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All assets of the Arena Football League were put up for auction. On November 11, 2009, the new league announced its intention to purchase the entire assets of the former AFL; the assets included the team names and logos of all but one of the former AFL and af2 teams. The lone exception was that of the Dallas Desperados; Desperados owner Jerry Jones had purposely designed the Desperados' properties around those of the Dallas Cowboys, making the two inseparable. The auction occurred on November 25, 2009. The assets were awarded to Arena Football 1 on December 7, 2009, with a winning bid of $6.1 million.
On February 17, 2010, AF1 announced it would use the "Arena Football League" name. The league announced plans for the upcoming season and details of its contract with NFL Network to broadcast AFL games in 2010. AF1 teams were given the option of restoring historical names to their teams. In addition to the historical teams, the league added two new expansion franchises, the Dallas Vigilantes and the Jacksonville Sharks.
For the 2011 season, the Philadelphia Soul, Kansas City Brigade, San Jose SaberCats, New Orleans VooDoo, and the Georgia Force returned to the AFL after having last played in 2008. However, the Grand Rapids Rampage, Colorado Crush, Columbus Destroyers, Los Angeles Avengers, and the New York Dragons did not return. The league added one expansion team, the Pittsburgh Power. Former Pittsburgh Steelers wide receiver Lynn Swann was one of the team's owners. It was the first time the AFL returned to Pittsburgh since the Pittsburgh Gladiators were an original franchise in 1987 before becoming the Tampa Bay Storm. The Brigade changed its name to the Command, becoming the Kansas City Command. Even though they were returning teams, the Bossier–Shreveport Battle Wings moved to New Orleans as the Voodoo, the identity formerly owned by New Orleans Saints owner Tom Benson. The Alabama Vipers moved to Duluth, Georgia to become the new Georgia Force (the earlier franchise of that name being a continuation of the first Nashville Kats franchise). On October 25, 2010 the Oklahoma City Yard Dawgz did not return. The Milwaukee Iron also changed names to the Milwaukee Mustangs, the name of Milwaukee's original AFL team that had existed from 1994 to 2001.
In 2012, the AFL celebrated its silver anniversary for its 25th season of operations. The season kicked off on March 9, 2012. The Tulsa Talons moved to San Antonio, Texas and Jeffrey Vinik became owner of the Tampa Bay Storm. The Dallas Vigilantes were left off the schedule for the 2012 season with no announcement from the management, raising speculations that either the team had suspended operations for the season or was ceasing operations altogether. (Apparently the latter was the case as the organization did not field a team for the 2013 season or any subsequent one either.) Like the National Football League, the AFL postponed the free agency period to October 31 due to Hurricane Sandy.
It was announced on December 12, 2012, that the AFL reached a partnership agreement with NET10 Wireless to be the first non-motorsports-related professional sports league in the United States to have a title sponsor, renaming it the NET10 Wireless Arena Football League. The redesigned website showed the new logo which incorporated the current AFL logo with the one from NET10 Wireless. The title sponsorship agreement ended in 2014 after a two-year partnership.
In 2013, the league expanded with the addition of two new franchises to play in 2014, the Los Angeles Kiss (owned by Gene Simmons and Paul Stanley of the legendary rock band Kiss) and the Portland Thunder.
In 2014, the league announced the granting of a new franchise to former Mötley Crüe frontman Vince Neil, previously part-owner of the Jacksonville Sharks. That franchise, the Las Vegas Outlaws, were originally to play in Las Vegas at the MGM Grand Garden Arena in 2015, but instead played their home games at the Thomas & Mack Center, previous home to the Las Vegas Sting and Las Vegas Gladiators. After 20 years as a familiar name to the league, an AFL mainstay, the Iowa Barnstormers, departed the league to join the Indoor Football League. The San Antonio Talons folded on October 13, 2014, after the league (which owned the team) failed to find a new owner. On November 16, 2014, despite a successful season record-wise, the Pittsburgh Power became the second team to cease operations after the 2014 season. This resulted from poor attendance. It was later announced by the league that the Power would go dormant for 2015 and were looking for new ownership.
Jerry Kurz also stepped down as commissioner of the AFL as he was promoted to be the AFL's first president. Former Foxwoods CEO Scott Butera was hired as his successor as commissioner.
