Radio edit

In music, a radio edit is a modification, typically truncated, to make a song more suitable for airplay, whether it be adjusted for length, profanity, subject matter, instrumentation, or form. Radio edits may also be used for commercial single versions, which may be denoted as the 7" version. However, not all "radio edit" tracks are played on radio.

Editing for time

Radio edits often shorten a long song in order to make it more commercially viable for radio stations. The normal length for songs played on the radio is 3 to 4 minutes. Occasionally, the song will simply fade out earlier, common on tracks with long instrumental endings. For instance, the radio edit of 'Heroes' by David Bowie fades in shortly before the beginning of the third verse and fades out shortly before the vocal vamping at the end of the song. Another example is B.o.B's song, "Nothin' On You" featuring Bruno Mars, whose radio edit skips the first 5 seconds & starts with the 6th second in which Bruno Mars starts singing the first chorus. The second half of the first chorus is sometimes skipped, along with the last 24 seconds which is the normal fade-out part in which B.o.B says, "Yeah, and that's just how we do it/And I'ma let this ride/B.o.B and Bruno Mars", and the radio edit ends with the fourth and last chorus with an earlier fade-out. A 3rd example would be the song, "The Man" by Aloe Blacc, in which the radio edit skips the "I'm the man/Go ahead & tell everybody/What I'm saying ya all" part & the first 10 seconds. Also, the 3rd chorus of the song is shortened. However, many radio edits will also edit out verses, bridges, and interludes, such as the original single edit of "Piano Man" by Billy Joel which substitutes the end of the third verse for the ending of the second verse. Another example for this case is Justin Timberlake's "Mirrors", where the radio edit cuts the entire "You are the love of my life" part.

Remix (book)

Remix: Making Art and Commerce Thrive in the Hybrid Economy is Lawrence Lessig's fifth book. It is available as a free download under a Creative Commons license. It details a hypothesis about the societal effect of the Internet, and how this will affect production and consumption of popular culture.

Summary

In Remix Lawrence Lessig, a Harvard law professor and a respected voice in what he deems the "copyright wars", describes the disjuncture between the availability and relative simplicity of remix technologies and copyright law. Lessig insists that copyright law as it stands now is antiquated for digital media since every "time you use a creative work in a digital context, the technology is making a copy" (98). Thus, amateur use and appropriation of digital technology is under unprecedented control that previously extended only to professional use.

Lessig insists that knowledge and manipulation of multi-media technologies is the current generation's form of "literacy"- what reading and writing was to the previous. It is the vernacular of today. The children growing up in a world where these technologies permeate their daily life are unable to comprehend why "remixing" is illegal. Lessig insists that amateur appropriation in the digital age cannot be stopped but only 'criminalized'. Thus most corrosive outcome of this tension is that generations of children are growing up doing what they know is "illegal" and that notion has societal implications that extend far beyond copyright wars. The book is now available as a free download under one of the Creative Commons' licenses.

TeachText

The TeachText application is a simple text editor made by Apple Computer bundled with System 7.1 and earlier. It was created by Apple programmer Bryan Stearns with later versions created by Stearns and Francis Stanbach. TeachText was one of the only applications included with the Mac system software, leading to its frequent role as the application to open "ReadMe" files. It was named "TeachText" as a nod to this role in tutorials and other introductory materials.

TeachText was derived from the Edit application, which was a simple text editor for the early pre-System 6 Apple Macintosh computers. Edit was included with early versions of the basic system software to demonstrate the use of the Macintosh user interface. While Edit was a demonstration program for developers, TeachText was used mainly by users to display Read Me documents.

Since the first Macintosh models came with a full-featured word processor, MacWrite, software publishers commonly shipped documentation in its native format. When Apple stopped bundling MacWrite, ownership was transferred to Claris, so developers could not distribute it on their programs' installation floppy disks. With no text program present on the disks, owners without a second floppy disk drive or hard disk could be left with no way to view documentation or installation instructions. Apple supplied TeachText as a small, freely-distributable program to address this need.

Mark (dinghy)

The Mark is a single-hander class of small sailing dinghy. The design probably first appeared in the 1960s, at about the same time as the Laser, but never took off as a popular racing class. The Mark is 12 feet (3.7 m) in length, with forward and side buoyancy compartments. A 19 feet (5.8 m) free standing rotating mast stepped far forward in the front buoyancy compartment supports a mainsail.

March (territorial entity)

A march or mark was, in broad terms, a medieval European term for any kind of borderland, as opposed to a notional "heartland". More specifically, a march was a border between realms, and/or a neutral/buffer zone under joint control of two states, in which different laws might apply. In both of these senses, marches served a political purpose, such as providing warning of military incursions, or regulating cross-border trade, or both.

Just as counties were traditionally ruled by counts, marches gave rise to titles such as: marquess (masculine) or marchioness (feminine) in England, marquis (masc.) or marquise (fem.) in France and Scotland, margrave (Markgraf i.e. "march count"; masc.) or margravine (Markgräfin i.e. "march countess", fem.) in Germany, and corresponding titles in other European states.

Etymology

The word "march" derives ultimately from a Proto-Indo-European root *mereg-, meaning "edge, boundary". The root *mereg- produced Latin margo ("margin"), Old Irish mruig ("borderland"), and Persian and Armenian marz ("borderland"). The Proto-Germanic *marko gave rise to the Old English word mearc and Frankish marka, as well as Old Norse mörk meaning "borderland, forest", and derived form merki "boundary, sign", denoting a borderland between two centres of power.

Mark (currency)

The mark was a currency or unit of account in many nations. It is named for the mark unit of weight. The word mark comes from a merging of three Teutonic/Germanic words, Latinised in 9th century post-classical Latin as marca, marcha, marha or marcus. It was a measure of weight mainly for gold and silver, commonly used throughout Western Europe and often equivalent to eight ounces. Considerable variations, however, occurred throughout the Middle Ages.

As of 2015, the only circulating currency named "mark" is the Bosnia and Herzegovina convertible mark.

List of currencies named "mark" or similar

"Mark" can refer

Radio (Darius Rucker song)

"Radio" is a song co-written and recorded by American country music artist Darius Rucker. It was released on July 22, 2013 as the third single from his album True Believers. Rucker wrote the song with Luke Laird and Ashley Gorley.

Content

The song is a reflection on the narrator's teenage years: specifically, of borrowing his mother's car to take his girlfriend for a ride, and listening to songs on the radio while doing so.

Critical reception

The song generally received favorable reviews. Bobby Peacock of Roughstock gave the song four and a half stars out of five, saying that "it sounds like the kind of fun song you would want to hear on the radio at a memorable moment." Peacock praised Rucker's "all-smiles delivery" and the song's "incredibly catchy melody and tight production." He also compared its theme to "I Watched It All (On My Radio)" by Lionel Cartwright. Tammy Ragusa of Country Weekly gave the song an A grade, calling it "the perfect marriage of an artist’s effervescent personality with an upbeat song, this one about the love of music." Billy Dukes of Taste of Country gave the song two and a half stars out of five, writing that "the uptempo tribute to young love, open roads and, of course, the radio is familiar and easy to fall for, especially when powered by Rucker’s unequaled exuberance." However, Dukes also called the song "a little fluffy" and "not difficult to forget."