensive than those of any other European country, it is still extremely difficult to establish the death toll with any degree of certainty  Difficulties involve uncertainty about the size of the total population, as described above, but also issues regarding the proportion of the population that died from the plague  Contemporary accounts are often grossly inflated, stating numbers as high as 90 per cent  Modern historians give estimates of death rates ranging from around 25 per cent to more than 60 per cent of the total population 
The pioneering work in the field was made by Josiah William Russell in his 1948 British Medieval Population  Russell looked at inquisitions post mortem (IPMs)—taken by the crown to assess the wealth of the greatest landowners after their death—to assess the mortality caused by the Black Death, and from this arrived at an estimate of 23 6 per cent of the entire population  He also looked at episcopal registers for the death toll among the clergy, where the result was between 30 and 40 per cent  Russell believed the clergy was at particular risk of contagion, and eventually concluded with a low mortality level of only 20 per cent Several of Russell's assumptions have been challenged, and the tendency since has been to adjust the assessment upwards  Philip Ziegler, in 1969, estimated the death rate to be at around one third of the population  Jeremy Goldberg, in 1996, believed a number closer to 45 per cent would be more realistic  A 2004 study by Ole Jørgen Benedictow suggests the exceptionally high mortality level of 62 5 per cent  Assuming a population of 6 million, this estimate would correspond to 3,750,000 deaths  Such a high percentage would place England above the average that Benedictow estimates for Western Europe as a whole, of 60 per cent  A death rate at such a high level has not been universally accepted in the historical community In 2016, Carenza Lewis reported the results of a new method of assessing the death toll  She argued that pottery before and after the Black Death is datable because there was a change at that time from the high medieval to the late medieval style, and that counts of pottery of each type therefore provide a useful proxy for long term changes in population  She and her colleagues analysed pottery sherds from test pits in more than 50 continuously occupied rural settlements in eastern England, and found a decline in the number of pottery producing pits of 45 per cent  Norfolk had the greatest drop of 65 per cent, while there was no drop in 10 per cent of settlements, mostly commercial centres 

Impact of the Black Death: 1349
Archbishop Zouche of York issued a warning throughout the diocese in July 1348 (when the epidemic was raging further south) of "great mortalities, pestilences and infections of the air" 
The Great Mortality, as it was then known, entered Yorkshire around February 1349 and quickly spread through the diocese  The clergy were on the front line of the disease, bringing comfort to the dying, hearing final confessions and organising burials  This, almost by necessity, put them at a greater risk of infection 
Estimates suggest that the death rate of clergy in some parts of the archdiocese could have been as high as 48 per cent  This is reflected in the Ordination Register, which shows a massive rise in ordained clergy over the period—some being recruited before the arrival of plague in a clerical recruitment drive, but many once plague had arrived, replacing those who had been killed  In 1346, 111 priests and 337 acolytes were recruited  In 1349, 299 priests and 683 acolytes are named, with 166 priests being ordained in one session alone in February 1350 "

Social distribution
Russell had trusted the IPMs to give a true picture of the national average, because he assumed death rates to be relatively equal across the social spectrum  This assumption has been proven wrong, and studies of peasant plague mortality from manor rolls have returned much higher rates  This could be a consequence of the elite's ability to avoid infection by escaping plague-infected areas  It could also result from lower post-infection mortality among those more affluent, due to better access to care and nursing  If so, this would also mean that the mortality rates for the clergy—who were normally better off than the general population—were no higher than the average 

The manorial records offer a good opportunity to study the geographical distribution of the plague  Its effect seems to have been about the same all over England, though a place like East Anglia, which had frequent contact with the Continent, was severely affected  On a local level, however, there were great variations  A study of the Bishop of Worcester's estates reveal that, while his manors of Hartlebury and Hanbury had a mortality of only 19 per cent, the manor of Aston lost as much as 80 per cent of its population  The manor rolls are less useful for studying the demographic distribution of the mortality, since the rolls only record the heads of households, normally an adult male  Here the IPMs show us that the most vulnerable to the disease were infants and the elderly There seem to have been relatively few deaths from the Black Death at higher levels of society  The only member of the royal family who can be said with any certainty to have died from the Black Death was in France at the time of her infection  Edward III's daughter Joan was residing in Bordeaux on her way to marry Pedro of Castile in the summer of 1348  When the plague broke out in her household she was moved to a small village nearby, but she could not avoid infection, and died there on 2 September  It is possible that the popular religious author Richard Rolle, who died on 30 September 1349, was another victim of the Black Death  The English philosopher William of Ockham has been mentioned as a plague victim  This, however, is an impossibility  Ockham was living in Munich at the time of his death, on 10 April 1347, two years before the Black Death reached that city 

Consequences
Economic, social and political effects
Among the most immediate consequences of the Black Death in England was a shortage of farm labour, and a corresponding rise in wages  The medieval world-view was unable to interpret these changes in terms of socio-economic development, and it became common to blame degrading morals instead  The landowning classes saw the rise in wage levels as a sign of social upheaval and insubordination, and reacted with coercion  In 1349, King Edward III passed the Ordinance of Labourers, fixing wages at pre-plague levels  The ordinance was reinforced by Parliament's passing of the Statute of Labourers in 1351  The labour laws were enforced with ruthless determination over the following decades 

These legislative measures proved largely inefficient at regulating the market, but the government's repressive measures to enforce them caused public resentment  These conditions were contributing factors to the Peasants' Revolt in 1381  The revolt started in Kent and Essex in late May, and once the rebels reached London they burnt down John of Gaunt's Savoy Palace, and killed both the Chancellor and the Treasurer  They then demanded the complete abolition of serfdom, and were not pacified until the young King Richard II personally intervened  The rebellion was eventually suppressed, but the social changes it promoted were already irreversible  By around 1400 serfdom was virtually extinct in England, replaced by the form of tenure called copyhold It is conspicuous how well the English government handled the crisis of the mid-fourteenth century, without descending into chaos and total collapse in the manner of the Valois government of France  To a large extent this was the accomplishment of administrators such as Treasurer William de Shareshull and Chief Justice William Edington, whose highly competent leadership guided the governance of the nation through the crisis  The plague's greatest effect on the government was probably in the field of war, where no major campaigns were launched in France until 1355 Another notable consequence of the Black Death was the raising of the real wage of England (due to the shortage of labour as a result of the reduction in population), a trait shared across Western Europe, which in general led to a real wage in 1450 that was unmatched in most countries until the 19th or 20th century  The higher wages for workers combined with sinking prices on grain products led to a problematic economic situation for the gentry  As a result, they started to show an increased interest for offices like justice of the peace, sheriff and member of parliament  The gentry took advantage of their new positions and a more systematic corruption than before spread  A result of this was that the gentry as a group became highly disliked by commoners 

Religious and cultural consequences
The omnipresence of death also inspired greater piety in the upper classes, which can be seen in the fact that three Cambridge colleges were founded during or shortly after the Black Death  England did not experience the same trend of roving bands of flagellants, common on the continent  Neither were there any pogroms against the Jews, since the Jews had been expelled by Edward I in 1290 The high rate of mortality among the clergy naturally led to a shortage of priests in many parts of the country  The clergy were seen to have an elevated status among ordinary people and this was partly due to their purported closeness with God, being his envoys on earth  However, as the church itself had given the cause of the Black Death to be the impropriety of the behaviour of men, the higher death rate among the clergy led the people to lose faith in the Church as an institution—it had proved as ineffectual against the horror of Y  pestis as every other medieval institution  The corruption within the Catholic priesthood also angered the English people  Many priests abandoned the terrified people  Others sought benefits from the rich families who needed burials  The dissatisfaction led to anti-clericalism and the rise of John Wycliffe, an English priest  His ideas paved a path for the Christian reformation in England  Some people did not lose their Christian faith, if anything it was renewed; they began to long for a more personal relationship with God—around the time after the Black Death many chantries (private chapels) began to spread in use from not just the nobility, but to among the well-to-do  This change in the power of the papacy in England is demonstrated by the statutes of Praemunire 
The Black Death also affected arts and culture significantly  It was inevitable that a catastrophe of such proportions would affect some of the greater building projects, as the amount of available labour fell sharply  The building of the cathedrals of Ely and Exeter was temporarily halted in the years immediately following the first outbreak of the plague  The shortage of labour also helped advance the transition from the Decorated style of building to the less elaborate Perpendicular style  The Black Death may also have promoted the use of vernacular English, as the number of teachers proficient in French dwindled, contributing to the late-14th-century flowering of English literature, represented by writers such as Geoffrey Chaucer and John Gower 

Recurrences
The Black Death was the first occurrence of the second pandemic, which continued to strike England and the rest of Europe more or less regularly until the 18th century  The first serious recurrence in England came in the years 1361−62  Little is known about the death rates caused by these later outbreaks, but the so-called pestis secunda may have had a mortality of around 20 per cent  Genetic analysis performed on remains recovered from the abbey of St  Mary's Graces dating between 1353 and 1364 found the pPCP1 plasmid, a plasmid only found in Yersinia pestis and not the related environmental agent Yersinia pseudotuberculosis, revealing that this outbreak was also caused by Yersinia pestis just as the initial outbreak had been  This epidemic was also particularly devastating for the population's ability to recover, since it disproportionately affected infants and young men  This was also the case with the next occurrence, in 1369, where the death rate was around 10−15 per cent Over the following decades the plague would return—on a national or a regional level—at intervals of five to 12 years, with gradually dwindling death tolls  Then, in the decades from 1430 to 1480, the disease returned in force  An outbreak in 1471 took as much as 10–15 per cent of the population, while the death rate of the plague of 1479–80 could have been as high as 20 per cent  From that point outbreaks became fewer and more manageable, due largely to conscious efforts by central and local governments—from the late 15th century onward—to curtail the disease  This included quarantines on people and goods coming from infected places, bans on public gatherings (such as fairs), enforced household quarantine for the infected (known as 'locking up') and quarantines on ships and crews coming from ports where Plague outbreaks had occurred  From the early seventeenth century there was also greater use of quarantine facilities, called pesthouses, in preference to household quarantine  Some of these, such as the Forlorn Hope Pesthouse established by Bristol in 1665–6, appear to have been proper quarantine hospitals, staffed by doctors  The establishment of such a hospital may help to explain why the death rate in Bristol in the 1665–66 outbreak was "only" c 0 6 percent  This was much lower than the mortality rate of 10–20 percent witnessed in Bristol's Plague epidemics of 1565, 1575, 1603–04 and 1645  The Great Plague of 1665–66 was the last major outbreak in England  It is best known for the famous Great Plague of London, which killed 100,000 people (20 per cent of the population) in the capital  Other places hit hard included Eyam in Derbyshire, Derby itself and Norwich 