On August 9, 2015, ESPN reported that the New Orleans VooDoo and Las Vegas Outlaws had ceased operations, effective immediately, a claim which was subsequently validated on the AFL website. On September 1, 2015, the Spokane Shock officially left the AFL and joined the IFL under the new name Spokane Empire, becoming the fifth active AFL/af2 franchise to leave for the IFL since bankruptcy (Iowa Barnstormers, Tri-Cities Fever, Green Bay Blizzard and Arkansas Twisters—now the Texas Revolution—left previously).
Rumors began swirling with regards to bringing the AFL back to Austin and San Antonio, Texas. Both cities have hosted franchises in the past (Austin Wranglers, San Antonio Force and San Antonio Talons), but an AFL spokesman, BJ Pickard, was quoted as saying, "News to me." Announcements have yet to be made on any sort of expansion plans. An expected "big announcement" on Friday, October 30 at a San Antonio Spurs game never came to fruition.
On November 12, the league announced the defending champion San Jose SaberCats would be ceasing operations due to "reasons unrelated to League operations". A statement from the league indicated that the AFL is working to secure new, long-term owners for the franchise. This leaves the AFL with eight teams for 2016.
On January 6, 2016, the league took over "ownership and operational control" of the Portland Thunder from its previous owners. The AFL stated this move was made after months of trying work out an arrangement "to provide financial and operational support." On February 3, 2016, it was announced that the franchise will start from scratch and no longer be called the "Thunder" as the name and trademarks belong to former franchise owner Terry Emmert (similar to the Jerry Jones move with the Desperados). AFL commissioner Scott Butera announced that a new identity will be announced at a later date.
The league's 2016 schedule, announced on the league's website on December 10, 2015, shows an eight-team league playing a 16-game regular season over 18 weeks, with two bye weeks for each team, one on a rotational basis and the other a "universal bye" for all teams during the Independence Day weekend, the first weekend in July. All teams will qualify for the postseason, meaning that the regular season will serve only to establish seeding.
From the league's inception through ArenaBowl XVIII, the championship game was played at the home of the highest-seeded remaining team. The AFL then switched to a neutral-site championship, with ArenaBowls XIX and XX in Las Vegas. New Orleans Arena, home of the New Orleans VooDoo, served as the site of ArenaBowl XXI on July 29, 2007. This was the first professional sports championship to be staged in the city since Hurricane Katrina struck in August 2005. The San Jose SaberCats earned their third championship in six years by defeating the Columbus Destroyers 55–33. ArenaBowl XXI in New Orleans was deemed a success, and the city was chosen to host ArenaBowl XXII, in which the Philadelphia Soul defeated the defending champion San Jose Sabercats. In 2010, the location returned to being decided by which of the two participating teams was seeded higher. In ArenaBowl XXIII, the Spokane Shock defeated the Tampa Bay Storm at their home arena, Spokane Arena, in Spokane, Washington. In ArenaBowl XXIV, the Jacksonville Sharks, coming off of a victory in their conference final game four nights earlier, traveled to US Airways Center in Phoenix and defeated the Arizona Rattlers 73–70. ArenaBowl XXV returned to a neutral site and was once again played in New Orleans, where the Rattlers returned and defeated the Philadelphia Soul. Since 2014 the ArenaBowl has been played at the higher-seeded team.
The practice of playing one or two preseason exhibition games by each team before the start of the regular season was discontinued when the NBC contract was initiated, and the regular season was extended from 14 games, the length that it had been since 1996, to 16 from 2001 to 2010, and since 2016. From 2011 to 2015, the regular season league expanded to 18 games, with each team having two bye weeks and the option of two preseason games.
In August 2012, the AFL announced a new project into China, known as the China American Football League. The CAFL project is headed up by ESPN NFL analyst and Philadelphia Soul majority owner president Ron Jaworski. The plans were to establish a six-team league that would play a 10-week schedule that was slated to start in October 2014. The AFL coaches and trainers will travel to China to help teach the rules of the sport to squads made up of Chinese and American players with the goal of starting an official Chinese arena league. Ganlan Media International were given exclusive rights to the new Chinese league.
