An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Easy Tiger is the ninth studio album by Ryan Adams, released on June 26, 2007, on the Lost Highway label. Although the album is attributed to Adams, Easy Tiger features The Cardinals as his backing band, with Adams stating: "The only real concept of this record was complete and utter collaboration." In an interview, Adams states that the album contains "very simple easy songs that, in my opinion, were written on the periphery of some more complex work." Easy Tiger marks the first appearance of both guitarist Neal Casal and bassist Chris Feinstein, following the departures of J. P. Bowersock and Catherine Popper, respectively. Following the album's release, producer James Candiloro would go on to join The Cardinals as the band's pianist and keyboard player; the album debuted at #7 on the Billboard 200 with Adams highest first-week sales and has sold 217,000 copies in the U. S. as of September 2008 and 500,000 worldwide. Furthermore, the album debuted in Canada and Switzerland where Ryan Adams has never had an album chart before.
"Halloweenhead" was #45 in Rolling Stone's list of the 100 Best Songs of 2007. In 2010, Adams would go on to release two further studio albums that stemmed from Easy Tiger's recording sessions: III/IV, a double album recorded prior to Catherine Popper's departure, Orion, a heavy metal collaboration between Adams and producer Jamie Candiloro; the vinyl release of Easy Tiger is credited to "Ryan Adams & The Cardinals". "Off Broadway" first appeared on the bootleg The Suicide Handbook, a compilation of unreleased demo recordings, was performed as early as 2001. "These Girls" appeared as "Hey There, Mrs. Lovely" on Adams' unreleased 2000 album Destroyer. Sheryl Crow provides backing vocals on the track "Two", featured in the film Hancock; the album has a score of 76 out of 100 based on 29 "generally favorable reviews". Real Detroit Weekly gave it a favorable review and called it "a mosaic masterpiece of past works." The A. V. Club gave it a B+ and said, " On the whole, Easy Tiger isn't quite as strong as 2005's Cold Roses—and that release was naggingly inconsistent.
But Adams has a history of making scattershot records: 50 percent brilliant, 25 percent okay, 25 percent hackery. By the standards he's set for himself, Easy Tiger is one of his best, if only because it beats the percentages." The New York Times gave it a favorable review and said, "It is focused—read: not insanely self-indulgent—in a way that recalls albums of his like Heartbreaker and Gold." The Observer gave it a score of four stars out of five and called it Adams' "most rounded creation". Uncut gave it a score of four stars out of five and said, "The real triumph of Easy Tiger is less rooted in the sound, more in the attitude." Slant Magazine gave it four stars out of five and said that what the album "lacks in craft or measure, it makes up for in raw inspiration, which makes it all the more addictive." Now gave it four stars out of five and said of Adams and his songs: "The Sheryl Crow duet works where his Norah Jones collabo didn't. Sputnikmusic gave it a score of four out of five and said it was "at least Adams' best release since Love is Hell and it may be the long awaited successor to Heartbreaker."
The Village Voice gave it a favorable review and said, "The lived-in songs and careful presentation of Easy Tiger make for one of the strongest records of his second career as a solo artist."Alternative Press gave it three-and-a-half stars out of five and said that "Adams finds himself reliving his past glories." Tiny Mix Tapes gave it three-and-a-half stars out of five and said that the album was not Adams' best, "but it's got focus and a lot of heart." Billboard gave it a positive review and said, "This'Tiger' is tame, but that's OK." The Boston Globe gave it a positive review and said, "Gone is the petulant enfant terrible, with it a certain sparkle and swagger that made a record like Gold careen from the speakers." Stylus Magazine gave it a B− and said it "sounds like the kind of album Adams could churn out every 18 months for the rest of his life." Other reviews are mixed: an example of this is Prefix Magazine, which gave the album an average review and called it "a tightrope walker straddling the line between sincerity and unapologetic rocking."
All tracks written by Ryan Adams, Brad Pemberton, Neal Casal and Jon Graboff, unless otherwise stated. Ryan Adams – vocals, piano, harmonica Brad Pemberton – drums, vocals Jon Graboff – pedal steel, guitar, mandolin Neal Casal – guitar, keyboards Chris Feinstein – bass, vocals Jamie Candiloro – piano, synths, percussion Eric Gorfain – violin Daphne Chen – violin Leah Katz – viola Richard Dodd – cello Richard Worn – vocals Sheryl Crow – vocals Catherine Popper – bass, vocals Cindy Cashdollar – pedal steel, lap steel, dobro Easy Tiger at Metacritic
Jacksonville City Nights
Jacksonville City Nights is the seventh studio album by American alternative country singer-songwriter Ryan Adams, released on September 27, 2005 on Lost Highway. The album is Adams' second with The Cardinals, the second in a trilogy of albums released in a seven-month timespan during 2005. By 2007, the album had sold 100,000 copies in the United States and 158,000 worldwide; the album was recorded live without overdubs. The title is a reference to Adams' hometown of Jacksonville, North Carolina, referenced throughout his career. Several limited American releases contained a DVD entitled September, which featured a 20 minute documentary about the band on the road and in the studio. Bassist Catherine Popper is featured in the photograph on the album cover; the album so far has a score of 72 out of 100 from Metacritic based on "generally favorable reviews". Spin gave it a B+ and said the album "reminds you why Adams was once a big deal." NME gave it a score of seven out of ten and said, "Adams could make use of an editor here--but you can't hate an album that uses pedal-steel on every track."
