Dance-pop is a popular music subgenre that originated in the early 1980s. It is uptempo music intended for nightclubs with the intention of being danceable but suitable for contemporary hit radio. Developing from a combination of dance and pop with influences of disco, post-disco and synth-pop, it is characterised by strong beats with easy, uncomplicated song structures which are more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes; the genre, on the whole, tends to be producer-driven, despite some notable exceptions. Dance-pop is known for being eclectic, having borrowed influences from other genres, which varied by producers and periods; such include contemporary R&B, trance, electropop, new jack swing and pop rock. Dance-pop is a popular mainstream style of music and there have been numerous pop artists and groups who perform in the genre. Notable ones include Cher, Britney Spears, Kylie Minogue, Christina Aguilera, Spice Girls, Paula Abdul, Backstreet Boys, Michael Jackson, NSYNC, Janet Jackson, Taylor Swift, Selena Gomez, Katy Perry, Lady Gaga, Ariana Grande.

As the term "disco" started to go out of fashion by the late 1970s to early 1980s, other terms were used to describe disco-based music, such as "post-disco", "club", "dance" or "dance-pop" music. These genres were, in essence, a more modern variant of disco music known as post-disco, which tended to be more experimental and producer/DJ-driven using sequencers and synthesizers. Dance-pop music emerged in the 1980s as a combination of dance and pop, or post-disco, uptempo and simple, club-natured, producer-driven and catchy. Dance-pop was more uptempo and dancey than regular pop, yet more structured and less free-form than dance music combining pop's easy structure and catchy tunes with dance's strong beat and uptempo nature. Dance-pop music was created and produced by record producers who would hire singers to perform the songs. In the beginning of the 1980s, disco was an anathema to the mainstream pop. According to prominent Allmusic critic Stephen Thomas Erlewine, Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma and sex appeal.

Erlewine claimed that Madonna "launched dance-pop" and set the standard for the genre for the next two decades. As the primary songwriter on her self-titled debut album and a co-producer by her third record, Madonna's insistence on being involved in all creative aspects of her work was unusual for a female dance-pop vocalist at the time; the staff of Vice magazine stated that her debut album "drew the blueprint for future dance-pop."In the 1980s, dance-pop was aligned to other uptempo electronic genres, such as Hi-NRG. Prominent producers in the 1980s included Stock and Waterman, who created Hi-NRG/dance-pop for artists such as Kylie Minogue, Dead or Alive and Bananarama. During the decade, dance-pop borrowed influences from funk, new jack swing, contemporary R&B. Other prominent dance-pop artists and groups of the 1980s included the Pet Shop Boys and Kim, Samantha Fox, Debbie Gibson, Tiffany. By the 1990s, dance-pop had become a major genre in popular music. Several dance-pop groups and artists emerged during the 1990s, such as the Spice Girls, Britney Spears, Christina Aguilera, Jessica Simpson, Backstreet Boys, and'NSYNC.

During the early 1990s, dance-pop borrowed influences from house music, as well as contemporary R&B and new jack swing. By the late 1990s, electronic influences became evident in dance-pop music. Additionally in 1998, Cher released a dance-pop song called "Believe" which made usage of a technological innovation of the time, Auto-Tune. An audio processor and a form of pitch modification software, Auto-Tune is used as a way to correct pitch and to create special effects. Since the late 1990s, the use of Auto-Tune processing has become a common feature of dance-pop music. Celine Dion released a midtempo dance-pop song, "That's the Way It Is" by the end of 1999. During this period, some British bands connected with Britpop and alternative pop experimented with dance pop as a form - examples include Catatonia single Karaoke Queen, Kenickie's final single Stay in the Sun and Romo band Orlando's major label debut single "Just For A Second." Another Britpop band, Theaudience was fronted by Sophie Ellis Bextor who went on to a successful solo career in artist-driven dance-pop.

At the beginning of the 2000s, dance-pop music was still prominent, electronic in style, influenced by genres such as trance, house and electro. Nonetheless, as R&B and hip hop became popular from the early part of the decade onwards, dance-pop borrowed a lot of its influences from urban music. Dance-pop stars from the 1980s and 1990s such as Britney Spears, Christina Aguilera, Janet Jackson and Kylie Minogue continued to achieve success at the beginning of the decade. Whilst a lot of dance-pop at the time was R&B-influenced, many records started to return to their disco roots.

Taylors Arm (New South Wales)

Taylors Arm is a perennial river of the Nambucca River catchment, located in the Mid North Coast region of New South Wales, Australia. Taylors Arm rises within New England National Park on the eastern slopes of Killiekrankie Mountain, below the Dorrigo Plateau, part of the Great Dividing Range; the river flows southeast and east northeast, joined by two minor tributaries, before reaching its confluence with the Nambucca River northwest of Macksville. The river descends 235 metres over its 83 kilometres course. List of rivers of New South Wales List of rivers of Australia Rivers of New South Wales Taylors Arm "Nambucca River catchment". Office of Environment and Heritage. Government of New South Wales

Allard P1

The Allard P1 is a five-seater two-door sports saloon produced by the British Allard Motor Company between 1949 and 1952. 155 Allard P1s were built. The cars used Ford transmissions; this helped reduce problems finding service support and parts for cars exported to the US, a key export market for Allard and other UK makers of larger cars in the 1950s. A car tested by the British magazine The Autocar in 1949 recorded a top speed of 84.5 mph and could accelerate from 0–60 mph in 23.4 seconds. A fuel consumption of 17 miles per imperial gallon was recorded; the test car cost £1277 including taxes. The Competition Series version received Mercury's 4.4 litre V8 engine with 115 hp. Unusually in a car of post-war design, the Allard featured a windscreen hinged at the top, which could be opened "by means of a central toggle mechanism". Interior fittings displayed unusual attention to detail by the car's designers, with good interior storage including a packages shelf under the fascia and "pockets the thickness of the doors".

Instrumentation included, in addition to a choke control, a "screw-type hand throttle" as well as a switch for a light in the engine compartment. A heater that drew fresh air from the outside was included as a standard feature on exported cars, was offered as an optional extra for the domestic market. In 1952 an Allard P1, driven by Sydney Allard himself, along with Guy Warburton, won the Monte Carlo Rally. Tom Lush was the navigator