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Among the best known due to its default presence on Cisco telephones is "Opus Number One" by Tim Carleton and high-school friend Darrick Deel, who recorded it on a four-track tape recorder in 1989.

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Deel went on to work for Cisco in building the company's first VoIP phone.

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When a need for default on hold music came up, he recalled the track he and Carleton had recorded and reached out to Carleton for approval.

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With the application of newer equipment, MoH devices can now interact with the caller.

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No additional programs are required on the platform, as all the logic is done with the MoH device.

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This can include services such as 'polling on hold', rating customer service officer anonymously, etc.

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The trend toward hosted IP telephony for business phone systems is demanding changes in music on hold message technology.

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In the US, and other countries where copyright laws are practiced, authors are granted copyright protection on their musical compositions.

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Such copyright protection has existed since just after the turn of the 20th century, and most music written before 1900–1910 from impressionism back to baroque and antiquity is said to be "in the public domain".

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Use of any said music prior to the creation of these copyright laws may be presumed to be free for use by all, although individual titles may have been later copyrighted through a change in the composition or arrangement.

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The use of copyrighted music is not for free use in the public domain.

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All music written after this period, which is copyrighted under multiple acts of congress, is owned by the author(s) or their assignees.

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The use of this music is protected and controlled in order that the owner may derive usage income.

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Specific to telephonic MOH (music-on-hold), the US laws currently protect the copyright owners from unlawful, unpermitted use of their music titles in over-the-phone broadcast.

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Any person or business wishing to use current, popular, post 1900–1910, copyrighted music for MOH purposes may only lawfully do so by obtaining permission from the owner.

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Currently, performance rights societies such as ASCAP, BMI, and SESAC will sell blanket permission to use music titles in their catalog for MOH purposes.

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for an express annual fee, calculated by size and frequency of usage.

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Failure to obtain this paid permission is a violation of US copyright laws.

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This same copyright protection is also true in the rebroadcast of any radio program.

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As mentioned earlier, the broadcaster has been assigned a narrow and specific usage license to air copyrighted song titles.

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This does not include permission to any person or business to re-broadcast that program on telephonic MOH.

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The broadcaster may not promote such unlawful use and is not an owner who has any lawful right to grant MOH usage permission.

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They do not hold the ownership of the title and have no right to license use in any way.

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Those who plug radio broadcast into their telephone MOH without first obtaining paid permission through the owner's agents (ASCAP, BMI, or SESAC) may be in violation of copyright law and may be prosecuted under existing federal laws.

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A second copyright exists when it comes to licensing use for telephonic MOH.

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A piece of music, as mentioned above, is copyrighted and may be licensed for use as a music title and is understood to be a combination of melody, harmony, and, where applicable, lyrics.

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However, neither radio listeners nor MOH listeners could hear this music unless it was recorded, providing a delivery medium whereby the "music" becomes a "performance".

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As mentioned elsewhere, in countries such as the US, where said copyright laws are enforced, nearly every recording of a song title holds its own "mechanical copyright".

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For most of the 20th century, music was recorded in studios, produced by record company executives, producers, arrangers, and engineers who were hired to deliver the artist's finished recordings for mastering and duplication, for sale on various types of media: 78, 45, and 33 RPM vinyl; reel-to-reel; 8-track tape; cassette; and compact disc.

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To protect their investment, the record companies obtain a mechanical copyright in order to protect and control the recording with which they derive usage and sales income.

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For those still uncertain of the difference between "song title" and "mechanical" copyrights, consider the Capitol Records lawsuit for copyright infringement against Nike some 20 years ago.

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Nike legally obtained permission to use the Beatles song title "Revolution" from the title's owner, Michael Jackson.

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They used the Capitol Records owned recording of the Beatles' performance, but failed to obtain and pay for permission and use.

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Capitol Records sued and prevailed because Nike ONLY had a license to use the title and did not have a license to use the mechanical recording.

