Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid- to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening rather than dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, long albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid-1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denotes a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson
Avercast, LLC is in the supply chain management industry of inventory forecasting and supply planning software known as demand management. Avercast is an international software company headquartered in Rigby, Idaho, USA. Established in 2008 by Demand Solutions co-founder Gene Averill, Avercast has expanded to include twenty regional offices in 10 countries on five continents. In 2010, Avercast was included in Supply & Demand Chain Executive magazine's list of the 100 most influential movers and shakers. In 2011, Avercast founder and chief executive Gene Averill was named a "Provider Pro to Know" by Supply & Demand Chain Executive magazine. Gene Averill pioneered many of the demand management planning technologies that are commonplace in the industry today. In 2011, Avercast was recognized by Supply & Demand Chain Executive magazine's list of 100 Great Supply Chain Projects for its work with Markwins International. In 2011, Avercast launched one of the first cloud based demand management platforms aimed toward small to mid-size companies.
The company's cloud offerings allow users to purchase a la carte demand management software tools without the need to purchase or upgrade any hardware
24 is a compilation of 24 hits from Christian group Point of Grace. It was released in 2003 by Word Records. "Day By Day" – 3:32 "I'll Be Believing" – 3:18 "One More Broken Heart" – 4:03 "Jesus Will Still Be There" – 4:30 "Faith and Love" – 4:27 "I Have No Doubt" – 4:30 "No More Pain" – 4:42 "The Great Divide" – 4:18 "Dying To Reach You" – 4:14 "Gather at The River" – 3:27 "God Is With Us" – 4:00 "Love Like No Other" – 4:14 "Keep The Candle Burning – 4:34 "You Are The Answer" – 4:28 "Circle of Friends" – 4:14 "That's The Way It's Meant To Be" – 3:29 "Steady On" – 4:48 "Saving Grace" – 4:33 "When The Wind Blows" – 4:27 "The Wonder of It All" – 4:11 "My God" – 5:03 "The Song Is Alive" – 4:25 "Blue Skies" – 4:31 "He Sends His Love" – 4:40 "Praise Forevermore" – 4:37 "Day By Day" – #1 Shelley Breen Heather Payne Denise Jones Terry Jones "Day by Day" was her last song recorded with the group before announcing her retirement in November 2003. Leigh Cappillino