See also
Passage 4:
2013 Houphouët-Boigny stampede
The 2013 Houphouët-Boigny stampede occurred as crowds departed a New Year's Eve fireworks display in the early hours of 1 January 2013 near the Félix Houphouët-Boigny Stadium in Abidjan, Ivory Coast  It resulted in 61 deaths and over 200 injuries, mostly women and children  This was the second time in four years that a fatal stampede occurred at the stadium 
President Alassane Ouattara declared three days of mourning and promised an investigation 

Incident
At some time between 1 and 4 am according to sources, following the New Year's Eve celebration and fireworks display, crowds stampeded as they exited the stadium into the Boulevard de la République near the Hotel Tirama  This was the second year that fireworks had been held by the government to commemorate the end of the 2010–2011 Ivorian crisis and the Second Ivorian Civil War, following the controversial 2010 presidential election  According to official reports, 61 individuals were killed, with upwards of 200 injured  According to Alain Lobognon, the Minister of Youth, 26 children were among the dead, most of whom were between the ages of 8 and 15, as well as 28 women and six men 

Investigation and reaction
The cause of the stampede is not yet clear, however a senior police spokesman has confirmed they are investigating  Lieutenant Colonel Issa Sako, the officer in charge of the military responding to the disaster, said that the deaths were caused when "people were walked over and suffocated by the crowd"  According to an Ivorian government official, approximately "50,000 people [were] on the streets     going home" after the New Year's celebrations  Witnesses have alternatively claimed that two large crowds moving in opposite directions collided, and that security forces attempting to break up the crowd leaving the stadium caused a panic Visiting the injured in hospital, President Alassane Ouattara said that the national tragedy would be investigated  Minister of the Interior Hamed Bakayoko stated in a national television broadcast on Radiodiffusion Television Ivoirienne that "the government extends its condolences to the families of those deceased and assures them of its solidarity" and that the Ivorian government would help by "all means possible " Bakayoko went on to say that "the precise circumstances of this tragic occurrence are being looked into by the security services" 
Passage 5:
2010 Elazığ earthquake
The 2010 Elazığ earthquake was a 6 1 Mw earthquake that occurred on 8 March 2010 at 02:32 UTC (04:32 local time)  The epicentre was Başyurt in Elazığ Province, in eastern Turkey  Initial reports in global media said as many as 57 people had died  By 10 March, reports in the Turkish media placed the death toll at 41 and later, the death toll rose to 42  Another 74 were injured, many after falling and jumping from buildings  A stampede through the streets led to further injuries The earthquake came one week to the day after the Turkish Chamber of Civil Engineers sent a report to parliament detailing inadequate building projects and the possibility that Istanbul would be destroyed by an earthquake, which could kill tens of thousands of people, at some point in the next three decades 

Earthquake
The quake occurred on the East Anatolian Fault, a major transform fault which represents  the boundary between the Anatolian Plate and the Arabian Plate 

Damage
According to officials, most of the deaths occurred in three villages: Okçular, Yukarı Kanatlı and Kayalı  At least five villages, though, suffered loss of life  Villagers fled buildings, spending the night outside and lighting fires in the streets for warmth Thirty houses collapsed in Okçular, and the death toll is at least 17  Reports from the scene indicate "the village is totally flattened" and "everything has been knocked down – there is not a stone in place" At least 25 people died in Yukarı Demirci, and emergency services went to Kovancılar Many people used vehicles and taxis to drive to the hospital  Most were asleep at the time the quake struck, with four sleeping sisters perishing in one house  Farm animals were also killed, and minarets fell down 

Aftershocks
Several aftershocks were felt, the strongest measuring 5 5 (at 09:47 local time), 5 1 (at 12:14) and 5 3 (at 13:12)  A total of over 20 aftershocks were counted within a short time following the quake  Villagers were told to stay away from buildings for several days due to the potential of further aftershocks Onur Tan et al  (2011) analyzed 2130 aftershocks (ML≥0 3) and reported in Geophysical Research Letters 

Response
Turkey: Four government ministers, including Deputy Prime Minister Cemil Çiçek, visited the scene as soon as news of the earthquake was reported  The Red Crescent and Turkey's disaster management centre donated blankets and tents  Prime Minister Recep Tayyip Erdoğan later arrived  Pakistan: Prime Minister Yousaf Raza Gillani sent a condolence message to his Turkish counterpart Recep Tayyip Erdoğan over the loss of lives and property and said that "We have learnt with utter sense of shock and profound sadness the news of the massive earthquake that has hit your beautiful country, today  Our hearts go out to our Turkish brethren over the loss of precious lives and destruction of property  I wish to convey, on behalf of the people and Government of Pakistan and on my own behalf our deepest condolences and commiserations to the people and Government of Turkey in bearing this enormous natural calamity " Israel: Defense Minister Ehud Barak ordered an aid proposal to be put together but later said that Turkey informed Israel that it did not require assistance at this time 

See also
2020 Elazığ earthquake
List of earthquakes in 2010
List of earthquakes in Turkey
Passage 6:
Flora (Titian)
Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence 

History
The work was reproduced in numerous 16th century etchings  Later, it followed an unclear series of changes of hands at Brussels and Vienna  In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York  Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi 
In the 18th century, it was erroneously attributed to Palma the Elder 

Description
It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura  Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves 
The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations  The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one  The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands 

See also
List of works by Titian

Notes
Context 2: Passage 1:
Stuart Mitchell
Stuart Mitchell (21 December 1965 – August 2018) was a Scottish pianist and composer who was born in Edinburgh and who is best known for his Seven Wonders Suite (2001)  The Seven Wonders Suite has been recorded by The Prague Symphony Orchestra conducted by Mario Klemens  A performance of part of the suite was performed in The Dvorak Hall in Prague in 2005  This major symphonic work has placed Mitchell in The Classic FM Hall of Fame since 2005, and is regularly requested by their listeners Stuart Mitchell was the son of pianist and composer Thomas J  Mitchell  In 2005, the Mitchells received media coverage from Reuters, ITN, BBC, and CNN/Fox News when they claimed to have deciphered a musical code carved into the ceiling design of Rosslyn Chapel In 2008, Mitchell released the first in his series of works called DNA Variations, music translated from Ancestral DNA sequences of various species and Fly – Orchestral Suite in 2016 was based upon the mitochondrial DNA music of birds and winged beings 
The Seven Wonders Suite was awarded the number 181 for the most popular classical music work in the Classic FM Hall of Fame 2017  And in the 2023 chart the suite had gone up to 82, the highest it has been Mitchell died of lung cancer in August 2018, aged 52 

Works
Cello Sonata in A – 1995
The Design of a Tear – 1998
Seven Wonders Suite for Orchestra (2003)
The Rosslyn Motet (2005)
Songs of the Chartres Labyrinth (2005)
DNA Variations Volume's I, II and III (2004–2009)
Transit of Venus – 2010
The Celestial Song of the Stars – 2010
Fanfare to Tutankhamen – 2009
Piano Concerto No 1 – 2008
Beethoven's DNA Music – 2010
The Eve Project (2011)
The Musical Life of Plants (2011)
The Emerald Tablets – Orchestral Choral Suite – 2008
Symphony No1 in B Flat Major – 2012
The Human Genome Music Project (2012)
Grounded – Motion Picture Soundtrack (2013)
Elvis Presley – DNA Music Translation/Rolling Stone Magazine
String Quartet – E minor – 2013
Faith Eternal for Choir & Orchestral – 2013
Power of the Earth – Grounded 2 Motion Picture – 2013
Symphony in the Key of H - 2013
Homage to the Great Composers – 2012
The Musical Life of Plants – Aromamusic – 2012
The Silent Sky – with Neil Warden – 2015
Fly – Orchestral Suite (2016)
Passage 2:
FreeRADIUS
FreeRADIUS is a modular, high performance free RADIUS suite developed and distributed under the GNU General Public License, version 2, and is free for download and use  The FreeRADIUS Suite includes a RADIUS server, a BSD-licensed RADIUS client library, a PAM library, an Apache module, and numerous additional RADIUS related utilities and development libraries In most cases, the word "FreeRADIUS" refers to the free open-source RADIUS server from this suite 
FreeRADIUS is the most popular open source RADIUS server and the most widely deployed RADIUS server in the world  It supports all common authentication protocols, and the server comes with a PHP-based web user administration tool called dialupadmin  It is the basis for many commercial RADIUS products and services, such as embedded systems, RADIUS appliances that support Network Access Control, and WiMAX  It supplies the AAA needs of many Fortune-500 companies, telcos, and Tier 1 ISPs  It is also widely used in the academic community, including eduroam  The server is fast, feature-rich, modular, and scalable 

History
FreeRADIUS was started in August 1999 by Alan DeKok and Miquel van Smoorenburg  Miquel had previously written the Cistron RADIUS server, which had gained widespread usage once the Livingston server was no longer being maintained  FreeRADIUS was started to create a new RADIUS server, using a modular design that would encourage more active community involvement 
As of November, 2014, the FreeRADIUS Project has three Core Team members: Alan DeKok (Project Leader), Arran Cudbard-Bell (Principal Architect), and Matthew Newton The latest major release is FreeRADIUS 3  FreeRADIUS 3 includes support for RADIUS over TLS, including RadSec, a completely rewritten rlm_ldap module, and hundreds of other minor consistency and usability enhancements  The latest mature version is maintained for stability rather than features 
The previous major release v2 2 x has entered the final phase of its lifecycle, and will now receive security fixes only A survey in 2006 showed that its user base totals 100 million people 

Features
Modules included with the server core support LDAP, MySQL, PostgreSQL, Oracle, and many other databases  It supports all popular EAP authentication types, including PEAP and EAP-TTLS  More than 100 vendor dictionaries are included, ensuring compatibility with a wide range of NAS devices 
Version 2 0 0 added support for virtual hosting, IPv6, VMPS, and a new policy language that simplifies many complex configurations 