AFL Global and Ganlan Media were created in 2012 by businessman Martin E. Judge, founder and owner of the Judge Group. The company, called AFL Global, LLC, looks to introduce and launch professional Arena Football teams and franchises in various locations throughout the world (like NFL Europe). After their successful trip to China to help promote the game, they formally announced plans to further develop AFL China by the fall of 2014 by starting a comprehensive training program in May 2013 with exhibition games planned for the cities of Beijing and Guangzhou in October. This is the first time professional football of any kind will be played in China with the support of the Chinese government and the CRFA (Chinese Rugby Football Association). Key persons involved include founder and CEO. Martin E. Judge, partner Ron Jaworski, CAFL CEO Gary Morris and president David Niu. Ganlan Media has since dropped this name and will carry the league's name as its corporate identity.
The 2014 scheduled beginning proved to be too ambitious for the group; its official website now cites an anticipated beginning of professional play in 2016 and shows photos from a six-team collegiate tournament staged in early November, 2015
Beginning with the 2003 season, the AFL made a deal with NBC to televise league games, which was renewed for another two years in 2005. In conjunction with this, the league moved the beginning of the season from May to February (the week after the NFL's Super Bowl) and scheduled most of its games on Sunday instead of Friday or Saturday as it had in the past. In 2006, because of the XX Winter Olympic Games, the Stanley Cup playoffs and the Daytona 500, NBC scaled back from weekly coverage to scattered coverage during the regular season, but committed to a full playoff schedule ending with the 20th ArenaBowl. NBC and the Arena Football League officially severed ties on June 30, 2006, having failed to reach a new broadcast deal. Las Vegas owner Jim Ferraro stated during a radio interview that the reason why a deal failed is because ESPN refused to show highlights or even mention a product being broadcast on NBC.
On December 19, 2006, ESPN announced the purchase of a minority stake in the AFL. This deal included television rights for the ESPN family of networks. ESPN would televise a minimum of 17 regular season games, most on Monday nights, and nine playoff games, including ArenaBowl XXI on ABC. The deal resulted in added exposure on ESPN's SportsCenter. However, after the original AFL filed for bankruptcy, this arrangement did not carry over to the new AFL, which is a separate legal entity.
The AFL also had a regional-cable deal with FSN, where FSN regional affiliates in AFL markets carried local team games. In some areas, such as with the Arizona Rattlers, Fox Sports affiliates still carry the games.
After its return in 2010, the AFL had its national television deal with the NFL Network for a weekly Friday night game. All AFL games not on the NFL Network could be seen for free online, provided by Ustream.
The NFL Network ceased airing Arena Football League games partway through the 2012 season as a result of ongoing labor problems within the league. Briefly, the games were broadcast on a tape delay to prevent the embarrassment that would result should the players stage a work stoppage immediately prior to a scheduled broadcast. (In at least once incidence this actually happened, resulting in a non-competitive game being played with replacement players, and further such incidents were threatened.) Once the labor issues were resolved, the NFL Network resumed the practice of broadcasting a live Friday night game. NFL Network dropped the league at the end of the 2012 season.
For the 2013 season, the league's new national broadcast partner was the CBS Sports Network. CBSSN would air 19 regular season games and two playoff games. CBS would also air the ArenaBowl, marking the first time since 2008 that the league's finale aired on network television. Regular season CBSSN broadcast games are usually on Saturday nights. As the games are being shown live, the start times are not uniform as with most football broadcast packages, but vary with the time zone in which the home team is located. This means that the AFL may appear either prior to or following the CBSSN's featured Major League Lacrosse game.
Starting in 2014, ESPN returned to the AFL as broadcast partners, with weekly games being shown on CBS Sports Network, ESPN, ESPN2, ESPNEWS along with all games being broadcast on ESPN3 for free live on WatchESPN. ArenaBowl XXVII was also broadcast on ESPN. Most teams also have a local TV station broadcast their games locally and all games are available on local radio.
The first video game based on the AFL was Arena Football for the C-64 released in 1988. On May 18, 2000, Kurt Warner's Arena Football Unleashed was released by Midway Games for the PlayStation game console. On February 7, 2006 EA Sports released Arena Football for the PlayStation 2 and Xbox. EA Sports released another AFL video game, titled Arena Football: Road to Glory, on February 21, 2007, for the PlayStation 2.
In 2001, Jeff Foley published War on the Floor: An Average Guy Plays in the Arena Football League and Lives to Write About It. The book details a journalist's two preseasons (1999 and 2000) as an offensive specialist/writer with the now-defunct Albany Firebirds. The 5-foot-6 (170 cm), self-described "unathletic writer" played in three preseason games and had one catch for −2 yards.
