The following are given passages.
Passage 1:
I Can Only Imagine (MercyMe song)
"I Can Only Imagine" is a song by Christian rock band MercyMe. Written and composed by lead singer Bart Millard, it was originally recorded for the band's 1999 independent album The Worship Project before being included on their 2001 major-label debut album Almost There. The song was the last to be written for The Worship Project; in writing it, Millard drew upon his thoughts about his father's death. Lyrically, it imagines what it would be like to be in front of God in heaven; it opens with just a piano before building to include guitar and drums.
After being released on October 12, 2001, as the second single from Almost There, "I Can Only Imagine" became a major success on Christian radio; it spent two weeks at No. 1 on the Radio & Records Christian AC chart and became the most-played Christian single of 2002. It became an unexpected mainstream hit in 2003, peaking at No. 71 on the Billboard Hot 100 and No. 5 on the Billboard Adult Contemporary chart while also hitting top 40, adult top 40, and country radio charts. The song returned to the charts after its story was adapted into a 2018 film of the same name, peaking at No. 1 on the Billboard Christian Songs chart and No. 10 on the Billboard Digital Songs chart.
"I Can Only Imagine" received positive reviews from critics. Particular praise was given to its lyrics, and some critics called it the best song on Almost There. It received the Dove Awards for Song of the Year and Pop/Contemporary Recorded Song of the Year at the 33rd GMA Dove Awards, also garnering Millard the award for Songwriter of the Year; he also won the Songwriter of the Year award at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards. In 2004, CCM Magazine ranked it as the fourth-best song in Christian music, and it has since become the most-played song in the history of Christian radio as well as the best-selling Christian song of all time; it has been certified five-times platinum by the Recording Industry Association of America (RIAA), and as of April 2018, it has sold over 2.5 million copies.

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

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

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

Legacy
"I Can Only Imagine" has been regarded as MercyMe's "breakthrough hit" as well as their signature song. It is the most-played song in the history of Christian radio and one of the most-played songs in the history of contemporary music. As of April 2018, it is the best-selling Christian song of all-time. It has consistently ranked among the best-selling Christian digital songs each year in the Billboard year-end charts, ranging from number 19 in 2016 to number three in 2018. It is often requested to be played at funerals. "I Can Only Imagine" was named the official inspirational song for the state of Oklahoma in 2018; the measure was passed by the Oklahoma Legislature and signed by Governor Mary Fallin.The story behind "I Can Only Imagine" was adapted into a film. Directed by the Erwin Brothers and starring J. Michael Finley as Bart Millard and Dennis Quaid as Arthur Millard, the movie was released to theaters on March 16, 2018. It received mixed to positive reviews from critics, and exceeded initial expectations at the box office, grossing $17.1 million in its opening week. This was the fourth best-ever opening for a faith-based film, behind only The Passion of the Christ, Son of God, and Heaven Is for Real. The film finished its theatrical run having grossed $83.4 million in the United States and Canada and $1.8 million in other territories for a worldwide total of $85.2 million. As of August 2019, it ranks as the fifth-highest grossing music biopic of all-time in the United States (behind Bohemian Rhapsody, Straight Outta Compton, Walk the Line, and Rocketman) and was the highest-grossing independent film of 2018.