Administration tools
daloRADIUS: a web based management application aimed at managing hotspots and ISP deployments  With easy user management interface, pretty graphical reporting, accounting, also billing engine and integrates with GoogleMaps for geo-locating 
phpRADmin: a tool written in PHP intended to handle the administration and provisioning of FreeRADIUS over the Web with MySQL as backend 
Dialup Admin: a powerful web interface written in PHP comes with FreeRADIUS to administer radius users  Dialup Admin supports users either in SQL (MySQL or PostgreSQL are supported) or in LDAP  No longer under active development 
ezRadius: web-based management app  The main aim is to provide radius server or hotspot administrator a simple web-based management application  FreeRADIUS must be configured to use MySQL as backend 
RADIUSdesk:RADIUSdesk has been developed since 2012 as tool to manage wireless Internet and has been under active development ever since 

See also
Diameter protocol: the proposed replacement for RADIUS

Notes
External links
Official website
FreeRADIUS wiki
Passage 3:
Standard 52-card deck
The standard 52-card deck of French-suited playing cards is the most common pack of playing cards used today  In English-speaking countries it is the only traditional pack used for playing cards; in many countries of the world, however, it is used alongside other traditional, often older, standard packs with different suit systems such as those with German-, Italian-, Spanish- or Swiss suits  The most common pattern of French-suited cards worldwide and the only one commonly available in English-speaking countries is the English pattern pack  The second most common is the Belgian-Genoese pattern, designed in France, but whose use spread to Spain, Italy, the Ottoman Empire, the Balkans and much of North Africa and the Middle East  In addition to those, there are other major international and regional patterns including standard 52-card packs, for example, in Italy that use Italian-suited cards  In other regions, such as Spain and Switzerland, the traditional standard pack comprises 36, 40 or 48 cards 

Composition
A standard 52-card French-suited deck comprises 13 ranks in each of the four suits: clubs (♣), diamonds (♦), hearts (♥) and spades (♠)  Each suit includes three court cards (face cards), King, Queen and Jack, with reversible (i e  double-headed) images  Each suit also includes ten numeral cards or pip cards, from one (Ace) to ten  The card with one pip is known as an Ace  Each pip card displays the number of pips (symbols of the suit) corresponding to its number, as well as the appropriate numeral (except "A" for the Ace) in at least two corners 
In addition, commercial decks often include from one to six Jokers; most commonly two or three since the mid-20th century  The Jokers are often distinguishable from one another, either in design or colour, as some card games require these extra cards  The Jokers can also be used as replacements for lost or damaged cards 

Design
The most popular standard pattern of the French deck is the English pattern (pictured above), sometimes referred to as the International pattern or Anglo-American pattern  The second most common is the Belgian-Genoese pattern, which was designed in France for export and spread to Spain, Italy, the Ottoman Empire, the Balkans and much of North Africa and the Middle East  There are also numerous others such as the Berlin pattern, Nordic pattern, Dondorf Rhineland pattern (pictured right) and the variants of the European pattern 
Modern playing cards carry index labels on opposite corners or in all four corners to facilitate identifying the cards when they overlap and so that they appear identical for players on opposite sides  For the Ace and court cards, this label is the initial letter or letters of the name of that card  In English-speaking countries they are lettered A, K, Q and J for Ace, King, Queen and Jack  In other countries the letters may vary, although the English versions are also sometimes used  Germany uses A, K, D and B (Ass, König, Dame and Bube); Russia uses the Cyrillic letters Т, К, Д and В (Tuz, Korol, Dama and Valet); Sweden uses E, K, D and Kn (Ess, Kung, Dam and Knekt) and France uses 1, R, D, V (As, Roi, Dame, and Valet) 
All early playing cards were single headed (also called single ended)  During the 19th century, card manufacturers began designing double-headed cards so that the cards could be readily identified whichever way up they were  In the case of court cards, this entailed cutting off the lower half of the image and replacing it with an inverted copy of the top half usually, but not always, with a horizontal or sloping dividing line between the two halves  Today, while single headed patterns of German-suited and Latin-suited cards still exist, modern French-suited cards are invariably double headed 
Although French-suited, 52-card packs are the most common playing cards used internationally, there are many countries or regions where the traditional pack size is only 36 (Russia, Bavaria) or 32 (north and central Germany, Austria) or where regional cards with smaller packs are preferred for many games  For example, 40- or 48-card Italian-suited packs are common in Italy; 40- and 48-card Spanish-suited packs on the Iberian peninsula; and 36-card German-suited packs are very common in Bavaria and Austria  In addition, tarot cards are required for games such as French Tarot (78 cards), which is widely played in France, and the Tarock family of games (42 or 54 cards) played in countries like Austria and Hungary 

History
The English pattern pack originated in Britain which was importing French playing cards from Rouen and Antwerp by 1480  The earliest cards of the English pattern date to around 1516  But Britain only started manufacturing its own cards towards the end of the 16th century, when card production began in London  These were based on the Rouen pattern, but unlike the traditional French cards, they dropped the names on the court cards  The English pattern evolved, in the process losing "some of its Rouen flavour and elegance and became more and more stylised  The figures took more space in the cards and many details were distorted "All early cards of this type were single-headed, but around 1860, the double-headed cards, universally used on modern decks, appeared  Corner indices were added around 1880  During the 19th century, the English pattern spread all over the world and is now used almost everywhere, even in countries where traditional patterns and other suits are popular  In America, the English pattern was copied onto wider cards The fanciful design and manufacturer's logo commonly displayed on the ace of spades began under the reign of James I of England, who passed a law requiring an insignia on that card as proof of payment of a tax on local manufacture of cards  Until August 4, 1960, decks of playing cards printed and sold in the United Kingdom were liable for taxable duty and the ace of spades carried an indication of the name of the printer and the fact that taxation had been paid on the cards  The packs were also sealed with a government duty wrapper 

Card size
Historically the size of playing cards was down to the printer, but during the 19th century sizes became standardised, initially to a size of 3½ x 2½ inches  Today these are often referred to as "wide" cards or "poker-sized" cards  Wider playing cards had advantages: it was harder to cheat and, if packs were unavailable, dog-eared cards could be trimmed smaller  Narrower cards, known as "whist-sized" or "bridge-sized" cards, probably first appeared in Europe and enabled players to handle the larger numbers of cards required for games like bridge However, there is no formal requirement for precise adherence and minor variations are produced by various manufacturers in different countries  In Germany, for example, standard Poker and Rummy packs by ASS Altenburger and Ravensburger measure 92 × 59 mm  Austria's Piatnik sells packs marketed for Bridge, Poker and Whist measuring 89 × 58 mm; while Britain's Waddingtons produce generic packs sized at 88 × 58 mm 
Other sizes are also available, such as a medium size (usually 67 × 42 mm or 2 6 × 1 7 in) and a miniature size (typically 45 × 32 mm or 1 8 × 1 3 in)  These are often intended for playing patience or solitaire games  Larger 'jumbo' cards are produced for card tricks and those with poor eyesight 
The thickness and weight of modern playing cards are subject to numerous variables related to their purpose of use and associated material design for durability, stiffness, texture and appearance 

Markings
Some decks include additional design elements  Casino blackjack decks may include markings intended for a machine to check the ranks of cards, or shifts in rank location to allow a manual check via an inlaid mirror  Many casino decks and solitaire decks have four indices instead of just two  Some modern decks have bar code markings on the edge of the face to enable them to be sorted by machine (for playing duplicate bridge, especially simultaneous events where the same hands may be played at many different venues)  Some decks have large indices for clarity  These are sometimes sold as 'seniors' cards for older people with limited eyesight, but may also be used in games like stud poker, where being able to read cards from a distance is a benefit and hand sizes are small 

Four-colour packs
The standard French-suited pack uses black for the spades and clubs, and red for the hearts and diamonds  However, some packs use four colours for the suits in order to make it easier to tell them apart  There are several schemes: a common one is the English Poker format with black spades (♠), red hearts (♥), blue diamonds (♦) and green clubs (♣)  Another common system is based on the German suits and uses green spades (♠) and yellow diamonds (♦) with red hearts (♥) and black clubs (♣) 

Nomenclature
When giving the full written name of a specific card, the rank is given first followed by the suit, e g , "ace of spades" or "Ace of Spades"  Shorthand notation may reflect this by listing the rank first, "A♠"; this is common usage when discussing poker; but it is equally common in more general sources to find the suit listed first, as in "♠K" for a single card or "♠AKQ" for multiple cards  This is common practice when writing about bridge as it helps differentiate between the card(s) and the contract (e g  "4♥", a contract of four hearts)  Tens may be either abbreviated to T or written as 10 

Terminology
Common collective and individual terms for playing cards that are relevant, but not exclusive to, the 52-card pack are:

Face card or court card – a jack, queen or king 
Honour card – a card that attracts a special bonus or payment for being held or captured in play  In bridge, honours are the aces, the court cards and tens (A, K, Q, J, 10); in whist and related games, the aces and courts (A, K, Q, J) 
Wild card –  card that may be designated by the owner to represent any other card 
Numerals or pip cards are the cards numbered from 2 to 10 
"1" cards are usually known as aces 
"2" cards are also known as deuces 
"3" cards are also known as treys 

Nicknames
Certain cards have acquired nicknames over time  The following common nicknames for cards of the English pattern pack only  Other patterns are different and may have other nicknames in the countries where they are used:

One-eyed Jacks – the jack of spades and the jack of hearts are depicted in profile, while the others are shown in full or oblique face 
One-eyed Royals – are the king of diamonds as well as the one-eyed jacks  The rest of the courts are shown in full or oblique face 
Suicide Kings – The king of hearts is typically shown with a sword behind his head, making him appear to be stabbing himself  Similarly, the one-eyed king of diamonds is typically shown with an axe behind his head with the blade facing toward him  These depictions, and their blood-red colour, inspired this nickname 
The king of diamonds is traditionally armed with an axe, while the other three kings are armed with swords; thus, the king of diamonds is sometimes referred to as "the man with the axe"  This is the basis of the trump "one-eyed jacks and the man with the axe"  Poker may be played with wild cards, often "Aces, Jacks, and the King with the Axe" 
The ace of spades, unique in its large, ornate spade, is sometimes said to be the death card or the picture card, and in some games is used as a trump card 
The queen of spades usually holds a sceptre and is sometimes known as "the bedpost queen", though more often she is called the "black lady"  She is the only queen facing left 
In many decks, the queen of clubs holds a flower  She is thus known as the "flower queen", though this design element is among the most variable; the Bicycle Poker deck depicts all queens with a flower styled according to their suit 

Computer representations
SVG
Unicode
As of Unicode 7 0, playing cards are now represented  Note that the following chart ("Cards", Range: 1F0A0–1F0FF) includes cards from the Tarot Nouveau deck, as well as the standard 52-card deck 