The AFL currently runs as under the single-entity model, with the league owning the rights to the teams, players, and coaches. The single-entity model was adopted in 2010 when the league emerged from bankruptcy. Prior to that, the league followed the franchise model more common in North American professional sports leagues; each team essentially operated as its own business and the league itself was a separate entity which in exchange for franchise fees paid by the team owners provided rules, officials, scheduling and the other elements of organizational structure. A pool of money is allotted to teams to aid in travel costs.
Average attendance for AFL games were around 10,000–11,000 per game in the 1990s, though during the recession connected to the dot-com bubble and the September 11, 2001 attacks average attendance dropped below 10,000 for several years. From the start of the 2004 season until the final season of the original league in 2008, average attendance was above 12,000, with 12,392 in 2007. Eleven of the seventeen teams in operation in 2007 had average attendance figures over 13,000. In 2008, the overall attendance average increased to 12,957, with eight teams exceeding 13,000 per game.
In 2010, the first year of the reconstituted league following bankruptcy, the overall attendance average decreased to 8,135, with only one team (Tampa Bay) exceeding 13,000 per game.
Adult contemporary music (AC) is a style of 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, rhythm and blues, quiet storm, and rock influence. Adult contemporary is rather 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.
Adult contemporary 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 usually feature synthesizers (and other electronics, such as drum machines).
AC radio stations may play mainstream music, but they will exclude hip hop, dance tracks, hard rock, and some forms of teen pop, as they are less popular amongst the target demographic of these radio stations, which is intended for an adult audience. 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 is that many adult contemporary stations play less newer music because they also give ample airtime to hits of the past, so the de-emphasis on new songs slows the progression of the AC chart.
Over the years, AC has spawned subgenres including "hot AC", "soft AC" (also known as "lite AC"), "urban AC", "rhythmic AC", 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 tracks from musicians of many different genres.
Adult contemporary traces its roots to the 1960s easy listening format, which adopted a 70-80% instrumental - 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, AC was an attempt to create a similar "lite" format by choosing certain tracks (both hit singles and album cuts) of popular artists.
Hard rock had been established as a mainstream genre by 1965. From the end of the 1960s, it became common to divide mainstream rock music into soft and hard rock, with both emerging 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 Barbra Streisand, Carole King, Cat Stevens, James Taylor and Bread.
The Hot 100 and Easy Listening charts became more similar again toward the end of the 1960s and into the early and mid-1970s, when the texture of much of the music played on Top 40 radio once more began to soften. The adult contemporary format began evolving into the sound that later defined it, with rock-oriented acts as Chicago, The Eagles, and Elton John becoming associated with the 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, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade. By 1977, some radio stations, like New York's WTFM and NBC-owned WYNY, had switched to an all-soft rock format. By the 1980s, tastes had changed and radio formats reflected this change, including musical artists such as Journey. Walter Sabo and his team at NBC brought in major personalities from the AM Band to the FM Band taking the format from a background to a foreground listening experience. The addition of major radio stars such as Dan Daniel, Steve O'Brien, Dick Summers, Don Bleu and Tom Parker made it possible to fully monetize the format and provide the foundation for financial success enjoyed to this day
Radio stations played Top 40 hits regardless of genre; although, most were in the same genre until the mid-1970s when different forms of popular music started to target different demographic groups, such as disco vs. hard rock. This evolved into specialized radio stations that played specific genres of music, and generally followed the evolution of artists in those genres.
By the early 1970s, softer songs by artists like The Carpenters, Anne Murray, John Denver, Barry Manilow, and even Streisand, began to be played more often on "Top 40" radio and others were added to the mix on many AC stations. Also, some of these stations even played softer songs by Elvis Presley, Linda Ronstadt, Elton John, Rod Stewart, Billy Joel, and other rock-based artists.
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 this format than on Top 40 stations. Easy Listening radio also began including songs by artists who had begun in other genres, such as rock and roll or R&B. In addition, several early disco songs, did well on the Adult Contemporary 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 like 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, and Laura Branigan 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 artists like 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 #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 #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 #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.
The early 1990s marked the softening of urban R&B 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.
