David Howell Evans, better known by his stage name the Edge, is an Irish musician and songwriter best known as the lead guitarist and backing vocalist of the rock band U2. A member of the group since its inception, he has recorded 14 studio albums with the band as well as one solo record; as a guitarist, the Edge has crafted a textural style of playing. His use of a rhythmic delay effect yields a distinctive sound that has become a signature of U2's music; the Edge was born in England to a Welsh family, was raised in Ireland after the Evans family moved there. In 1976, at Mount Temple Comprehensive School he formed a band with his fellow students and elder brother Dik that would evolve into U2. Inspired by the ethos of punk rock and its basic arrangements, the group began to write its own material, they became one of the most successful acts in popular music, with albums such as 1987's The Joshua Tree and 1991's Achtung Baby. Over the years, the Edge has experimented with various guitar effects and introduced influences from several genres of music into his own style, including American roots music, industrial music, alternative rock.
With U2, the Edge has played keyboards, co-produced their 1993 record Zooropa, served as co-lyricist. The Edge met his second wife Morleigh Steinberg through her collaborations with the band; as a member of U2 and as an individual, the Edge has campaigned for human rights and philanthropic causes. He co-founded Music Rising, a charity to support musicians affected by Hurricane Katrina, he has collaborated with U2 bandmate Bono on several projects, including songs for Roy Orbison and Tina Turner, the soundtracks to the musical Spider-Man: Turn Off the Dark and the Royal Shakespeare Company's London stage adaptation of A Clockwork Orange. As a member of U2, the Edge has won 22 Grammy Awards and has been inducted into the Rock and Roll Hall of Fame. Several music publications have ranked the Edge among the greatest guitarists of all time. David Howell Evans was born at the Barking Maternity Hospital, in the county of Essex in England, on 8 August 1961, he is the second child of Welsh parents Garvin and Gwenda Evans, both of whom originated from Llanelli, a coastal town in South Wales.
Garvin was an engineer who worked for the local electricity board, subsequently worked for the electronics company Plessey. The Edge has an elder brother a younger sister called Gillian; the Evanses lived in Chadwell Heath, Essex. Around 1962, Garvin was offered a promotion and a transfer, the family made the decision to move to County Dublin, Ireland to take it. During his childhood in Dublin he possessed two differing accents to converse in, Welsh and Irish English, the former being used when he was in the family home and the latter when he was outside; as a child, he received piano and guitar lessons, practised music with his brother Richard. Whilst the Evans brothers were at Mount Temple Comprehensive School in Dublin in 1976, they went along to a meeting in response to an advert posted by another pupil, Larry Mullen Jr. on the school's noticeboard seeking musicians to form a new band with him. Among the several other pupils who responded to the note were Paul Hewson and Adam Clayton; the band went through a number of reformations before becoming known as U2 in March 1978.
Early in the band's career, Evans was given the nickname "The Edge" by members of the Lypton Village surrealist street gang to which Bono belonged. The nickname was derived from the angular shape of Evans' head. However, the origin of the name is disputed and other theories include a description of his guitar playing and his preference for not becoming involved and therefore remaining on the edge of things. U2 began its public performance life in small venues in Dublin in 1977 playing at other venues elsewhere in Ireland. In December 1979 they performed their first concerts outside Ireland, in London, in 1980 began extensive touring across the British Isles, developing a following, their debut album Boy was released in 1980. In 1981, leading up to the October Tour, Evans came close to leaving U2 for religious reasons, but he decided to stay. During this period he became involved with a group called Shalom Tigers, in which bandmates Bono and Larry Mullen Jr. were involved. Shortly after deciding to remain with the band, he wrote a piece of music that became "Sunday Bloody Sunday".