See also
500 decks coming with extra ranks
French playing cards
German playing cards
Italian playing cards
Spanish playing cards
Stripped decks come with fewer ranks 
Tarot Nouveau, the most common French-suited tarot game deck

Notes
Passage 4:
Bowling Green Ballpark
Bowling Green Ballpark is a 4,559-seat stadium in Downtown Bowling Green, Kentucky  It is primarily used for baseball and is home to the Bowling Green Hot Rods of the High-A East of Minor League Baseball  This state-of-the-art stadium opened with Citizens First Opening Night on April 17, 2009 to a standing room only crowd of 6,886  The Bowling Green Hot Rods defeated the Kannapolis Intimidators 8–4 in this much anticipated opening game that brought professional baseball to Bowling Green for the first time in 67 years  Many ceremonial "first" pitches were thrown, and the starting lineup of the Hot Rods were driven onto the field by locally owned vintage Hot Rods  The offices for the Bowling Green Hot Rods and several other touches were finally completed after the 2009 season 
The ballpark is also used occasionally by the Western Kentucky Hilltoppers baseball team to host high profiles games, such as the 2017 and 2019 game against the Kentucky Wildcats baseball 

Ballpark Features
Bowling Green Ballpark was designed by architectural firm DLR Group  The right-centerfield wall in Bowling Green Ballpark is unique in that it is concave in right-center because of the shape of a pre-existing road behind the field  The scoreboard in right-centerfield measures 35-feet tall and 56-feet wide, with the ability to show scoring, live video, advertisements, player statistics, and more  Embedded in the left field wall is a 6-foot, 3inch tall by 68-foot wide LED display board, behind which is a picnic area  There are two grass lawn seating areas- one in left-center and one at the right field line  The kids play area boasts an inflatable car customized with the Hot Rods' logo, a carousel, and a playground, and a behind the batter's eye in centerfield, a splash-pad  The Reinhart Club is a bar located on suite level directly behind home plate  Also on the suite level are 10 suites, the Hall of Fame suite, and a party deck—The Coca-Cola Deck 

Events
From May 23–27, 2012, the venue hosted the 2012 Sun Belt Conference baseball tournament, which was won by Louisiana–Monroe Multiple concerts have also taken place at Bowling Green Ballpark, including Florida Georgia Line and Nelly, Jake Owen, Ted Nugent, Uncle Kracker, and more 
Passage 5:
Jareb Dauplaise
Jareb Dauplaise (born March 18, 1979) is an American actor  He played Wayne in The Suite Life of Zack & Cody  He has also appeared in a commercial for the restaurant El Pollo Loco  Dauplaise stars in the film The Prankster, playing Blotto Dauplaise stars in a web series called Blue Movies and he had a role in the MTV original series The Hard Times of RJ Berger, as the main character's best friend, Miles Jenner 

Filmography
Passage 6:
Suite: Judy Blue Eyes
"Suite: Judy Blue Eyes" is a song written by Stephen Stills and performed by Crosby, Stills & Nash (CSN)  It appeared on the group's self-titled debut album in 1969 and was released as a single, reaching number 21 on the Billboard Hot 100 pop singles chart  In Canada, "Suite: Judy Blue Eyes" peaked at number 11  The song imitates the form of a classical music suite as an ordered set of musical pieces 

Background
The title "Suite: Judy Blue Eyes" (a play on words for "Sweet Judy Blue Eyes") refers to Stephen Stills' former girlfriend, singer/songwriter Judy Collins, and the lyrics to most of the suite's sections consist of his thoughts about her and their imminent breakup  During a July 15, 2007 interview for the National Public Radio program All Things Considered, Stills revealed that Collins was present in the studio when the demo tapes were recorded and had advised him, "Don't stay in here [in the studio] all night now " Stills also commented that the breakup with Collins "was imminent      We were just a little too big for one house " Stills said that he liked parts of this demo version of "Suite: Judy Blue Eyes" better than the released version; the song and other demos of early Crosby, Stills and Nash songs were released commercially on the album Just Roll Tape Collins and Stills had met in 1967 and dated for two years  In 1969, she was appearing in the New York Shakespeare Festival musical production of Peer Gynt and had fallen in love with her co-star Stacy Keach, eventually leaving Stills for him  Stills was devastated by the possible breakup and wrote the song as a response to his sadness  In a 2000 interview, Collins gave her impressions of when she first heard the song:

[Stephen] came to where I was singing one night on the West Coast and brought his guitar to the hotel and he sang me "Suite: Judy Blue Eyes," the whole song  And of course it has lines in it that referred to my therapy  And so he wove that all together in this magnificent creation  So the legacy of our relationship is certainly in that song 
Collins elaborated in a 2017 interview:

 Afterwards, we both cried – and then I said: "Oh, Stephen, it’s such a beautiful song  But it’s not winning me back " I’ve always understood that people have to write about their lives  Most of all, I felt the song was flattering and heartbreaking – for both of us  Neither one of us walked away from that relationship relieved  We were feeling like, "Whoa, what happened?”

Composition
The recording features an acoustic guitar tuned to EEEEBE ("Bruce Palmer Modal Tuning") vs  the standard EADGBE tuning  This style of tuning would later be used for the Déjà Vu songs "4+20" and "Carry On" 
"Suite: Judy Blue Eyes" has four distinct sections  The shortened version released as a single cut the second and fourth verses from the first section, the third and fourth verses from the second section, and the final verse and preceding break from the third section, and shortened the guitar break between the second and the third sections  The final section is the only part that stayed fully intact 
The first section has four verses, featuring a chorus of "I am yours, you are mine, you are what you are " The lead vocal is performed by Stills, with Crosby and Nash providing harmonies 
The second section is performed in half-time relative to the first section, and features four verses of three-part harmony from the band, with Stills performing a brief vocal solo between the second and third 
This is followed by Stills' acoustic guitar solo, beginning the next section 
The third section features poetic lyrics ("chestnut brown canary, ruby-throated sparrow")  Each of the three phrases is initially sung by Stills, with Nash then joining, and finally Crosby  Connecting the phrases are instrumental breaks performed by Stills on acoustic guitar  There is a conga‑type sound at the end of the song that was attained by beating the back of his Martin guitar The final section is sung in Spanish, with "doo-doo-doo-doo-doo" backing vocals until the song concludes  Stills has said that he intentionally made the final stanzas unexpected and difficult, even using a foreign language for the lyrics, "just to make sure nobody would understand it" 

Live performances
The final section of the song is included on the CSNY live album 4 Way Street  It fades in on the opening of side one of the album  CSN also performed "Suite: Judy Blue Eyes" as their opening song at the Woodstock and Live Aid festivals, and their performance at the former is featured in the film Woodstock (1970) 

Critical reception
Writing for The New York Times in 1969, Robert Christgau suggested that while "Stills has become such a sophisticated guitarist that many of his lines lack any straight-on rhythmic compulsion", his "Suite: Judy Blue Eyes" is "a structural triumph which could never have been brought off by a more Dionysiac spirit ""Suite: Judy Blue Eyes" was named the 51st greatest song ever in a 2000 list by VH1  In 2004, Rolling Stone magazine ranked it number 418 in the 500 Greatest Songs of All Time  It was also included in the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll" "I love the intricacies of the harmonies and Stills's guitar work," remarked Slipknot front-man Corey Taylor  "This is a favourite "

Legacy
The final section has been parodied numerous times, notably in Frank Zappa's compositions "Billy the Mountain" and "Magdalena" on The Mothers of Invention's album Just Another Band From L A  "Weird Al" Yankovic performs a takeoff of it ("Mission Statement") on his 2014 album Mandatory Fun; instead of Spanish, the lyrics are corporate buzzwords strung together in such a way as to be ultimately nonsensical  It is also sampled in the 2010 Cypress Hill song "Armada Latina" 

Personnel
David Crosby – harmony vocals
Stephen Stills – lead and harmony vocals, electric and acoustic guitars, bass, Hammond B-3 organ, percussion
Graham Nash – harmony vocals
Dallas Taylor – drums and percussion

Charts
Passage 7:
Nothing Suits Me Like a Suit
"Nothing Suits Me Like a Suit" is a song performed by Neil Patrick Harris and the cast of the comedy series How I Met Your Mother from the 100th episode "Girls Versus Suits"  Carter Bays and Craig Thomas were nominated for the Primetime Emmy Award for Outstanding Original Music and Lyrics for writing the song 

Background
The song premiered on the 100th episode of How I Met Your Mother, "Girls Versus Suits" (season 5, episode 12) in a dream sequence where Harris' character, Barney Stinson, contemplates whether to keep his collection of suits or continue seeing the attractive bartender with whom he was about to hook up  The episode premiered on January 11, 2010, with the single being released the following day  Stacy Keibler guest-starred in this episode  The musical number featured 65 dancers and a 50-piece orchestra and was choreographed by Zach Woodlee (Glee) 

Chart performance
The song peaked at #50 on the UK Singles Chart  In Canada, the song peaked at 76 on the Canadian Hot 100 

Charts
Personnel
Lead vocals – Neil Patrick Harris as Barney Stinson
Additional vocals – Jason Segel as Marshall Eriksen, Josh Radnor as Ted Mosby, Alyson Hannigan as Lily Aldrin, and Cobie Smulders as Robin Scherbatsky
Passage 8:
Batman: Under the Red Hood
Batman: Under the Red Hood is a 2010 American animated superhero action thriller direct-to-video film produced by Warner Bros  Animation and released by Warner Home Video  It is the eighth film of the DC Universe Animated Original Movies  The writer, Judd Winick, also wrote the "Under the Hood" run in the monthly Batman comic the film is based on  The film was released on July 27, 2010, and received highly positive reviews from critics, who praised its plot, animation, and focus on storytelling  It is generally considered to be one of the best in the DC Universe Animated Original Movies line  The film was also a commercial success, grossing over $12 million in home video sales 
The two-disc special edition and Blu-ray also includes an animated short featuring Jonah Hex  An interactive short spiritual sequel/film adaptation, Batman: Death in the Family, was released on October 13, 2020,  ten years after Red Hood 