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Therefore, persons or businesses wishing to play music that falls "in the public domain" are still legally required to obtain permission to use the mechanical recording of this music, from the mechanical copyright holder.

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Where the use is of copyrighted music, the same applies.

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In all cases, before a song title may be broadcast on a telephone MOH, said use must be approved and licensed from BOTH the "song title" copyright owner (if it is NOT in public domain) and the "mechanical" copyright owner.

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It is generally known within the on-hold industry that some performance rights societies, with regional offices and staff, both monitor and prosecute persons and businesses that infringe on the copyright of title holders in their libraries.

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ASCAP and BMI are both aggressive about this, from time to time.

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It is not known whether any record companies are currently or actively monitoring and prosecuting violators of their mechanical license.

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As of 2010, the music-on-hold/message-on-hold business was a 100+ million dollar industrywith more than 300 different vendors to choose from producing custom content amounting to less than $1m in sales per company—including various manufacturers of specific-duty, message-on-hold devices.

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XXXX (pronounced four-ex) is a brand of Australian beer brewed in Milton, Brisbane by Queensland brewers Castlemaine Perkins (now a division of the Japanese-owned company Lion).

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It enjoys wide popularity in the state of Queensland, where it is commonly found on-tap in pubs and bars.

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The XXXX brand was first introduced by Castlemaine in 1924 and is a throwback to the long-standing tradition of using Xs to indicate the strength of an ale.

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The brand name also built upon XXX Sparkling Ale introduced in 1878.

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Currently sold brands include: As well as these, previous beers that are no longer in mass production are occasionally available in small, limited releases at the XXXX Alehouse & Restaurant, located on the same site as the brewery.

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In the past, these have included: Other beers that are no longer available include: The XXXX brand was launched in 1924 by Castlemaine Brewers, named after the town of Castlemaine, Victoria where the company was founded in 1857.

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The yellow-and-red label still bears the town's name.

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XXXX has been brewed in the Castlemaine Perkins Milton Brewery since its introduction, and has featured an artist's sketch (later very stylised) of its brewery on the label of beer bottles and cans.

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In the 1950s the prominent 'XXXX' illuminated sign was erected on the brewery.

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"XXXX" itself refers to a traditional grading system for strong beer.

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In 1992, Castlemaine Perkins was acquired by Australian beverage and food company Lion Nathan, who in turn were taken over by Japanese beverage conglomerate Kirin in 2009.

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In March 2016, XXXX Bitter was reduced from 4.6% to 4.4% alcohol by volume (ABV).

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XXXX was brewed under licence in the UK by InBev Ltd until 2009.

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It was commonly available in cans in British off licences and sometimes on tap in British pubs.

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At 3.7% alcohol, the British brewed XXXX was somewhat weaker than most of the Australian variants.

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Castlemaine XXXX was withdrawn from the UK at the end of June 2009 when InBev's licensing agreement expired.

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XXXX's mascot is Mr Fourex - a jovial cartoon man in a suit with a boater hat, who features on the City side of the Fourex Brewery at Milton.

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Mr Fourex is said to be modelled after Paddy Fitzgerald, a former director of the company, however Mr Fourex had been conceived in 1924, and Fitzgerald started with XXXX only in circa 1933.

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A second theory is that the cartoon is modelled on a well-known dwarf who sold newspapers in the inner city suburb of Fortitude Valley in the late 1920s.

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The true identity for the inspiration behind the cartoon remains a mystery.

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A common nickname used by the military (Australian, passed along to their Allied guests) was "Barbed Wire," as the XXXX has the appearance of the fence product used in the Outback.

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The second major campaign was launched in the early 1980s in the North Queensland area after the general manager of 'XXXX' Pat Holmboe at the time heard of the locally famous Clinton Howe, a council road worker, being able to consume a very high quantity of the beer in a short time (approx.

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3L in 1 minute or 3/4 gal.).

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The company was forced to close the campaign within the first few days of T.V.

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advertising following government pressure.

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An advertisement campaign from the 1980s and 1990s featured the tagline "Australians wouldn't give a XXXX for anything else."