Evans married his secondary school girlfriend Aislinn O'Sullivan on 12 July 1983. They have three daughters: Hollie, Arran and'Blue Angel'; the couple separated in 1990, but were unable to get divorced because of Irish laws regarding marriage annulment at the time. Evans is a Protestant Christian. In 1993, he began dating Morleigh Steinberg, an American professional dancer and choreographer whom he had met whilst she was employed as a dancer during the band's Zoo TV Tour, they have a daughter, a son, Levi. The couple were married in 2002. Evans has been criticised for his efforts to build five luxury mansions on a 156-acre plot of land in Malibu, California; the California Coastal Commission voted 8–4 against the plans. The Santa Monica Mountains Conservancy agreed to remain neutral on the issue following a US$1 million donation from Eva
A remix is a piece of media, altered from its original state by adding, and/or changing pieces of the item. A song, piece of artwork, video, or photograph can all be remixes; the only characteristic of a remix is that it appropriates and changes other materials to create something new. Most remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a variety of reasons: to adapt or revise a song for radio or nightclub play to create a stereo or surround sound version of a song where none was available to improve the fidelity of an older song for which the original master has been lost or degraded to alter a song to suit a specific music genre or radio format to use some of the same materials, allowing the song to reach a different audience to alter a song for artistic purposes. To provide additional versions of a song for use as bonus tracks or for a B-side, for example, in times when a CD single might carry a total of 4 tracks to create a connection between a smaller artist and a more successful one, as was the case with Fatboy Slim's remix of "Brimful of Asha" by Cornershop to improve the first or demo mix of the song to ensure a professional product.
To provide an alternative version of a song to improve a song from its original stateRemixes should not be confused with edits, which involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, a cover: a re-recording of someone else's song like Mike D's remix of Moby's "Natural Blues". While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form, remixed in numerous examples. Literature, film and social systems can all be argued as a form of remix Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions.
Less artistically lofty edits produced medleys or novelty recordings of various types. Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica; the fluid evolution of music that encompassed ska, rocksteady and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes of reggae tunes. At first they dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix and repeating hooks, adding various effects like echo and delay; the German krautrock band Neu! used other effects on side two of their album Neu! 2 by manipulating their released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using of a cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs to get dancers on the floor and keep them there.
One noteworthy figure was Tom Moulton. Though not a DJ, Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s, his tapes became popular and he came to the attention of the music industry in New York City. At first Moulton was called upon to improve the aesthetics of dance-oriented recordings before release, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single. Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton and their contemporaries at Salsoul Records proved to be the most influential group of remixers for the disco era; the Salsoul catalog is seen as being the "canon" for the disco mixer's art form. Pettibone is among a small number of remixers whose work transitioned from the disco to the House era.
His contemporaries included François Kevorkian. Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included Grandmaster Flash. Cutting and scratching became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D. ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". Early pop remixes were simple.
U2 are an Irish rock band from Dublin formed in 1976. The group consists of Bono, the Edge, Adam Clayton, Larry Mullen Jr.. Rooted in post-punk, U2's musical style has evolved throughout their career, yet has maintained an anthemic quality built on Bono's expressive vocals and the Edge's effects-based guitar textures, their lyrics embellished with spiritual imagery, focus on personal and sociopolitical themes. Popular for their live performances, the group have staged several ambitious and elaborate tours over their career; the band formed as teenagers while attending Mount Temple Comprehensive School, when they had limited musical proficiency. Within four years, they released their debut album, Boy. Subsequent work such as their first UK number-one album and the singles "Sunday Bloody Sunday" and "Pride" helped establish U2's reputation as a politically and conscious group. By the mid-1980s, they had become renowned globally for their live act, highlighted by their performance at Live Aid in 1985.
The group's fifth album, The Joshua Tree, made them international superstars and was their greatest critical and commercial success. Topping music charts around the world, it produced their only number-one singles in the US to date: "With or Without You" and "I Still Haven't Found What I'm Looking For". Facing creative stagnation and a backlash following their documentary/double album and Hum, U2 reinvented themselves in the 1990s through a new musical direction and public image. Beginning with their acclaimed seventh album, Achtung Baby, the multimedia-intensive Zoo TV Tour, the band integrated influences from alternative rock, electronic dance music, industrial music into their sound, embraced a more ironic, flippant image; this experimentation continued through their ninth album and the PopMart Tour, which were mixed successes. U2 regained critical and commercial favour with the records All That You Can't Leave Behind and How to Dismantle an Atomic Bomb, which established a more conventional, mainstream sound for the group.