Plot
Ra's al Ghul realizes his mistake in hiring the Joker to use him as a distraction while he destroyed Europe's financial districts after learning that he has captured Jason Todd, the second Robin, Batman's partner  In Sarajevo, Bosnia, Joker brutally assaults Jason, in an abandoned warehouse with a crowbar  Jason is locked in the warehouse with a bomb, which explodes and kills him before Batman arrives 
Five years later in Gotham City, a mysterious vigilante called Red Hood assembles a meeting of the city's most prominent drug dealers  He announces a takeover of their drug trade, taking only 40% of the profit while offering them protection from both Black Mask and Batman - under punishment of death to anyone caught dealing drugs to children 
Batman stops an attempted theft of a shipment belonging to Black Mask, which is the advanced android Amazo  Batman destroys Amazo with the help of Jason's predecessor Dick Grayson a k a  Nightwing and discovers the thieves are working for Red Hood who then kills them  He chases Red Hood to Ace Chemicals, where an explosion destroys the facility  Batman and Nightwing interrogate Joker at Arkham Asylum about Red Hood, but he denies involvement 

Black Mask puts a hit on Red Hood for Amazo's destruction  Batman and Nightwing prevent Red Hood from hijacking Black Mask's next weapon shipment  They chase Red Hood to a train station, where he escapes after detonating a bomb, which injures Nightwing  Batman and Nightwing realize Red Hood is trained and has knowledge of Batman's tactics and gear  A review of audio footage of the chase reveals Red Hood knows Batman's secret identity 
Batman recalls Jason performing the same maneuvers as Robin and that Jason grew more violent and bloodthirsty as he aged, with Batman having to stop him many times from nearly killing criminals  The Fearsome Hand of 4 lure out Red Hood and nearly overpower him until Batman helps incapacitate three of them and Red Hood kills the fourth, horrifying Batman  Red Hood explains he is doing what Batman will not: killing criminals who are not afraid 
Batman analyzes a blood sample of Red Hood drawn from the battle and it matches Jason's  After discovering Jason's corpse is fake, Batman confronts Ra's al Ghul and demands to know the truth  Ra's explains that he felt responsible for Jason's death and, as a peace offering, he swapped Jason's body for a fake and revived him in the Lazarus Pit  Following his resurrection, Jason was driven insane and escaped 
After surviving an assassination attempt by Red Hood, Black Mask sets Joker free, tasking him with killing Red Hood  However, Joker instead abducts Black Mask and the drug dealers and plans to set them on fire; Red Hood appears and reveals his real target all along has been the Joker  Batman saves the hostages and Red Hood takes Joker  Red Hood brutally beats Joker in revenge for his own murder and confronts Batman 
During the fight, Red Hood removes his helmet, confirming he is Jason  Their fight makes its way to the dilapidated building where Jason is keeping the Joker and ends with Jason holding Batman at gunpoint  Though he has forgiven Batman for not saving him, Jason is upset and angry that Joker is still alive after killing him  Batman admits he has thought constantly about torturing and killing the Joker but will not, fearing he will not stop if he kills even once 
Jason tosses Batman a gun and gives him an ultimatum – he will execute the Joker unless Batman shoots him  Batman refuses and drops the gun, causing Jason to shoot at him  Batman throws a batarang, which jams Jason's pistol  When Jason pulls the trigger again, the gun is destroyed and his right hand gets mangled  Defeated, Jason sets off a time bomb and Batman subdues Joker before attempting to save Jason 
The bomb explodes; Batman and Joker survive but Jason is gone  Joker is returned to Arkham and Black Mask is arrested for his involvement in the Joker's escape  At the Batcave, Alfred offers to remove the glass case display of Jason's Robin costume after everything that has happened, but Bruce refuses, claiming it doesn't change anything 
A final flashback shows Jason's first day as Robin, which he cheerfully declares is the best day of his life 

Cast
Crew
Andrea Romano – Voice Director

Music
The score for Batman: Under the Red Hood was composed by Christopher Drake, who had previously scored several animated films set in the DC Universe  It was inspired by the soundtracks of Batman: Mask of the Phantasm which features a traditional orchestral score and The Dark Knight which features a computer generated, electronic score  Drake said that since Under the Red Hood has a darker tone than previous DC Universe animated films, he chose not to use the music as epic and melodramatic instead opting for a more intimate, minimal and restrained tone  He added that this is the first DC film he has scored that didn't rely on using a large choir to make the fight scenes sound bigger  Drake scored the film as a reference to modern minimalist electronic scores because the film's director Brandon Vietti felt that Under the Red Hood needed to go in a different, more modern direction to separate it from previous DC animation scores  At that point, Drake introduced more electronic and ambient elements, like synthesized and processed electronic guitar, while retaining orchestral elements Batman: Under The Red Hood – Soundtrack to The Animated Original Movie was released by WaterTower Music on July 27, 2010 and features 18 tracks composed for the film 

Commercial performance
The film grossed over $12 million in domestic home video sales, making it one of the highest grossing DC animated films 

Critical reception
Batman: Under the Red Hood received positive reviews from critics who praised the film's direction, animation, emotional weight of the story, and voice acting particularly for Jensen Ackles  On Rotten Tomatoes, the film has an approval rating of 100% based on reviews from seven critics, with an average rating of a 7 3/10  
Demeter's review for The World's Finest stated: "I have to say this really was a damn good film"  James Harvey's review on the same website was even more positive, calling it "a mature and faithful take on the Batman lore"  IGN gave the movie an 8 out of 10, calling it "An interesting peek inside the psyche of Batman and the fine line between good and evil"  It was the highest rated direct-to-video Batman film until the release of The Dark Knight Returns 

Continuation
A follow-up film titled Batman: Death in the Family was released on October 13, 2020, a decade after Under the Red Hood with Greenwood, Martella, and DiMaggio reprising their roles  Zehra Fazal plays Talia al Ghul and Gary Cole plays both Two-Face and Commissioner Gordon  It is an interactive narrative where the viewer chooses what happens in the story 
Passage 9:
The Suite Life Sets Sail
"The Suite Life Sets Sail" is the pilot episode of the Disney Channel teen sitcom The Suite Life on Deck, a sequel/spin-off to the Disney Channel sitcom The Suite Life of Zack & Cody  Debby Ryan joins the cast as Bailey Pickett, who becomes a close friend of Zack's, the girlfriend of Cody, and the roommate of London, as well as Ashley Tisdale leaving the main cast due to her character Maddie Fitzpatrick having to attend college 
After an original sequel named Arwin! was not picked up by Disney Channel, the creators decided to change the concept  The series premiere in the United States drew 5 7 million viewers, and it became the most watched pilot in Canada and on Family Channel   This also outpaced veteran series Hannah Montana and Wizards of Waverly Place with the ratings 

Plot
Hotel heiress London Tipton (Brenda Song) and twins Zack (Dylan Sprouse) and Cody Martin (Cole Sprouse) are to attend a new semester in Seven Seas High School on the SS Tipton, a cruise ship owned by Wilfred Tipton (voiced by Bob Joles and played by Adam Tait in The Suite Life of Zack & Cody; played by John Michael Higgins in the special The Suite Life on Deck episode "Twister")  (which was seen in one episode of the predecessor)  Meanwhile, Mr  Moseby (Phill Lewis) tricks London into thinking that she is on vacation (which is not true), and a girl named Bailey Pickett sneaks into the bathrooms to disguise herself as a male, doing so since there are no more cabins left for women  London bribes her roommate Padma (Tiya Sircar) into leaving, so she can have the room to herself, and soon finds out she has to attend school 
Cody ends up sharing a room with Woody Fink (Matthew Timmons), who is very messy, while Zack eventually is with Bailey (Debby Ryan) (currently disguised as male, trying to hide her identity)  The twins decide to exchange roommates, but Zack in the end refuses after finding out she is a girl  However, her gender is eventually revealed to the people on the ship, and is happy to find out that the cabin from London is free for one more person, but this is the last straw for London, and she flees to Parrot Island via helicopter, leaving the plot for the following episode 

Starring
Guest starring
Erin Cardillo as Emma Tutweiller: Zack, Cody, London, Bailey and Woody's teacher for the semester on board 
Tiya Sircar as Padma: London's previous roommate whom she tricked into leaving 
Matthew Timmons as Woody Fink: Cody's roommate and a frequent guest star on the show 
Kim Rhodes as Carey Martin: Zack and Cody's mom who only has a cameo in this episode and appears in later episodes 

Reception
The series premiere attracted more than a million people on its opening day 
Passage 10:
Buckingham Palace
Buckingham Palace (UK: ) is a London royal residence and the administrative headquarters of the monarch of the United Kingdom  Located in the City of Westminster, the palace is often at the centre of state occasions and royal hospitality  It has been a focal point for the British people at times of national rejoicing and mourning 
Originally known as Buckingham House, the building at the core of today's palace was a large townhouse built for the Duke of Buckingham in 1703 on a site that had been in private ownership for at least 150 years  It was acquired by King George III in 1761 as a private residence for Queen Charlotte and became known as The Queen's House  During the 19th century it was enlarged by architects John Nash and Edward Blore, who constructed three wings around a central courtyard  Buckingham Palace became the London residence of the British monarch on the accession of Queen Victoria in 1837 
The last major structural additions were made in the late 19th and early 20th centuries, including the East Front, which contains the well-known balcony on which the royal family traditionally appears to greet crowds  A German bomb destroyed the palace chapel during the Second World War; the Queen's Gallery was built on the site and opened to the public in 1962 to exhibit works of art from the Royal Collection 
The original early-19th-century interior designs, many of which survive, include widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long  King Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme  Many smaller reception rooms are furnished in the Chinese regency style with furniture and fittings brought from the Royal Pavilion at Brighton and from Carlton House  The palace has 775 rooms, and the garden is the largest private garden in London  The state rooms, used for official and state entertaining, are open to the public each year for most of August and September and on some days in winter and spring 

History
Pre-1624
In the Middle Ages, the site of the future palace formed part of the Manor of Ebury (also called Eia)  The marshy ground was watered by the river Tyburn, which still flows below the courtyard and south wing of the palace  Where the river was fordable (at Cow Ford), the village of Eye Cross grew  Ownership of the site changed hands many times; owners included Edward the Confessor and Edith of Wessex in late Saxon times, and, after the Norman Conquest, William the Conqueror  William gave the site to Geoffrey de Mandeville, who bequeathed it to the monks of Westminster Abbey In 1531, Henry VIII acquired the Hospital of St James, which became St James's Palace, from Eton College, and in 1536 he took the Manor of Ebury from Westminster Abbey  These transfers brought the site of Buckingham Palace back into royal hands for the first time since William the Conqueror had given it away almost 500 years earlier  Various owners leased it from royal landlords, and the freehold was the subject of frenzied speculation during the 17th century  By then, the old village of Eye Cross had long since fallen into decay, and the area was mostly wasteland  Needing money, James VI and I sold off part of the Crown freehold but retained part of the site on which he established a four-acre (1 6 ha) mulberry garden for the production of silk  (This is at the north-west corner of today's palace ) Clement Walker in Anarchia Anglicana (1649) refers to "new-erected sodoms and spintries at the Mulberry Garden at S  James's"; this suggests it may have been a place of debauchery  Eventually, in the late 17th century, the freehold was inherited from the property tycoon Sir Hugh Audley by the great heiress Mary Davies 