Unlike the majority of 1980s mainstream singers, the 1990s mainstream pop/R&B singers such as All-4-One, Boyz II Men, Rob Thomas, 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, Whitney Houston and Shania Twain. Newer female 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, C&C Music Factory 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, artists like George Benson, Kenny G and Dave Koz had crossover hits that were played on both smooth jazz and soft AC stations.
A notable pattern that developed during the 2000s and 2010s has been for certain pop songs to have lengthy runs on AC charts, even after the songs have 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 was 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: "In other words, AC stations are where pop songs go to die a very long death. Or, to optimists, to get a second life."
With the mixture of radio friendly AC tunes with some rock and pop fare also landing on the pop charts, mainstream songs 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. Part of the reason why more and more hot AC stations are forced to change is that less and less new music fits their bill; most new rock is too alternative for mainstream radio and most new pop is now influenced heavily by dance-pop and electronic dance music.
A popular trend in this era 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). Adult contemporary has long characterized itself as family-friendly, but edited versions of "Perfect" by P!nk and "Forget You" by Cee Lo Green showed up in the format in 2011.
While most artists became established in other formats before moving to adult contemporary, Michael Bublé and Josh Groban started out as AC artists. Throughout this decade, artists such as Nick Lachey, James Blunt, John Mayer, Bruno Mars, Jason Mraz, Kelly Clarkson, Adele, Clay Aiken and Susan Boyle have become successful thanks to a ballad heavy sound. Much as some hot AC and modern rock artists have crossed over into each other, so too has soft AC crossed with country music in this decade. Country musicians such as Faith Hill, Shania Twain, LeAnn Rimes and Carrie Underwood have had success on both charts.
Since the mid-2000s, the mainstreaming of bands like Wilco and Feist have pushed indie rock into the adult contemporary conversation. In the early 2010s, indie musicians like Imagine Dragons, Mumford & Sons, Of Monsters & Men, The Lumineers and Ed Sheeran also had indie songs that crossed over to the adult contemporary charts.
The consolidation of the "hot AC" format contrasted with the near-demise of most other AC formats: Beginning with the 2005-2007 economic downturn and eventual recession most stations went for the more chart-based CHR, along with the top 40, urban and even Latino formats. Diminishing physical record sales also proved a major blow to the AC genre.
The "soft" AC format has reinvented in the late 2000s/early 2010s as a result of its declining relevance, adopting a more upmarket, middle-of-the-road approach, with a selection of "oldies" (usually from the 1960s/70s onwards), primarily rock, jazz, R&B and pop music. Newer songs are more often (but not limited to) "easy listening" fare, this amount varying depending on the age of the station's target demographic.
Termed "the acoustic equivalent to Prozac", soft adult contemporary, a more adult-oriented version of AC, was born in the late 1970s and grew in the early 1980s. WEEI-FM in Boston was the first station to use the term "soft rock", with ad slogans such as, "Fleetwood Mac ... without the yack" and "Joni ... without the baloney". The vast majority of music played on soft AC stations is mellow, more acoustic, and primarily solo vocalists.
Other popular names for the format include "Warm", "Sunny", "Bee" (or "B") and (particularly in Canada) "EZ Rock". The format can be seen as a more contemporary successor to and combination of the middle of the road (MOR), beautiful music, easy listening and soft rock formats. Many stations in the soft AC format capitalize on its appeal to office workers (many of them females aged 25–54, a key advertiser demographic), and brand themselves as stations "everyone at work can agree on" (KOST originated that phrase as a primary tagline, and other soft AC stations have followed suit).
A large portion of music played on this format are either considered oldies or recurrent. It often deals with modern romantic and sexual relationships (and sometimes other adult themes such as work, raising children, and family) in a thoughtful and complex way. Soft AC, which has never minded keeping songs in high rotation literally for years in some cases, does not appear necessarily to be facing similar pressures to expand its format. Soft AC includes a larger amount of older music, especially classic R&B, soul, and 1960s and 1970s music, than hot AC.
The soft AC format may soon be facing the demographic pressures that the jazz and big band formats faced in the 1960s and 1970s and that the oldies format is starting to face today, with the result that one may hear soft AC less on over-the-air radio and more on satellite radio systems in coming years. Much of the music and artists that were traditionally played on soft AC stations have been relegated to the adult standards format, which is itself disappearing because of aging demographics. Some soft AC stations have found a niche by incorporating more oldies into their playlists and are more open to playing softer songs that fit the "traditional" definition of AC.