Their U2 360° Tour of 2009–2011 is the highest-attended and highest-grossing concert tour in history. The group most released the companion albums Songs of Innocence and Songs of Experience, the former of which received criticism for its pervasive, no-cost release through the iTunes Store. U2 have released 14 studio albums and are one of the world's best-selling music artists in history, having sold an estimated 150–170 million records worldwide, they have won 22 Grammy Awards, more than any other band, in 2005, they were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Rolling Stone ranked U2 at number 22 on its list of the "100 Greatest Artists of All Time". Throughout their career, as a band and as individuals, they have campaigned for human rights and social justice causes, including Amnesty International, Jubilee 2000, the ONE/DATA campaigns, Product Red, War Child, Music Rising. In 1976, Larry Mullen Jr. a 14-year-old student at Mount Temple Comprehensive School in Dublin, posted a note on the school's notice board in search of musicians for a new band.
Six people met at Mullen's house on 25 September. Set up in the kitchen, Mullen was on drums, with: Paul Hewson on lead vocals. Mullen described it as "'The Larry Mullen Band' for about ten minutes Bono walked in and blew any chance I had of being in charge." Martin, who had brought his guitar and amplifier to the first practice but could not play, did not remain with the group, McCormick was dropped after a few weeks. The remaining five members settled on the name "Feedback" for the group because it was one of the few technical terms they knew. Most of their initial material consisted of cover songs, which they admitted was not their forte; some of the earliest influences on the band were emerging punk rock acts, such as the Jam, the Clash and Sex Pistols. The popularity of punk rock convinced the group that musical proficiency was not a prerequisite to success. In April 1977, Feedback played their first gig for a paying audience at St. Fintan's High School. Shortly thereafter, the band changed their name to "The Hype".
Dik Evans, older and by this time at college, was becoming the odd man out. The rest of the band was leaning towards the idea of a four-piece ensemble. In March 1978, the group changed their name to "U2". Steve Averill, a punk rock musician and family friend of Clayton's, had suggested six potential names from which the band chose "U2" for its ambiguity and open-ended interpretations, because it was the name that they disliked the least; that same month, U2, as a four-piece, won a talent contest in Limerick sponsored by Harp Lager and the Evening Press. The prize consisted of £500 and studio time to record a demo which would be heard by CBS Ireland, a record label; the win was an important affirmation for the fledgling band. Within a few days, Dik Evans was phased out of the band with a farewell concert at the Presbyterian Church Hall in Howth. During the show, which featured the group playing cover songs as the Hype, Dik ceremonially walked offstage; the remaining four band members returned in the concert to play original material as U2.
Dik soon joined the Virgin Prunes, which comprised mutual friends of U2's.
Innocence + Experience Tour
The Innocence + Experience Tour was a worldwide concert tour by rock band U2. Staged in support of the band's 2014 album Songs of Innocence, the tour visited arenas throughout 2015, it was U2's first time playing arenas since 2005–2006 on their Vertigo Tour. Comprising two legs and 76 concerts, the Innocence + Experience Tour began on 14 May 2015 in Vancouver, Canada, it visited North America from May through July, Europe from September through December. Shows were predominantly booked in pairs for each market. Concerts were structured around a loose autobiographical narrative of "innocence" passing into "experience", with a fixed set of songs for the first half of each show and a varying second half, separated by an intermission—a first for U2 concerts; the stage spanned the length of the venue floor and comprised three sections: a rectangular segment representing "innocence". A 96-foot-long double-sided video screen was parallel to the walkway. For the tour, U2's sound system was moved to the venue ceilings and arranged in an oval in hopes of improving acoustics by evenly distributing sound throughout the arena.
The Innocence + Experience Tour was well received by critics. According to Billboard, the North American leg of the tour grossed US$76.2 million from 36 sold-out concerts. In total, the tour grossed US$152.2 million from 1.29 million attendees. The final date of the tour, one of two Paris shows rescheduled due to the 13 November 2015 attacks in the city, was filmed for the video Innocence + Experience: Live in Paris and broadcast on the American television network HBO. In 2018, U2 have reprised the tour's autobiographical narrative and stage setup on its sequel, the Experience + Innocence Tour. U2's previous tour, the U2 360° Tour, visited stadiums in Europe, North America, Oceania and South America from 2009 to 2011 and comprised 110 shows; the concerts featured the band playing "in the round" on a circular stage, allowing the audience to surround them on all sides. To accommodate the stage configuration, a large four-legged structure nicknamed "The Claw" was built above the stage, with the sound system and a cylindrical, expanding video screen on top of it.