First houses on the site (1624–1761)
Possibly the first house erected within the site was that of Sir William Blake, around 1624  The next owner was Lord Goring, who from 1633 extended Blake's house, which came to be known as Goring House, and developed much of today's garden, then known as Goring Great Garden  He did not, however, obtain the freehold interest in the mulberry garden  Unbeknown to Goring, in 1640 the document "failed to pass the Great Seal before Charles I fled London, which it needed to do for legal execution"  It was this critical omission that would help the British royal family regain the freehold under George III  When the improvident Goring defaulted on his rents, Henry Bennet, 1st Earl of Arlington was able to purchase the lease of Goring House and he was occupying it when it burned down in 1674, following which he constructed Arlington House on the site – the location of the southern wing of today's palace – the next year  In 1698, John Sheffield acquired the lease  He later became the first Duke of Buckingham and Normanby  Buckingham House was built for Sheffield in 1703 to the design of William Winde  The style chosen was of a large, three-floored central block with two smaller flanking service wings  It was eventually sold by Buckingham's illegitimate son, Sir Charles Sheffield, in 1761 to George III for £21,000  Sheffield's leasehold on the mulberry garden site, the freehold of which was still owned by the royal family, was due to expire in 1774 

From Queen's House to palace (1761–1837)
Under the new royal ownership, the building was originally intended as a private retreat for Queen Charlotte, and was accordingly known as The Queen's House  Remodelling of the structure began in 1762  In 1775, an Act of Parliament settled the property on Queen Charlotte, in exchange for her rights to nearby Somerset House, and 14 of her 15 children were born there  Some furnishings were transferred from Carlton House and others had been bought in France after the French Revolution of 1789  While St James's Palace remained the official and ceremonial royal residence, the name "Buckingham-palace" was used from at least 1791  After his accession to the throne in 1820, George IV continued the renovation intending to create a small, comfortable home  However, in 1826, while the work was in progress, the King decided to modify the house into a palace with the help of his architect John Nash  The external façade was designed, keeping in mind the French neoclassical influence preferred by George IV  The cost of the renovations grew dramatically, and by 1829 the extravagance of Nash's designs resulted in his removal as the architect  On the death of George IV in 1830, his younger brother William IV hired Edward Blore to finish the work  William never moved into the palace  After the Palace of Westminster was destroyed by fire in 1834, he offered to convert Buckingham Palace into a new Houses of Parliament, but his offer was declined 

Queen Victoria (1837–1901)
Buckingham Palace became the principal royal residence in 1837, on the accession of Queen Victoria, who was the first monarch to reside there; her predecessor William IV had died before its completion  While the state rooms were a riot of gilt and colour, the necessities of the new palace were somewhat less luxurious  It was reported the chimneys smoked so much that the fires had to be allowed to die down, and consequently the palace was often cold  Ventilation was so bad that the interior smelled, and when it was decided to install gas lamps, there was a serious worry about the build-up of gas on the lower floors  It was also said that the staff were lax and lazy and the palace was dirty  Following the Queen's marriage in 1840, her husband, Prince Albert, concerned himself with a reorganisation of the household offices and staff, and with addressing the design faults of the palace  By the end of 1840, all the problems had been rectified  However, the builders were to return within a decade By 1847, the couple had found the palace too small for court life and their growing family and a new wing, designed by Edward Blore, was built by Thomas Cubitt, enclosing the central quadrangle  The large East Front, facing The Mall, is today the "public face" of Buckingham Palace and contains the balcony from which the royal family acknowledge the crowds on momentous occasions and after the annual Trooping the Colour  The ballroom wing and a further suite of state rooms were also built in this period, designed by Nash's student Sir James Pennethorne  Before Prince Albert's death, the palace was frequently the scene of musical entertainments, and the most celebrated contemporary musicians entertained at Buckingham Palace  The composer Felix Mendelssohn is known to have played there on three occasions  Johann Strauss II and his orchestra played there when in England  Under Victoria, Buckingham Palace was frequently the scene of lavish costume balls, in addition to the usual royal ceremonies, investitures and presentations Widowed in 1861, the grief-stricken Queen withdrew from public life and left Buckingham Palace to live at Windsor Castle, Balmoral Castle and Osborne House  For many years the palace was seldom used, even neglected  In 1864, a note was found pinned to the fence of Buckingham Palace, saying: "These commanding premises to be let or sold, in consequence of the late occupant's declining business " Eventually, public opinion persuaded the Queen to return to London, though even then she preferred to live elsewhere whenever possible  Court functions were still held at Windsor Castle, presided over by the sombre Queen habitually dressed in mourning black, while Buckingham Palace remained shuttered for most of the year 

Early 20th century (1901–1945)
In 1901, the new king, Edward VII, began redecorating the palace  The King and his wife, Queen Alexandra, had always been at the forefront of London high society, and their friends, known as "the Marlborough House Set", were considered to be the most eminent and fashionable of the age  Buckingham Palace—the Ballroom, Grand Entrance, Marble Hall, Grand Staircase, vestibules and galleries were redecorated in the Belle Époque cream and gold colour scheme they retain today—once again became a setting for entertaining on a majestic scale but leaving some to feel Edward's heavy redecorations were at odds with Nash's original work The last major building work took place during the reign of George V when, in 1913, Sir Aston Webb redesigned Blore's 1850 East Front to resemble in part Giacomo Leoni's Lyme Park in Cheshire  This new refaced principal façade (of Portland stone) was designed to be the backdrop to the Victoria Memorial, a large memorial statue of Queen Victoria created by sculptor Sir Thomas Brock, erected outside the main gates on a surround constructed by architect Sir Aston Webb  George V, who had succeeded Edward VII in 1910, had a more serious personality than his father; greater emphasis was now placed on official entertainment and royal duties than on lavish parties  He arranged a series of command performances featuring jazz musicians such as the Original Dixieland Jazz Band (1919; the first jazz performance for a head of state), Sidney Bechet and Louis Armstrong (1932), which earned the palace a nomination in 2009 for a (Kind of) Blue Plaque by the Brecon Jazz Festival as one of the venues making the greatest contribution to jazz music in the United Kingdom During the First World War, which lasted from 1914 until 1918, the palace escaped unscathed  Its more valuable contents were evacuated to Windsor, but the royal family remained in residence  The King imposed rationing at the palace, much to the dismay of his guests and household  To the King's later regret, David Lloyd George persuaded him to go further and ostentatiously lock the wine cellars and refrain from alcohol, to set a good example to the supposedly inebriated working class  The workers continued to imbibe, and the King was left unhappy at his enforced abstinence George V's wife, Queen Mary, was a connoisseur of the arts and took a keen interest in the Royal Collection of furniture and art, both restoring and adding to it  Queen Mary also had many new fixtures and fittings installed, such as the pair of marble Empire-style chimneypieces by Benjamin Vulliamy, dating from 1810, which the Queen had installed in the ground floor Bow Room, the huge low room at the centre of the garden façade  Queen Mary was also responsible for the decoration of the Blue Drawing Room  This room, 69 feet (21 metres) long, previously known as the South Drawing Room, has a ceiling designed by Nash, coffered with huge gilt console brackets  In 1938, the northwest pavilion, designed by Nash as a conservatory, was converted into a swimming pool 

Second World War
During the Second World War, which broke out in 1939, the palace was bombed nine times  The most serious and publicised incident destroyed the palace chapel in 1940  This event was shown in cinemas throughout the United Kingdom to show the common suffering of the rich and poor  One bomb fell in the palace quadrangle while George VI and Queen Elizabeth (the future Queen Mother) were in the palace, and many windows were blown in and the chapel destroyed  Wartime coverage of such incidents was severely restricted, however  The King and Queen were filmed inspecting their bombed home; it was at this time the Queen famously declared: "I'm glad we have been bombed  Now I can look the East End in the face"  The royal family were seen as sharing their subjects' hardship, as The Sunday Graphic reported:

By the Editor: The King and Queen have endured the ordeal which has come to their subjects  For the second time a German bomber has tried to bring death and destruction to the home of Their Majesties     When this war is over the common danger which King George and Queen Elizabeth have shared with their people will be a cherished memory and an inspiration through the years 
On 15 September 1940, known as Battle of Britain Day, an RAF pilot, Ray Holmes of No  504 Squadron RAF rammed a German Dornier Do 17 bomber he believed was going to bomb the Palace  Holmes had run out of ammunition and made the quick decision to ram it  Holmes bailed out and the aircraft crashed into the forecourt of London Victoria station  The bomber's engine was later exhibited at the Imperial War Museum in London  The British pilot became a King's Messenger after the war and died at the age of 90 in 2005  On VE Day—8 May 1945—the palace was the centre of British celebrations  The King, the Queen, Princess Elizabeth (the future queen) and Princess Margaret appeared on the balcony, with the palace's blacked-out windows behind them, to cheers from a vast crowd in The Mall  The damaged Palace was carefully restored after the war by John Mowlem & Co 