Tiny Mix Tapes gave it a score of three-and-a-half stars out of five and said, "As with most Adams records, the fact that some of the songs made the cut is perplexing." However, Blender gave it three stars out of five and said, "It's the sound of a New Yorker coming home for a breath of country air." Prefix Magazine gave it an average review and said, "Perhaps Adams is just earning cheap sympathy with his strained, tour-weary voice, or maybe it’s just too thrilling to hear him revisit Gram, but Jacksonville City Lights does seem to come by its sound honestly." All lyrics written by Ryan Adams. P. Bowersock, Catherine Popper & Jon Graboff except where indicated. Ryan Adams - vocals, acoustic guitar, piano J. P. Bowersock - electric guitars Catherine Popper - bass, background vocals Brad Pemberton - drums, percussion Jon Graboff - pedal steel, background vocals Claudia Chopek: Violin. David Gold: Violin & Viola. Bob Hoffnar: Pedal steel. Byron Isaacs: Background vocals. Norah Jones: Piano & vocals.
Julia Kent: Cello. Joe McGinty: Piano. Michael Panes: Violin. Johnny T: Drums. Glenn Patscha: Piano & background vocals; the Nashville String Machine perform on the song "My Heart Is Broken" and are: Bergen White: Arranger and conductor. Violins: Carl Gorodetsky, Pamela Sixfin, Conni Ellisor, Allan Umstead, David Angell, Cathy Umstead & Mary Kathryn Vanosdale. Violas: Kris Wilkinson, Gary Vanosdale & Jim Grosjean. Cellos: Carole Rabinowitz & Bob Mason. Jacksonville City Nights at Metacritic
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Entertainment Weekly is an American magazine, published by Meredith Corporation, that covers film, music, Broadway theatre and popular culture. Different from celebrity-focused publications like Us Weekly, In Touch Weekly, EW concentrates on entertainment media news and critical reviews. However, unlike Variety and The Hollywood Reporter, which are aimed at industry insiders, EW targets a more general audience; the first issue was published on February 16, 1990. Created by Jeff Jarvis and founded by Michael Klingensmith, who served as publisher until October 1996, the magazine's original television advertising soliciting pre-publication subscribers portrayed it as a consumer guide to popular culture, including movies and book reviews, sometimes with video game and stage reviews, too.. In 1996, the magazine won the coveted National Magazine Award for General Excellence from the American Society of Magazine Editors. EW won the same award again in 2002. In September 2016, in collaboration with People, Entertainment Weekly launched the People/Entertainment Weekly Network.
The network is "a free, ad-supported online-video network carries short- and long-form programming covering celebrities, pop culture and human-interest stories". It was rebranded as PeopleTV in September 2017; the magazine features celebrities on the cover and addresses topics such as television ratings, movie grosses, production costs, concert ticket sales, ad budgets, in-depth articles about scheduling, showrunners, etc. It publishes several "double issues" each year; the magazine numbers its issues sequentially, it counts each double issue as "two" issues so that it can fulfil its marketing claim of 52 issues per year for subscribers. Entertainment Weekly follows a typical magazine format by featuring a letters to the editor and table of contents in the first few pages, while featuring advertisements. While many advertisements are unrelated to the entertainment industry, the majority of ads are related to up-and-coming television, film or music events; these beginning articles open the magazine and as a rule focus on current events in pop culture.
The whole section runs eight to ten pages long, features short news articles, as well as several specific recurring sections: "Sound Bites" opens the magazine. It’s a collage of media personalities. "The Must List" is a two-page spread highlighting ten things. "First Look", subtitled "An early peek at some of Hollywood's coolest projects", is a two-page spread with behind-the-scenes or publicity stills of upcoming movies, television episodes or music events. "The Hit List", written each week by critic Scott Brown, highlights ten major events, with short comedic commentaries by Brown. There will be some continuity to the commentaries; this column was written by Jim Mullen and featured twenty events each week, Dalton Ross wrote an abbreviated version. "The Hollywood Insider" is a one-page section. It gives details, in the separate columns, on the most-current news in television and music. "The Style Report" is a one-page section devoted to celebrity style. Because its focus is on celebrity fashion or lifestyle, it is graphically rich in nature, featuring many photographs or other images.