Release and promotion
Originally, "I Can Only Imagine" was set to be released by fellow Christian artist Amy Grant. Millard had initially declined a request from Grant's record label to allow her to record the song; some segments of the Christian community had reacted negatively to her divorce, and Millard wasn't sure if he wanted to be involved. After consulting with his pastor, who felt Millard should accept the opportunity, he began to reconsider, and finally agreed to let her cover it after talking with Grant over the phone. Grant had planned to release her version of the song as the lead single from her upcoming album and MercyMe would release a different song as their first single, hoping to capitalize on having written what would presumably become a major hit for Grant. The band released their first single from Almost There, "Bless Me Indeed (Jabez's Song)", which performed poorly at Christian radio, leading to poor sales of the album. Plans were made to release another single from the record, but the band's manager, Scott Brickell, decided to reach out to Grant to see if she still planned to release her version as a single. Grant gave MercyMe her blessing to release the song as a single and signed the rights back to the band; "I Can Only Imagine" was released on October 12, 2001, as the album's second single.The song debuted on the Christian AC chart on November 2, 2001, reached the No. 1 position on February 22, 2002, and spent two weeks at the top spot. It also peaked at No. 15 on the Radio & Records Christian CHR chart. The song became the most-played song on Christian radio in 2002. As a result of its success on radio, Almost There experienced a "surge" in sales, debuting on the Billboard 200 in December 2001 and entering the top ten on the Christian Albums chart in January 2002. The song stayed on Christian radio for so long that plans to release a third single from Almost There were cancelled, with the band instead beginning work on a new album.In 2003, a Dallas mainstream radio station, 100.3 Wild-FM, played the song on its morning show, The Fitz Radio Program. They had responded to a caller's repeated requests and the urgings of the program's producer, Todd Sheppard, a former seminary student. Although it had been played almost as joke, it soon became the most requested and most played song on the station. After hearing the song played on the station, Millard called-in and spoke with the crew, and MercyMe then came in and played the song live. Big Gay Steven, one of the show's hosts, described their audience's response to the song as "overwhelming". As other mainstream stations around the country began to play the song, MercyMe's label, INO Records, partnered with Curb Records to market the single to mainstream radio. Its initial success was seen as surprising due to its overtly religious themes, although several other Christian artists had begun achieving mainstream success at the same time, including Stacie Orrico, whose singles "Stuck" and "(There's Gotta Be) More to Life" had both hit the Billboard Hot 100. Curb began to promote the song to adult contemporary and Top 40 radio, and INO and Curb released a double A-side physical single, "I Can Only Imagine/Word of God Speak", in September 2003."I Can Only Imagine" debuted on the Adult Contemporary chart on May 23, 2003, eventually peaking at No. 5 for the chart week of September 8, 2003. "I Can Only Imagine" spent 30 weeks on the chart. The song debuted on the Billboard Hot 100 for the chart week of October 11, 2003 at No. 76. The song peaked at No. 71 and spent 16 non-consecutive weeks on the chart. "I Can Only Imagine" also peaked at No. 1 on the Billboard Hot 100 Singles Sales chart, a component chart of the Billboard Hot 100 that ranks the best-selling physical single releases, for 10 weeks. During the week of November 22, 2003, it became the first No. 1 physical single to be outsold by the highest-selling digital single of the week; for that week, "I Can Only Imagine" sold 7,500 physical copies in the United States while Outkast's "Hey Ya!" sold 8,500 digital downloads. The song also charted on the Mainstream Top 40, Adult Top 40, and Country Songs charts.In 2012, "I Can Only Imagine" appeared on France's Syndicat National de l'Édition Phonographique (SNEP) chart, spending two weeks and peaking at No. 65. In March 2018, following the release of the film I Can Only Imagine, which was based on the song's story, it appeared on the Billboard Christian Songs chart; because the chart had been created after the song's original run on Christian radio, it was eligible to chart for the first time. It debuted at No. 2 on the Billboard Christian Songs chart and also spent a third week at No. 1 on the Billboard Christian Digital Songs chart; the song had spent 425 weeks on the chart at that point, the longest run of any song in the chart's history. "I Can Only Imagine" peaked at No. 1 on the Christian Songs chart on March 31, 2018, and spent three weeks at the top spot. It also peaked at No. 10 on the Billboard Digital Songs chart and ranked at No. 8 on the 2018 year-end Christian Songs chart.In April 2010, "I Can Only Imagine" was certified platinum by the RIAA, signifying sales of over 1 million digital downloads. It was the first single by any artist in the Christian music genre to go platinum. The song was certified double platinum in September 2014, triple platinum in June 2018, and quadruple platinum in September 2019. As of March 2018, it has sold 2.5 million copies, making it the best-selling Christian single of all time.

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

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

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

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

Personnel
(Credits from the album liner notes)MercyMe

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

Paltrow Performance Group – stringsTechnical

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

Release and radio history
Charts and certifications
Certifications
Passage 2:
WEBZ
WEBZ (99.3 FM) is a commercial urban adult contemporary radio station located in Mexico Beach, Florida (Panama City metro). The station is owned by iHeartMedia.