Mid 20th century to present day
Many of the palace's contents are part of the Royal Collection, held in trust by King Charles III; they can, on occasion, be viewed by the public at the Queen's Gallery, near the Royal Mews  The purpose-built gallery opened in 1962 and displays a changing selection of items from the collection  It occupies the site of the chapel that was destroyed in the Second World War  The palace was designated a Grade I listed building in 1970  Its state rooms have been open to the public during August and September and on some dates throughout the year since 1993  The money raised in entry fees was originally put towards the rebuilding of Windsor Castle after the 1992 fire devastated many of its staterooms  In the year to 31 March 2017, 580,000 people visited the palace, and 154,000 visited the gallery  In 2004, the palace attempted to claim money from the community energy fund to heat Buckingham Palace, but the claim was rejected due to fear of public backlash The palace used to racially segregate staff  In 1968, Charles Tryon, 2nd Baron Tryon, acting as treasurer to Queen Elizabeth II, sought to exempt Buckingham Palace from full application of the Race Relations Act 1968  He stated that the palace did not hire people of colour for clerical jobs, only as domestic servants  He arranged with Civil servants for an exemption that meant that complaints of racism against the royal household would be sent directly to the Home Secretary and kept out of the legal system The palace, like Windsor Castle, is owned by the reigning monarch in right of the Crown  Occupied royal palaces are not part of the Crown Estate, nor are they the monarch's personal property, unlike Sandringham House and Balmoral Castle  The Government of the United Kingdom is responsible for maintaining the palace in exchange for the profits made by the Crown Estate  In 2015, the State Dining Room was closed for a year and a half because its ceiling had become potentially dangerous  A 10-year schedule of maintenance work, including new plumbing, wiring, boilers and radiators, and the installation of solar panels on the roof, has been estimated to cost £369 million and was approved by the prime minister in November 2016  It will be funded by a temporary increase in the Sovereign Grant paid from the income of the Crown Estate and is intended to extend the building's working life by at least 50 years  In 2017, the House of Commons backed funding for the project by 464 votes to 56 Buckingham Palace is a symbol and home of the British monarchy, an art gallery and a tourist attraction  Behind the gilded railings and gates that were completed by the Bromsgrove Guild in 1911, lies Webb's famous façade, which was described in a book published by the Royal Collection Trust as looking "like everybody's idea of a palace"  It has not only been a weekday home of Elizabeth II and Prince Philip but is also the London residence of the Duke of York and the Duke and Duchess of Edinburgh  The palace also houses their offices, as well as those of the Princess Royal and Princess Alexandra, and is the workplace of more than 800 people  Charles III lives at Clarence House while restoration work continues, although he conducts official business at Buckingham Palace, including weekly meetings with the Prime Minister  Every year, some 50,000 invited guests are entertained at garden parties, receptions, audiences and banquets  Three garden parties are held in the summer, usually in July  The forecourt of Buckingham Palace is used for the Changing of the Guard, a major ceremony and tourist attraction (daily from April to July; every other day in other months) 

Interior
The front of the palace measures 355 feet (108 m) across, by 390 feet (120 m) deep, by 80 feet (24 m) high and contains over 830,000 square feet (77,000 m2) of floorspace  There are 775 rooms, including 188 staff bedrooms, 92 offices, 78 bathrooms, 52 principal bedrooms and 19 state rooms  It also has a post office, cinema, swimming pool, doctor's surgery, and jeweller's workshop  The Royal family occupy a small suite of private rooms in the north wing 

Principal rooms
The principal rooms are contained on the first-floor piano nobile behind the west-facing garden façade at the rear of the palace  The centre of this ornate suite of state rooms is the Music Room, its large bow the dominant feature of the façade  Flanking the Music Room are the Blue and the White Drawing Rooms  At the centre of the suite, serving as a corridor to link the state rooms, is the Picture Gallery, which is top-lit and 55 yards (50 m) long  The Gallery is hung with numerous works including some by Rembrandt, van Dyck, Rubens and Vermeer; other rooms leading from the Picture Gallery are the Throne Room and the Green Drawing Room  The Green Drawing Room serves as a huge anteroom to the Throne Room, and is part of the ceremonial route to the throne from the Guard Room at the top of the Grand Staircase  The Guard Room contains white marble statues of Queen Victoria and Prince Albert, in Roman costume, set in a tribune lined with tapestries  These very formal rooms are used only for ceremonial and official entertaining but are open to the public every summer 

Semi-state apartments
Directly underneath the state apartments are the less grand semi-state apartments  Opening from the Marble Hall, these rooms are used for less formal entertaining, such as luncheon parties and private audiences  At the centre of this floor is the Bow Room, through which thousands of guests pass annually to the monarch's garden parties  When paying a state visit to Britain, foreign heads of state are usually entertained by the monarch at Buckingham Palace  They are allocated an extensive suite of rooms known as the Belgian Suite, situated at the foot of the Minister's Staircase, on the ground floor of the west-facing Garden Wing  Some of the rooms are named and decorated for particular visitors, such as the 1844 Room, decorated in that year for the state visit of Nicholas I of Russia, and the 1855 Room, in honour of the visit of Napoleon III of France  The former is a sitting room that also serves as an audience room and is often used for personal investitures  Narrow corridors link the rooms of the suite; one of them is given extra height and perspective by saucer domes designed by Nash in the style of Soane  A second corridor in the suite has Gothic-influenced cross-over vaulting  The suite was named after Leopold I of Belgium, uncle of Queen Victoria and Prince Albert  In 1936, the suite briefly became the private apartments of the palace when Edward VIII occupied them  The original early-19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long  Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme 

East wing
Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings  As a result, many of the rooms in the new wing have a distinctly oriental atmosphere  The red and blue Chinese Luncheon Room is made up of parts of the Brighton Banqueting and Music Rooms with a large oriental chimneypiece designed by Robert Jones and sculpted by Richard Westmacott  It was formerly in the Music Room at the Brighton Pavilion  The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820  The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimneypiece which is a European vision of how the Chinese chimney piece may appear  It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones At the centre of this wing is the famous balcony with the Centre Room behind its glass doors  This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873  Running the length of the piano nobile of the east wing is the Great Gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle  It has mirrored doors and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton  The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room in between 

Court ceremonies
Investitures, which include the conferring of knighthoods by dubbing with a sword, and other awards take place in the palace's Ballroom, built in 1854  At 120 feet (36 6 m) long, 60 feet (18 m) wide and 45 feet (13 5 m) high, it is the largest room in the palace  It has replaced the throne room in importance and use  During investitures, the King stands on the throne dais beneath a giant, domed velvet canopy, known as a shamiana or a baldachin, that was used at the Delhi Durbar in 1911  A military band plays in the musicians' gallery as award recipients approach the King and receive their honours, watched by their families and friends 

State banquets also take place in the Ballroom; these formal dinners are held on the first evening of a state visit by a foreign head of state  On these occasions, for up to 170 guests in formal "white tie and decorations", including tiaras, the dining table is laid with the Grand Service, a collection of silver-gilt plate made in 1811 for the Prince of Wales, later George IV  The largest and most formal reception at Buckingham Palace takes place every November when the King entertains members of the diplomatic corps  On this grand occasion, all the state rooms are in use, as the royal family proceed through them, beginning at the great north doors of the Picture Gallery  As Nash had envisaged, all the large, double-mirrored doors stand open, reflecting the numerous crystal chandeliers and sconces, creating a deliberate optical illusion of space and light Smaller ceremonies such as the reception of new ambassadors take place in the "1844 Room"  Here too, the King holds small lunch parties, and often meetings of the Privy Council  Larger lunch parties often take place in the curved and domed Music Room or the State Dining Room  Since the bombing of the palace chapel in World War II, royal christenings have sometimes taken place in the Music Room  Queen Elizabeth II's first three children were all baptised there  On all formal occasions, the ceremonies are attended by the Yeomen of the Guard, in their historic uniforms, and other officers of the court such as the Lord Chamberlain 

Former ceremonial
Court dress
Formerly, men not wearing military uniform wore knee breeches of 18th-century design  Women's evening dress included trains and tiaras or feathers in their hair (often both)  The dress code governing formal court uniform and dress has progressively relaxed  After the First World War, when Queen Mary wished to follow fashion by raising her skirts a few inches from the ground, she requested a lady-in-waiting to shorten her own skirt first to gauge the King's reaction  King George V disapproved, so the Queen kept her hemline unfashionably low  Following his accession in 1936, King George VI and Queen Elizabeth allowed the hemline of daytime skirts to rise  Today, there is no official dress code  Most men invited to Buckingham Palace in the daytime choose to wear service uniform or lounge suits; a minority wear morning coats, and in the evening, depending on the formality of the occasion, black tie or white tie 

Court presentation of débutantes
Débutantes were aristocratic young ladies making their first entrée into society through a presentation to the monarch at court  These occasions, known as "coming out", took place at the palace from the reign of Edward VII  The débutantes entered—wearing full court dress, with three ostrich feathers in their hair—curtsied, performed a backwards walk and a further curtsey, while manoeuvring a dress train of prescribed length  The ceremony, known as an evening court, corresponded to the "court drawing rooms" of Victoria's reign  After World War II, the ceremony was replaced by less formal afternoon receptions, omitting the requirement of court evening dress  In 1958, Queen Elizabeth II abolished the presentation parties for débutantes, replacing them with Garden Parties, for up to 8,000 invitees in the Garden  They are the largest functions of the year 

Garden and surroundings
At the rear of the palace is the large and park-like garden, which together with its lake is the largest private garden in London  There, Queen Elizabeth II hosted her annual garden parties each summer and also held large functions to celebrate royal milestones, such as jubilees  It covers 17 ha (42 acres) and includes a helicopter landing area, a lake and a tennis court Adjacent to the palace is the Royal Mews, also designed by Nash, where the royal carriages, including the Gold State Coach, are housed  This rococo gilt coach, designed by Sir William Chambers in 1760, has painted panels by G  B  Cipriani  It was first used for the State Opening of Parliament by George III in 1762 and has been used by the monarch for every coronation since William IV  It was last used for the Coronation of King Charles III and Queen Camilla  Also housed in the mews are the coach horses used at royal ceremonial processions as well as many of the cars used by the royal family 
The Mall, a ceremonial approach route to the palace, was designed by Sir Aston Webb and completed in 1911 as part of a grand memorial to Queen Victoria  It extends from Admiralty Arch, across St James's Park to the Victoria Memorial  This route is used by the cavalcades and motorcades of visiting heads of state, and by the royal family on state occasions—such as the annual Trooping the Colour 

Security breaches
The boy Jones was an intruder who gained entry to the palace on three occasions between 1838 and 1841  At least 12 people have managed to gain unauthorised entry into the palace or its grounds since 1914, including Michael Fagan, who broke into the palace twice in 1982 and entered Queen Elizabeth II's bedroom on the second occasion  At the time, news media reported that he had a long conversation with her while she waited for security officers to arrive, but in a 2012 interview with The Independent, Fagan said she ran out of the room, and no conversation took place  It was only in 2007 that trespassing on the palace grounds became a specific criminal offence 

See also
Flags at Buckingham Palace
List of British royal residences
King's Guard

Notes
Passage 11:
Cody Martin
Cody Martin may refer to:

Zack and Cody Martin, fictional characters from the TV series The Suite Life of Zack & Cody
Cody Martin (baseball) (born 1989), American baseball pitcher
Cody Martin (basketball) (born 1995), American basketball player
Passage 12:
Demi's Birthday Suit
Demi's Birthday Suit, or The Suit, was a trompe-l'œil body painting by Joanne Gair photographed by Annie Leibovitz that was featured on the cover of the Vanity Fair August 1992 issue to commemorate and exploit the success of Leibovitz's More Demi Moore cover photo of Demi Moore one year earlier  As an example of modern body painting artwork, it raised the profile of Gair in pop culture as an artist in that genre The work is considered to be groundbreaking by some, although there is controversy surrounding its originality  The converse of this image serves as the dust jacket art to Gair's second bodypainting book, Body Painting  The photo shoot also let Moore show off the results of her fitness regimen 