At 164 feet tall, it was the largest stage constructed. U2 360° concluded in July 2011 as the highest-grossing concert tour and the highest-attended concert tour. On 9 September 2014, after a five-and-a-half-year gap between records, U2 announced their thirteenth studio album, Songs of Innocence, at an Apple product launch event, it was released digitally the same day to all iTunes Store customers at no cost. The release made the album available to over 500 million iTunes customers in what Apple CEO Tim Cook called "the largest album release of all time." Songs of Innocence revisits the group members' youth in Ireland in the 1970s, touching on childhood memories and losses, while paying tribute to their musical inspirations. Lead vocalist Bono described it as "the most personal album we've written." It received mixed reviews, some critics and consumers were critical of the digital release strategy. As early as opening night of the U2 360° Tour in June 2009, Bono told his friend/band consultant Gavin Friday that their next tour would have to be more intimate.
During U2 360°, Bono and long-time tour designer Willie Williams first discussed ideas for their next live venture. One of Bono's suggestions was to begin future shows with the band performing underneath a single light bulb, in contrast to the massive stage structure underneath which they played during the 360° Tour. Williams was aware that U2's long-time stage designer Mark Fisher was battling an illness and did not have long to live; as a result, Williams reached out to stage designer Es Devlin in February 2013 and invited her to the band's creative team. The two collaborated in 2009 for the American theatre leg of Lady Gaga's Monster Ball Tour and in 2012 for Complicite's production of The Master and Margarita. Williams invited Ric Lipson, Fisher's colleague at the design firm Stufish Entertainment Architects, based on positive experiences with him on past projects; the first production meeting between U2 and their creative team for the Innocence + Experience Tour was held in March 2013 in the South of France over what Williams called a "mad weekend".
Although Songs of Innocence was still in progress at the time and did not yet have a title, the autobiographical narrative that would characterise the album was a driving idea for their tour. The band wanted to tell the story of their adolescence in Dublin in the 1970s and how they were "trying to figure out how they fit into the violent and disrupted world outside" their homes; the manifesto for the tour was summarised by two phrases: "I can't change the world, but I can change the world in me", "I can the change the world, but I can't change the world in me." The first is a lyric from the band's 1981 song "Rejoice" and represents the mindset of a teenage Bono feeling powerless to make a difference in a world plagued by the Troubles, who instead views personal psychological changes as a possibility. Devlin said, "Th
Dance Club Songs
The Dance Club Songs chart is a weekly chart published by Billboard in the United States. It is a national survey of the songs which are the most popular in nightclubs across the country and is compiled from reports from a national sample of disc jockeys, it was launched as the Disco Action Top 30 chart on August 28, 1976, became the first chart by Billboard to document the popularity of dance music. Since its inception, several artists garnered multiple achievements. In January 2017, Billboard proclaimed Madonna as the most successful artist in the history of the chart, ranking her first in their list of the 100 top all time dance artists and Janet Jackson being the second most successful dance club artist of all-time. Katy Perry holds the record for having eighteen consecutive number-one songs. Perry's third studio album, Teenage Dream, became the first album in the history of the chart to produce at least seven number-one songs between 2010–12, a record it held until Rihanna's eighth studio album Anti produced seven chart toppers through 2016-17.
Rihanna is the only artist to have achieved five number-one songs in a calendar year. The first number-one song on the Dance Club Songs chart for the issue dated August 28, 1976, was "You Should Be Dancing" by the Bee Gees; the current number-one song on the Dance Club Songs chart for the issue dated April 13, 2019, is "The Boss 2019" by Diana Ross. Dance Club Songs has undergone several incarnations since its inception in 1974. A top-ten list of tracks that garnered the largest audience response in New York City discothèques, the chart began on October 26, 1974 under the title Disco Action; the chart went on to feature playlists from various cities around the country from week to week. Billboard continued to run regional and city-specific charts throughout 1975 and 1976 until the issue dated August 28, 1976, when a thirty-position National Disco Action Top 30 premiered; this expanded to forty positions in 1979 the chart expanded to sixty positions eighty, reached 100 positions from 1979 until 1981, when it was reduced to eighty again.