Artists contributing to this format include mainly soft rock/pop singers such as, Andy Williams, Johnny Mathis, Nana Mouskouri, Celine Dion, Julio Iglesias, Frank Sinatra, Barry Manilow, Engelbert Humperdinck, and Marc Anthony.
Hot adult contemporary radio stations play a variety of classic hits and contemporary mainstream music aimed at an adult audience. Some Hot AC stations concentrate slightly more on pop music and alternative rock to target the Generation Z audience, though they include the more youth-oriented teen pop, urban and rhythmic dance tracks.
This format often includes dance-pop (such as upbeat songs by Madonna, Cher, Gloria Estefan and Kylie Minogue), power pops (mainly by boybands such as Backstreet Boys and Westlife), and adult-oriented soft rock music that are ballad-driven (typically by Aerosmith[citation needed], The Eagles, Sting, Toto and The Moody Blues). Generally, Hot AC radio stations target their music output towards the 18-54 age group and a demographic audience of both men and women.
Modern adult contemporary can be a variation of hot AC, and includes modern rock titles in its presentation. In 1997, Mike Marino of KMXB in Las Vegas described 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's artists included Alanis Morissette, Counting Crows, Gin Blossoms, Bon Jovi, Train, No Doubt, The Script, The Cranberries, Lifehouse, Sarah McLachlan, Sara Bareilles, John Mayer, Jewel, and Ingrid Michaelson. Unlike modern rock, which went after 18-34 men, this format appealed to women.
Urban AC is a form of AC music geared towards adult African-American audiences, and therefore, the artists that are played on these stations are most often black, such as Des'ree, whose album I Ain't Movin' was massively popular amongst both African American audience as well as the wider national audience.
The urban AC stations resemble soft AC rather than hot AC; they play predominantly R&B and soul music with little hip-hop. This is reflected in many of the urban AC radio stations' taglines, such as "Today's R&B and classic soul", "The best variety of R&B hits and oldies" and "(City/Region)'s R&B leader". Urban AC's core artists include Luther Vandross, Trey Songz, Patti LaBelle, Toni Braxton, Whitney Houston, Aretha Franklin, Frank Ocean, Craig David and Mariah Carey.
A more elaborate form of urban AC is the rhythmic oldies format, which focuses primarily on "old school" R&B and soul hits from the 1960s to the 1990s, including Motown and disco hits. The format includes soul or disco artists such as ABBA, The Village People, The Jackson 5, Donna Summer, Tina Charles, Gloria Gaynor and the Bee Gees. Rhythmic oldies stations still exist today, but target African-Americans as opposed to a mass audience.
A format called quiet storm is often included in urban adult contemporary, and is often played during the evening, blending the urban AC and soft AC styles of music. The music that is played is strictly ballads and slow jams, mostly but not limited to Black and Latino artists. Popular artists in the quiet storm format are Teena Marie, Freddie Jackson, Johnny Gill, Lalah Hathaway, Vanessa L. Williams, Toni Braxton, and En Vogue among others.
Anita Baker, Sade, Regina Belle, and Luther Vandross are other examples of artists who appeal to mainstream AC, urban AC and smooth jazz listeners. Some soft AC and urban AC stations like to play smooth jazz on the weekends. In recent years, the Smooth Jazz format has been renamed to Smooth AC, as an attempt to lure younger listeners.
Adult contemporary R&B may be played on both soft AC stations and urban AC. It is a form of neo soul R&B that places emphasis on songcraft and sophistication. As the use of drum machines, synthesizers, and sequencers dominates R&B-rooted music, adult contemporary R&B tends to take most of its cues from the more refined strains of 1970s soul, such as smooth soul, Philly soul and quiet storm. Classic songwriting touches and organic-leaning instrumentation, often featuring string arrangements and horn charts, were constants.
In the 1980s, lush jazz-R&B fusion (George Benson, Patti Austin, Al Jarreau) and stylish crossover R&B (Anita Baker and Luther Vandross, New Edition and Keith Sweat) were equally successful within the mainstream. In the 1990s and early 2000s (decade), artists as sonically contrasting as R. Kelly, Leona Lewis (mainly ballads) and Jill Scott both fit the bill, provided the audience for the material was mature. By riding and contributing to nearly all of the trends, no one has exemplified the style more than Babyface, whose career thrived over 20 years as a member of the Deele (Two Occasions), a solo artist (Whip Appeal, When Can I See You), and a songwriter/producer (Toni Braxton's Breathe Again, Boyz II Men's I'll Make Love to You).