External links
Official Website

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

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

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

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

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

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

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

Hot adult contemporary
Hot adult contemporary (hot AC) radio stations play a wide range of the present day's popular music that appeals towards the 18–54 age group; it serves as a middle ground between the youth-oriented contemporary hit radio (CHR) format, and adult contemporary formats (such as "mainstream" and soft AC) that are typically targeted towards a more mature demographic. They generally feature uptempo hit music with wide appeal, such as pop and pop rock songs, while excluding more youth-oriented music such as hip-hop. Recurrents usually reflect familiar and youthful music that adults had grown up with. Likewise, mature material from pop acts such as the Backstreet Boys, Jason Mraz, John Mayer, and Pink have also been prominent within the format.The "hot AC" designation began to appear in the 1990s, to describe adult contemporary stations with a more energetic presentation and uptempo sound than their softer counterparts. An early example of the format, Houston's KHMX Mix 96.5, climbed from 14th place in the market to 3rd in the six months after its launch. The station's format and branding was widely replicated by other stations. Many hot AC outlets are among the top stations in their respective market.Initially focused more on pop rock, the format has evolved to reflect changes in the composition of this audience; by the mid-2000s, the format had evolved to include more uptempo pop music, while alternative and indie rock crossovers (such as Foster the People, Imagine Dragons, Lovelytheband, and Twenty One Pilots) became more prevalent within the format during the 2010s.These developments helped to expand the popularity of the format among younger listeners such as millennials; Nielsen Audio ranked hot AC as the third most-popular format among millennials, behind pop and country music. Of the format's expanding demographic reach, WOMX-FM program director Dana Taylor stated that hot AC stations "may not be the radio station that everybody agrees on, but it's a radio station that everybody goes, 'I'm okay with that'." The increasingly downtempo direction of pop hits in the mid-to-late 2010's also helped to attract additional listeners.Hot AC stations typically keep a larger body of recent hits in rotation than those with rigid, chart-driven formats like CHR and urban contemporary. As these stations' playlists have become concentrated towards airing only the current hits at a given time, hot AC airplay can build and sustain a song's popularity over a long-term period. This effect has been credited in helping build an audience for early singles from new acts such as Adele, Rachel Platten ("Fight Song", which gained prominence for its use during Hillary Clinton's 2016 US presidential election campaign), and Max Schneider (whose 2016 single "Lights Down Low", over a year after its original release, became a sleeper hit on the Billboard Mainstream Top 40 and Hot 100 due in part to strong hot AC airplay).The popularity of the hot AC format prompted many mainstream AC stations to add uptempo music to their playlists, while still maintaining a deeper rotation of older hits than hot AC stations.

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

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

Urban adult contemporary
The Urban adult contemporary format focuses primarily on current and classic R&B and soul music,  The format typically targets African-American adults: July 2018 numbers from Nielsen Audio recorded it as the top format among African-Americans 25–54 and 35–64. It also has a sizable popularity among younger listeners, ranking behind urban contemporary as the second-most popular format among African-American adults 18–34 in the same report, with an 18.9 audience share.The format typically excludes youthful rhythmic music, such as commercial hip-hop and rap, that are usually associated with the urban contemporary format. The urban AC format is also associated with the "quiet storm"—mellower R&B ballads and slow jams, often in a jazz-influenced style. The syndicated evening program Keith Sweat Hotel focuses specifically on such music.As urban contemporary stations prefer hit-driven hip-hop songs, labels typically service R&B songs to the urban AC format only. Some current R&B musicians have complained that this is an artificial divide that prevents them from reaching a wider, mainstream audience (citing the relatively smaller number of urban AC outlets in comparison to urban and rhythmic), even with attempts to give some singles a hip-hop-influenced sound to improve the potential for crossover appeal. Some acts have attempted to disassociate themselves from "R&B" to reduce the effect of this stigma, although streaming services have helped to expose R&B to a wider audience beyond urban AC radio.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



Answer: Michael Bublé