During the first half of the 1980s the chart maintained eighty slots until March 16, 1985 when the Disco charts were splintered and renamed. Two charts appeared: Hot Dance/Disco, which ranked club play, Hot Dance Music/Maxi-Singles Sales, which ranked 12-inch single sales. Only Hot Dance Club Songs still exists today. In 2003 Billboard introduced the Hot Dance Airplay chart, based on radio airplay of six dance music stations and top 40 mix shows electronically monitored by Nielsen Broadcast Data Systems; these stations are a part of the electronically monitored panel that encompasses the Hot 100. On January 26, 2013, Billboard added a new chart, Dance/Electronic Songs, which tracks the 50 most popular Dance and Electronic singles and tracks based on digital single sales, radio airplay, club play as reported on the component Dance/Electronic Digital Songs, Dance/Electronic Streaming Songs, Dance Club Songs charts. Radio airplay is not limited to that counted on the Dance/Mix Show Airplay chart.
Although the disco chart began reporting popular songs in New York City nightclubs, Billboard soon expanded coverage to feature multiple charts each week which highlighted playlists in various cities such as San Francisco, San Diego, Los Angeles, Phoenix and Houston. During this time, Billboard rival publication Record World was the first to compile a dance chart which incorporated club play on a national level. Noted Billboard statistician Joel Whitburn has since "adopted" Record Worlds chart data from the weeks between March 29, 1975 and August 21, 1976 into Billboards club play history. For the sake of continuity, Record Worlds national chart is incorporated into both Whitburn's Dance/Disco publication as well as the 1975 and 1976 number-ones lists. With the issue dated August 28, 1976, Billboard premiered its own national chart and their data is used from this date forward. For the full list of all 100 All Time Top Dance Club Artists, click here. 19th week — "Wordy Rappinghood"/"Genius of Love" by Tom Tom Club 19th week — "Walking on a Dream" by Empire of the Sun 17th week — "Losing It" by Fisher 16th week — "The Look of Love" by ABC 16th week — "Most Precious Love" by Blaze presents U.
D. A. U. F. L. Featuring Barbara Tucker 16th week — "Where Have You Been" by Rihanna 16th week — "Right Now" by Rihanna featuring David GuettaSources: Thriller by Michael Jackson "The Boss" — Diana Ross, The Braxtons, Kristine W, again Diana Ross. Enrique Iglesias, Dave Audé and Pitbull are tied with 14 number-ones on the chart, the most among male artists. Iglesias, however, is the only male vocalist to accomplish this feat, while Audé is the only producer to achieve this milestone, as his singles feature a different vocalist. Rihanna is the first artist to earn 4 number-ones on the chart in a year and is the first act to earn 5 number-ones in a year as well. Three acts have attained thirteen number-one songs: Deborah Cox, Whitney Houston, Yoko Ono. Kylie Minogue became the first act to have two songs in the top three on March 5, 2011, her song "Better than Today" was number-one while "Higher", a song by Taio Cruz on which Minogue features, was number three. On July 28, 2016, Rihanna became the secon
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Coca-Cola, or Coke, is a carbonated soft drink manufactured by The Coca-Cola Company. Intended as a patent medicine, it was invented in the late 19th century by John Stith Pemberton and was bought out by businessman Asa Griggs Candler, whose marketing tactics led Coca-Cola to its dominance of the world soft-drink market throughout the 20th century; the drink's name refers to two of its original ingredients: coca leaves, kola nuts. The current formula of Coca-Cola remains a trade secret, although a variety of reported recipes and experimental recreations have been published; the Coca-Cola Company produces concentrate, sold to licensed Coca-Cola bottlers throughout the world. The bottlers, who hold exclusive territory contracts with the company, produce the finished product in cans and bottles from the concentrate, in combination with filtered water and sweeteners. A typical 12-US-fluid-ounce can contains 38 grams of sugar; the bottlers sell and merchandise Coca-Cola to retail stores and vending machines throughout the world.