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, MercyMe.
In recent years 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 few artists featured under the normal format, most stations will also air some vintage holiday tunes from older pop, MOR, and adult standards artists – such as Nat King Cole, Bing Crosby, Dean Martin, The Carpenters, Percy Faith, Johnny Mathis 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 during the week 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. The roots of this tradition can be traced back to the beautiful music and easy listening stations of the 1960s and 1970s.
Before the 20th century, the term matter included ordinary matter composed of atoms and excluded other energy phenomena such as light or sound. This concept of matter may be generalized from atoms to include any objects having mass even when at rest, but this is ill-defined because an object's mass can arise from its (possibly massless) constituents' motion and interaction energies. Thus, matter does not have a universal definition, nor is it a fundamental concept in physics today. Matter is also used loosely as a general term for the substance that makes up all observable physical objects.
All the objects from everyday life that we can bump into, touch or squeeze are composed of atoms. This atomic matter is in turn made up of interacting subatomic particles—usually a nucleus of protons and neutrons, and a cloud of orbiting electrons. Typically, science considers these composite particles matter because they have both rest mass and volume. By contrast, massless particles, such as photons, are not considered matter, because they have neither rest mass nor volume. However, not all particles with rest mass have a classical volume, since fundamental particles such as quarks and leptons (sometimes equated with matter) are considered "point particles" with no effective size or volume. Nevertheless, quarks and leptons together make up "ordinary matter", and their interactions contribute to the effective volume of the composite particles that make up ordinary matter.
Matter commonly exists in four states (or phases): solid, liquid and gas, and plasma. However, advances in experimental techniques have revealed other previously theoretical phases, such as Bose–Einstein condensates and fermionic condensates. A focus on an elementary-particle view of matter also leads to new phases of matter, such as the quark–gluon plasma. For much of the history of the natural sciences people have contemplated the exact nature of matter. The idea that matter was built of discrete building blocks, the so-called particulate theory of matter, was first put forward by the Greek philosophers Leucippus (~490 BC) and Democritus (~470–380 BC).
Matter should not be confused with mass, as the two are not quite the same in modern physics. For example, mass is a conserved quantity, which means that its value is unchanging through time, within closed systems. However, matter is not conserved in such systems, although this is not obvious in ordinary conditions on Earth, where matter is approximately conserved. Still, special relativity shows that matter may disappear by conversion into energy, even inside closed systems, and it can also be created from energy, within such systems. However, because mass (like energy) can neither be created nor destroyed, the quantity of mass and the quantity of energy remain the same during a transformation of matter (which represents a certain amount of energy) into non-material (i.e., non-matter) energy. This is also true in the reverse transformation of energy into matter.
Different fields of science use the term matter in different, and sometimes incompatible, ways. Some of these ways are based on loose historical meanings, from a time when there was no reason to distinguish mass and matter. As such, there is no single universally agreed scientific meaning of the word "matter". Scientifically, the term "mass" is well-defined, but "matter" is not. Sometimes in the field of physics "matter" is simply equated with particles that exhibit rest mass (i.e., that cannot travel at the speed of light), such as quarks and leptons. However, in both physics and chemistry, matter exhibits both wave-like and particle-like properties, the so-called wave–particle duality.
Westminster Abbey, formally titled the Collegiate Church of St Peter at Westminster, is a large, mainly Gothic abbey church in the City of Westminster, London, located just to the west of the Palace of Westminster. It is one of the most notable religious buildings in the United Kingdom and has been the traditional place of coronation and burial site for English and, later, British monarchs. Between 1540 and 1556 the abbey had the status of a cathedral. Since 1560, however, the building is no longer an abbey nor a cathedral, having instead the status of a Church of England "Royal Peculiar"—a church responsible directly to the sovereign. The building itself is the original abbey church.
According to a tradition first reported by Sulcard in about 1080, a church was founded at the site (then known as Thorn Ey (Thorn Island)) in the 7th century, at the time of Mellitus, a Bishop of London. Construction of the present church began in 1245, on the orders of King Henry III.