Artistic perspective
Gene Newman considers the body painting of Moore to be the introduction of modern body painting to the world  Although willing to credit Moore and Gair with the rebirth of bodypainting in a San Francisco Chronicle story, the "makeup artist, wig maker and stylist" Jim Ponder had difficulty calling interest in bodypainting a trend because it traces back to the "beginnings of man " Joanne Gair has described the painting as a stylized reference to Botticelli, since the sinuous pose is reminiscent of the central figures in both Primavera and The Birth of Venus  The Amazon com product description for Gair's book calls her participation in this photoshoot as her "defining moment " Soon after the release of the magazine Gair became such a pop culture icon that she was considered for an Absolut Vodka Absolut Gair ad campaign according to a story in The New York Times  The work is considered to be an example from the most sophisticated end of the bodypainting spectrum which extends all the way to Henna tattoos Some sources have claimed that the work is a derivative of preceding works  Playboy published a photo with similar bodypainting, with a necktie, suit jacket and similar pose, in its March 1968 issue, as part of a feature on bodypainting 

Details
Gair had worked with Leibovitz and Moore on More Demi Moore  Departing Vanity Fair editor Tina Brown felt "The only thing to do for the anniversary cover was to reprise it " According to a Houston Chronicle story that quotes both Moore and Brown, about 100 million people had seen the earlier cover, and this cover capitalized on the anniversary They decided to attempt a body painting during the week-long shoot at the Chateau Marmont in Los Angeles, California in 1992  Gair was provided with a pinstriped three-piece suit by Richard Tyler as a model to paint onto Moore  Since in those days she did not generally work with assistants, the day started at 6:30 A M  and Demi Moore slept that night in the painted-on suit in case they needed to resume the next day  It took 15 hours to apply the suit because it was difficult for Gair to build the proper paint density  Moore's body heat melted the paint  For the 1992 cover, which required a full-day sitting for Gair and her team of make-up artists, Leibovitz could not decide where to shoot, and "reserved two mobile homes, four hotel rooms and five houses"  Stylist Lori Goldstein assisted with the application Having started rigorous workouts in the final trimester of her pregnancy the year before to prepare for her role in A Few Good Men, Moore was physically fit for the photoshoot  Thus she appeared in additional nude photos within the magazine's cover story  Moore viewed the photos as a chance to show off the results of her workouts: "I said I would get better with each baby and I have " The weeklong effort also involved shots taken in Kauai, Hawaii that are included in Gair's second book, Body Painting  Moore felt she looked better on the cover at age 29 than she had in a bikini nine years earlier in Blame It on Rio 

More Demi Moore

Demi Moore had appeared on the cover of Vanity Fair exactly one year earlier in the August 1991 edition in Leibovitz's photograph, More Demi Moore  As a groundbreaking work, the photograph of her pregnant pose was an iconic one for Moore, Leibovitz and women in general who now view public representation of pregnancy as socially acceptable  It had a cultural impact by causing numerous celebrities to pose for photographs in advanced pregnancy, which has made pregnancy photos fashionable and created a profitable business for photographers such as Jennifer Loomis  The American Society of Magazine Editors regards it as one of the best U S  magazine covers ever, and it is one of Leibovitz' best-known works  Additionally, the photo served as a litmus test when Internet decency standards were first being legislated and adjudicated 
Context 3: Passage 1:
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



ground_truth: 22

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

Question: Who does the Nothing Suits Me Like a Suit artist play in Batman Under the Red Hood?

The following are given passages.
Context 3:  With the wide variety of music that is serviced to the format, adult album alternative charts have often served as a feeder for the Adult Top 40, and have been credited for breaking acts such as Dave Matthews Band and Lorde 

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

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

See also
Adult Contemporary, a chart appearing in Billboard since 1961  This chart is typically (but not exclusively) closer to soft AC 
New-age music
Yacht rock
Passage 2:
KCIX
KCIX (105 9 FM, "Mix 106") is a commercial radio station located in Garden City, Idaho, broadcasting to the Boise, Idaho, area   KCIX airs a hot adult contemporary music format 

Personalities
The station has cycled through more than a dozen morning show combinations since the departure of popular host Kate McGwire in 2016  Its ratings have plunged  Chris and Ryan in the Morning took over weekday morning duties (5AM-10AM) on the station in November of 2022  The show features segments with listeners, local content, and lifestyle topics 
The morning drive show is followed by middays with Deanna from 10AM to 2PM before Marco takes over in afternoon drive from 2PM to 7PM 
At 7PM, Pop Crush Nights with Donny Meacham airs which features celebrity gossip and pop culture news  Lauryn Snapp hosts on the weekend 
The station features traffic cut-ins shared with corporate sister stations, hosted by Dave Burnett and Robin Scott 

History
KCIX was originally branded as K-106 with an Adult Contemporary format including songs from the '60s, '70s, '80s, and the '90s   By the later 1990s, the station moved in a Hot AC direction   In 1999, KCIX rebranded as Mix 106, and shifted away songs from the '60s and '70s to focus more on the '80s and '90s 
On November 16, 2006, Clear Channel Communications planned to sell 448 of its radio stations outside the top 100 markets including KCIX, along with Boise's sister stations including KSAS-FM, KTMY (now KAWO), KXLT-FM, KIDO, and KFXD  In March 2007, Peak Broadcasting LLC bought the latter stations, making Boise one of the largest markets without any radio stations owned by the future iHeartMedia 
In 2011, Mix 106 silently began adding more contemporary pop currents, moving the station in an Adult Top 40 direction 
On August 30, 2013, a deal was announced in which Townsquare Media would purchase Peak Broadcasting's stations, including KCIX  The deal was part of Cumulus Media's acquisition of Dial Global; Townsquare swapped Peak's Fresno, California stations to Cumulus for its stations in Dubuque, Iowa and Poughkeepsie, New York, and Peak, Townsquare, and Dial Global were all controlled by Oaktree Capital Management  The sale to Townsquare was completed on November 14, 2013 
Passage 3:
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 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:
CFVR-FM
CFVR-FM is a Canadian radio station serving Fort McMurray, Alberta, broadcasting at 103 7 FM with a hot adult contemporary format branded on-air as Mix 103 7 
The station is owned & operated by Harvard Media 

History
The station received approval by the CRTC to operate at 103 7 FM in November 2006 and officially launched on January 14, 2008 
Passage 6:
Closer (Josh Groban album)
Closer is the second studio album by vocalist Josh Groban, released in November 2003  Much like his first studio album, half of this album's songs are sung in English, with the remainder sung in various other languages (Italian, Spanish and French)  Closer was the top selling classical album of the 2000s in the US, according to Nielsen SoundScan The album debuted at No  4 on the Billboard 200 albums chart, selling about 375,000 copies in its first week  In January 2004, the album rose from #11 to No  1 in its ninth week on the chart, selling about 110,000 copies that week  This followed a sales campaign by Target In Australia, Closer reached a peak position of #25 on the ARIA Albums Chart of Australia  On June 13, 2007, it re-entered the chart at No  39  As of October 2015, the album has sold over 6 1 million copies in the US  The track, "You Raise Me Up", charted at No  73 on the Billboard Hot 100 and #1 on the Adult Contemporary chart  The track, "Remember When It Rained", reached No  15 on the AC chart 

Track listing
Notes

^a  signifies an additional producer
^b  signifies a co-producer

TV appearances
Good Morning America – November 11, 2003
The View – November 13, 2003

Charts
Certifications
Passage 7:
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 8:
CKNR-FM
CKNR-FM is a Canadian radio station, which broadcasts an adult contemporary format at 94 1 MHz in Elliot Lake, Ontario  The station uses the on-air brand 94 1 Moose FM 

History
The station first aired in 1967 at 1340 AM, and was owned by Algonquin Broadcasting  CKNR had two sister stations, CKNS in Espanola (established in 1976) and CJNR in Blind River (actually the oldest of the three, first established in 1958)  Huron Broadcasting acquired the stations in 1976 
In 1986, CJNR and CKNS were given approval to amend their broadcasting licenses, by deleting the condition of license which required these stations to operate as affiliates of the CBC's English-language AM radio network All three stations became part of Mid-Canada Radio in 1986, and were subsequently sold to the Pelmorex Radio Network in 1990 On November 15, 1990, CKNR was given permission to disaffiliate from the CBC as the Elliot Lake area was now served by the Corporation's CBEC-FM North Channel Broadcasting acquired the stations from Pelmorex in 1996, and converted CKNR to 94 1 MHz on March 3, 1997 with a transmitter on Manitoulin Island  Due to the station's signal strength (it can be heard as far as Sudbury and into Michigan's eastern Upper Peninsula), the CJNR and CKNS signals were both discontinued  After the move to 94 1 FM, the station transmitted in mono and aired a mix of classic hits, oldies, and adult contemporary with some current music  Prior to and after CKNR's move to FM, the station had aired the Toronto Blue Jays baseball games 
North Channel subsequently sold CKNR to Haliburton Broadcasting Group in 2004, a sale which reunited CKNR with many of its former sister stations in the Pelmorex Radio Network After Haliburton purchased CKNR-FM, the station rebranded as 94 1 Moose FM with adult contemporary, variety music and switched to FM stereo 
On April 23, 2012, Vista Broadcast Group, which owns a number of radio stations in western Canada, announced a deal to acquire Haliburton Broadcasting, in cooperation with Westerkirk Capital  The transaction was approved by the CRTC on October 19, 2012 

Transmitters
Although officially licensed to Elliot Lake, the primary transmitter is located closer to Little Current (approximately 80 km to the southeast of the city), and parts of the city of Elliot Lake itself consequently do not receive an adequate signal on the 94 1 frequency  On July 9, 2007, CKNR applied to re-broadcast their FM signal at 98 7 MHz to serve the population of Elliot Lake and received CRTC approval on August 24, 2007 

Previous logos
Passage 9:
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 10:
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



ground_truth: Nightwing / Dick Grayson

Nightwing

Dick Grayson

Batman

Robin

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

Question: Along with the Closer performer, what notable pop artist started out his career on adult contemporary radio?

The following are given passages.
Context 3:  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 11:
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 12:
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



ground_truth: Michael Bublé