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Most beers under the XXXX label are sold in Australia as 375 ml cans (tinnies), 375 ml bottles (stubbies) and 750 ml bottles (tallies or long necks), on tap (in most Queensland pubs but also to a lesser extent throughout the rest of Australia) and all bottles have twist top lids.

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Underneath the twist top lids there are trivia questions.

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XXXX is still being served from wooden barrels at the Breakfast Creek Hotel in Newstead, Queensland.

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Whilst not cask-conditioned, as in the case of British real ale, the beer is unpasteurised and delivered by gravity.

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In Terry Pratchett's Discworld series of fantasy novels, an Australian-like continent is named XXXX, pronounced "fourecks".

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XXXX's labels generally feature a depiction of the Milton Brewery alongside the Ipswich railway line, presently with a Queensland Rail EMU in the foreground with the existing extensive railway fencing omitted.

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Prior labels had steam engines and diesels when those locomotives were more regularly seen in Brisbane.

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XXXX is the major sponsor of the Queensland Maroons in the rugby league State of Origin series.

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XXXX Gold is also a sponsor of the Queensland Bulls and the QLD, SA, ACT & NT Cricket Associations.

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XXXX Gold also sponsors the Australian V8 Supercars Championship Series as well as the Professional Bull Riders' (PBR) Australian branch.

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XXXX sponsored the XXXX Gold Beach Cricket Tri-Nations 2007 series.

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It involved famous cricketers from Australia such as Allan Border, England including Graham Gooch and West Indies including Courtney Walsh and Sir Viv Richards.

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From 2012 to 2015, XXXX GOLD had a three-year lease on the 15-acre Pumpkin Island on the Southern Great Barrier Reef, which they turned into XXXX Island to use in advertising and promotional events.

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Aljamain Antoine Sterling(born July 31, 1989) is an American mixed martial artist.

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He currently competes in the Bantamweight division in the Ultimate Fighting Championship (UFC), where he is the current UFC Bantamweight Champion.

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Aljamain also competed for Cage Fury Fighting Championship, where he is the former Cage Fury Fighting Championship Bantamweight Champion.

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As of May 9, 2022 he is #9 in the UFC men's pound-for-pound rankings.

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Sterling was born in 1989 in Uniondale, New York to Jamaican parents, Cleveland and Sophie Sterling.

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He grew up with seven full siblings and at least 12 half-siblings.

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To stay away from the prevalent gang life in which some of his brothers joined, Sterling started wrestling at Uniondale High School in 2004.

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Unable to catch up with the grades to reach Division I, Sterling opted to enroll at Morrisville State College where he continued wrestling.

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During the time in Morrisville, Sterling developed an interest in MMA when he met Jon Jones and trained on the wrestling team.

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After the freshman year, Sterling transferred to Cortland and eventually became a two-time NCAA Division III All-American with a record of 87–27.

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Sterling graduated from Cortland with a bachelor's degree in physical education.

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After years of absence in wrestling competition, Sterling wrestled and grappled two-time NCAA DI wrestling All-American and sophomore from Penn State Roman Bravo-Young, on December 22, 2020, at the NLWC IV.

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The rules consisted on six minutes of freestyle wrestling and three minutes of Brazilian jiu-jitsu.

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Sterling was defeated by points in the first match but tapped out Bravo-Young in the second one.

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He earned the nickname “The Funk Master” from his unorthodox wrestling style.

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While studying in Cortland, Sterling was invited by Jones to try out mixed martial arts at his gym of that time, The BombSquad in Ithaca, New York.

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A few fights into his professional career, Sterling left The BombSquad and started training at Serra-Longo Fight Team.

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Sterling started his amateur career in 2009 with a submission win.

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Prior to turning pro Sterling compiled a 6-1 amateur record with the lone loss coming by way of split decision, he would eventually avenge this loss.

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Sterling captured the Raging Wolf amateur Bantamweight Championship and Extreme FC amateur Featherweight Championship along the way.

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