The page converted to a new format: five pictures of celebrity fashions for the week, graded on the magazine's review "A"-to-"F" scale. A spin-off section, "Style Hunter", which finds reader-requested articles of clothing or accessories that have appeared in pop culture appears frequently. "The Monitor" is a two-page spread devoted to major events in celebrity lives with small paragraphs highlighting events such as weddings, arrests, court appearances, deaths. Deaths of major celebrities are detailed in a one-half- or full-page obituary titled "Legacy"; this feature is nearly identical to sister publication People's "Passages" feature. The "celebrity" column, the final section of "News and Notes", is devoted to a different column each week, written by two of the magazine's more-prominent writers: "The Final Cut" is written by former executive editor and author Mark Harris. Harris' column focuses on analyzing current popular-culture events, is the most serious of the columns. Harris has written among other topics.
"Binge Thinking" was written by screenwriter Diablo Cody. After several profiles of Cody in the months leading up to and following the release of her debut film, she was hired to write a column detailing her unique view of the entertainment business. If You Ask Me..." Libby Gelman-Waxer was brought in to write his former Premiere column for Entertainment Weekly in 2011. There are four to six major articles within the middle pages of the magazine; these articles are most interviews, but there are narrative articles as well as lists. Feature articles tend to focus on movies and television and less on books and the theatre. In the magazine's history, there have only been a few cover stories devoted to authors. There are seven sections of reviews in the back pages of each issue (together enc
Alternative Press (magazine)
Alternative Press is an American music magazine based in Cleveland, Ohio. It provides readers with band interviews, information on upcoming releases, music charts, it was founded in 1985 by Mike Shea, the president. Joe Scarpelli is the general manager. Jason Pettigrew is editor in chief; the first issue of Alternative Press was a photocopied punk rock fanzine, distributed at concerts in Cleveland, Ohio beginning in June 1985 by AP's founder, Mike Shea. He disliked the music, being broadcast on radio stations and believed that bands playing underground music should be given more media coverage "all in the same spot", he said; the name for the magazine, Alternative Press, was not a reference to the alternative rock genre, but referred to the fanzine being an alternative to the local press that wasn't covering the music that Shea felt deserved to be heard. He said, "It has always been about covering music for the misfits". Shea began working on his first issue in his mother's house in Ohio. Shea and a friend, Jimmy Kosicki, targeted the Cleveland neighborhood of Coventry.
"I offset print. I'd walk into these flower shops and Hallmark shops, I'd say'We're going to put out an entertainment publication, it's going to be for kids and only $25.' And they'd look at my high school newspaper and say,'It's professional...' That's how we got enough money to make the first issue". Financial problems plagued AP in its early years. Of the fledgling magazine's struggles in 1986, Shea said: "After the last few punk concerts we promoted that year failed to make any money to help finance the magazine, I had to start begging my mom for money to keep AP going: $1,500 here, $2,500 there. My mom was super-supportive of the whole endeavor, she seemed to enjoy having a bunch of punkers over at all hours of the night putting together issues on her dining-room table and getting spray mount all over her nice tablecloths and on the carpeting, which resulted in our socks getting pulled off as we walked over it". However, by the end of 1986, publication had ceased due to its financial problems, not resuming until the spring of 1988.
With the growth of alternative rock in the early 1990s, circulation began to increase. AP's covers included bands such as Red Hot Chili Peppers and Soundgarden, prior to each band's mainstream success. By 1994, the magazine was doing cover stories on Henry Rollins and Love and Rockets. Norman Wonderly, now the publisher, was credited by Shea as having "made most of these happen and the more Norman got what he wanted, the more artists wanted their cover shoots to look the way Norman wanted, so on, it wasn’t always easy. Did we sometimes protest too much? Maybe, but we were up against a lot. Nobody takes you unless you take yourself and that's what Norman brings to his position to this day". By the early 2000s, after resisting attempts to purchase the magazine, Shea shifted the focus of Alternative Press to the newer punk music associated with the Warped Tour; when asked the magazine's audience, Shea said, "It went from heartfelt emo, to screamo, to post-hardcore, to metalcore… but, there will always be a suburban kid full of angst.
They will always want music". At the time of its 20th anniversary in 2005, AP had grown to an average size of 112 pages per issue averaging between 198 and 220-plus pages a month; the magazine's current monthly columns include "The AP Poll", "In the Studio", "AP&R", "Chalkboard Confessional", "Musician of the Month", "My Favorite Gear", "Next Exit", "Gig Bag", "1000 Words", "Beauty and the Band" and "10 Essential." AP sponsored a radio show aired on XM Radio, a podcast featuring in-depth discussions on various topics with people such as Fall Out Boy's Pete Wentz and Kevin Lyman, a compilation CD, has been a major sponsor of tours including Warped Tour, Taste of Chaos and its own "The AP Tour." Official website The AP Tour