The Coca-Cola Company sells concentrate for soda fountains of major restaurants and foodservice distributors. The Coca-Cola Company has on occasion introduced other cola drinks under the Coke name; the most common of these is Diet Coke, along with others including Caffeine-Free Coca-Cola, Diet Coke Caffeine-Free, Coca-Cola Zero Sugar, Coca-Cola Cherry, Coca-Cola Vanilla, special versions with lemon and coffee. Based on Interbrand's "best global brand" study of 2015, Coca-Cola was the world's third most valuable brand, after Apple and Google. In 2013, Coke products were sold in over 200 countries worldwide, with consumers drinking more than 1.8 billion company beverage servings each day. Coca-Cola ranked No. 87 in the 2018 Fortune 500 list of the largest United States corporations by total revenue. Confederate Colonel John Pemberton, wounded in the American Civil War and became addicted to morphine, began a quest to find a substitute for the problematic drug. In 1885 at Pemberton's Eagle Drug and Chemical House, a drugstore in Columbus, Georgia, he registered Pemberton's French Wine Coca nerve tonic.
Pemberton's tonic may have been inspired by the formidable success of Vin Mariani, a French-Corsican coca wine, but his recipe additionally included the African kola nut, the beverage's source of caffeine. It is worth noting that a Spanish drink called "Kola Coca" was presented at a contest in Philadelphia in 1885, a year before the official birth of Coca-Cola; the rights for this Spanish drink were bought by Coca-Cola in 1953. In 1886, when Atlanta and Fulton County passed prohibition legislation, Pemberton responded by developing Coca-Cola, a nonalcoholic version of Pemberton's French Wine Coca; the first sales were at Jacob's Pharmacy in Atlanta, Georgia, on May 8, 1886, where it sold for five cents a glass. Drugstore soda fountains were popular in the United States at the time due to the belief that carbonated water was good for the health, Pemberton's new drink was marketed and sold as a patent medicine, Pemberton claiming it a cure for many diseases, including morphine addiction, nerve disorders and impotence.
Pemberton ran the first advertisement for the beverage on May 29 of the same year in the Atlanta Journal. By 1888, three versions of Coca-Cola – sold by three separate businesses – were on the market. A co-partnership had been formed on January 14, 1888 between Pemberton and four Atlanta businessmen: J. C. Mayfield, A. O. Murphey, C. O. Mullahy, E. H. Bloodworth. Not codified by any signed document, a verbal statement given by Asa Candler years asserted under testimony that he had acquired a stake in Pemberton's company as early as 1887. John Pemberton declared that the name "Coca-Cola" belonged to his son, but the other two manufacturers could continue to use the formula. Charley Pemberton's record of control over the "Coca-Cola" name was the underlying factor that allowed for him to participate as a major shareholder in the March 1888 Coca-Cola Company incorporation filing made in his father's place. Charley's exclusive control over the "Coca-Cola" name became a continual thorn in Asa Candler's side.
Candler's oldest son, Charles Howard Candler, authored a book in 1950 published by Emory University. In this definitive biography about his father, Candler states: "... on April 14, 1888, the young druggist Asa Griggs Candler purchased a one-third interest in the formula of an completely unknown proprietary elixir known as Coca-Cola." The deal was between John Pemberton's son Charley and Walker, Candler & Co. – with John Pemberton acting as cosigner for his son. For $50 down and $500 in 30 days, Candler & Co. obtained all of the one-third interest in the Coca-Cola Company that Charley held, all while Charley still held on to the name. After the April 14 deal, on April 17, 1888, one-half of the Walker/Dozier interest shares were acquired by Candler for an additional $750. In 1892, Candler set out to incorporate a second company; when Candler had the earliest records of the "Coca-Cola Company" destroyed in 1910, the action was claimed to have been made during a move to new corporation offices around this time.
After Candler had gained a better foothold on Coca-Cola in April 1888, he was forced to sell the beverage he produced with the recipe he had under the names "Yum Yum" and "Koke". This was while Charley Pemberton was selling the elixir, although a cruder mixture, under the name "Coca-Cola", all with his father's blessing. After both names failed to catch on for Candler, by the middle of 1888, the Atlanta pharmacist was quite anxious t