The first reports of the abbey are based on a late tradition claiming that a young fisherman called Aldrich on the River Thames saw a vision of Saint Peter near the site. This seems to be quoted to justify the gifts of salmon from Thames fishermen that the abbey received in later years. In the present era, the Fishmonger's Company still gives a salmon every year. The proven origins are that in the 960s or early 970s, Saint Dunstan, assisted by King Edgar, installed a community of Benedictine monks here.
Between 1042 and 1052 King Edward the Confessor began rebuilding St Peter's Abbey to provide himself with a royal burial church. It was the first church in England built in the Romanesque style. The building was not completed until around 1090 but was consecrated on 28 December 1065, only a week before Edward's death on 5 January 1066. A week later he was buried in the church, and nine years later his wife Edith was buried alongside him. His successor, Harold II, was probably crowned in the abbey, although the first documented coronation is that of William the Conqueror later the same year.
Since 1066, when Harold Godwinson and William the Conqueror were crowned, the coronations of English and British monarchs have been held there. There have been at least 16 royal weddings at the abbey since 1100. Two were of reigning monarchs (Henry I and Richard II), although, before 1919, there had been none for some 500 years.
The only extant depiction of Edward's abbey, together with the adjacent Palace of Westminster, is in the Bayeux Tapestry. Some of the lower parts of the monastic dormitory, an extension of the South Transept, survive in the Norman undercroft of the Great School, including a door said to come from the previous Saxon abbey. Increased endowments supported a community increased from a dozen monks in Dunstan's original foundation, up to a maximum about eighty monks, although there was also a large community of lay brothers who supported the monastery's extensive property and activities.
The abbot and monks, in proximity to the royal Palace of Westminster, the seat of government from the later 12th century, became a powerful force in the centuries after the Norman Conquest. The abbot often was employed on royal service and in due course took his place in the House of Lords as of right. Released from the burdens of spiritual leadership, which passed to the reformed Cluniac movement after the mid-10th century, and occupied with the administration of great landed properties, some of which lay far from Westminster, "the Benedictines achieved a remarkable degree of identification with the secular life of their times, and particularly with upper-class life", Barbara Harvey concludes, to the extent that her depiction of daily life provides a wider view of the concerns of the English gentry in the High and Late Middle Ages.[citation needed]
The proximity of the Palace of Westminster did not extend to providing monks or abbots with high royal connections; in social origin the Benedictines of Westminster were as modest as most of the order. The abbot remained Lord of the Manor of Westminster as a town of two to three thousand persons grew around it: as a consumer and employer on a grand scale the monastery helped fuel the town economy, and relations with the town remained unusually cordial, but no enfranchising charter was issued during the Middle Ages. The abbey built shops and dwellings on the west side, encroaching upon the sanctuary.[citation needed]
The abbey became the coronation site of Norman kings. None were buried there until Henry III, intensely devoted to the cult of the Confessor, rebuilt the abbey in Anglo-French Gothic style as a shrine to venerate King Edward the Confessor and as a suitably regal setting for Henry's own tomb, under the highest Gothic nave in England. The Confessor's shrine subsequently played a great part in his canonisation. The work continued between 1245 and 1517 and was largely finished by the architect Henry Yevele in the reign of Richard II. Henry III also commissioned unique Cosmati pavement in front of the High Altar (the pavement has recently undergone a major cleaning and conservation programme and was re-dedicated by the Dean at a service on 21 May 2010).
Henry VII added a Perpendicular style chapel dedicated to the Blessed Virgin Mary in 1503 (known as the Henry VII Chapel or the "Lady Chapel"). Much of the stone came from Caen, in France (Caen stone), the Isle of Portland (Portland stone) and the Loire Valley region of France (tuffeau limestone).[citation needed]
In 1535, the abbey's annual income of £2400–2800[citation needed] (£1,310,000 to £1,530,000 as of 2016), during the assessment attendant on the Dissolution of the Monasteries rendered it second in wealth only to Glastonbury Abbey.
Henry VIII assumed direct royal control in 1539 and granted the abbey the status of a cathedral by charter in 1540, simultaneously issuing letters patent establishing the Diocese of Westminster. By granting the abbey cathedral status Henry VIII gained an excuse to spare it from the destruction or dissolution which he inflicted on most English abbeys during this period.

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