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CPM may refer to:
Bradford Aerodrome, (IATA: YFD, TC LID: CPM7), is a registered aerodrome located near Bradford, Ontario, Canada.
CPM 22 is a Brazilian rock band from São Paulo formed in 1995.
Band members are Fernando Estefano (Badauí, vocals), Ricardo Di Roberto (Japinha, drums), Heitor Gomes (Heitor, bass), Luciano Garcia (Luciano, guitar) and Phillipe Fargnoli (Phil, guitar).
With influences from the Ramones, the Misfits, Buzzcocks, Pennywise, Green Day, and other old school punk and hardcore legends, CPM 22 recorded their first demo tape in 1998.
Their popularity in the Brazilian underground scene led CPM 22 to record the independent album A Alguns Quilômetros de Lugar Algum (A Few Kilometers From Nowhere). Two years later they were included in the Brazilian MTV video-music award in the demo clip category with "Anteontem" (The Day Before Yesterday).
In 2001, they signed with Abril Music and released their first mainstream album called CPM 22 with many hits, including "Regina, Let's Go", "Tarde de Outubro" (October Afternoon) and "O Mundo Dá Voltas" (The World Turns), playing on Brazilian radios.
At the end of 2002, they released Chegou a Hora de Recomeçar (Now's The Time To Start Over). CPM 22 reached the top of their popularity in Brazil with songs including "Desconfio" (I Suspect), "Ontem" (Yesterday), "Não Sei Viver Sem Ter Você" (I Don't Know How to Live Without You), "Dias Atrás" (Days Ago), "Atordoado" (Stunned).
Vice is a practice, behavior, or habit generally considered immoral, sinful, criminal, rude, depraved, or degrading in the associated society. In more minor usage, vice can refer to a fault, a negative character trait, a defect, an infirmity, or a bad or unhealthy habit (such as an addiction to smoking). Vices are usually associated with a transgression in a person's character or temperament rather than their morality. Synonyms for vice include fault, sin, depravity, iniquity, wickedness, and corruption.
The opposite of vice is virtue.
The modern English term that best captures its original meaning is the word vicious, which means "full of vice". In this sense, the word vice comes from the Latin word vitium, meaning "failing or defect".
(This meaning is completely separate from the word vice when used as an official title to indicate a deputy, substitute or subordinate, as in vice president, vice-chancellor or viceroy. The etymology of this usage derives from the Latin prefix vice-, meaning "in the place of".)
Vice is a stock character of the medieval morality plays. While the main character of these plays was representative of every human being (and usually named Mankind, Everyman, or some other generalizing of humanity at large), the other characters were representatives of (and usually named after) personified virtues or vices who sought to win control of man's soul. While the virtues in a morality play can be seen as messengers of God, the vices were viewed as messengers of the Devil.
Over time, the morality plays began to include many lesser vices on stage and one chief vice figure, a tempter above all the others, who was called simply the Vice. Originally, the Vice was a serious role, but over time his part became largely comical. Scholar F.P. Wilson notes, “Whatever else the Vice may be, he is always the chief comic character”; this comic portrayal is explained thus: "In theory there is no reason why vice should not be put upon the stage with the same seriousness and sobriety as virtue: in practice, however, dramatists, and many a preacher, knew that men and women will not listen for long to unrelieved gravity”. In his Declaration of Popish Impostures from 1603, Bishop Harsnet wrote that "It was a pretty part in the old church plays, when the nimble Vice would skip up nimbly like a Jacke-an-apes into the Devil's necke, and ride the devil a course, and belabour him with his wooden dagger, till he made him roar, whereat the people would laugh to see the Devil so Vice-haunted.”
"Vice" is the fifth single released by English rock band Razorlight, taken from their debut album Up All Night. It followed "Golden Touch" into the UK Top 20. The lyrics feature the word "love" spelled out in letters, the outro repeating this several times. Near the end of the song, Johnny Borrell gave out his then mobile phone number, allowing fans to call or text him.
The B-side to one format of the single is a cover of Outkast's "Hey Ya!," recorded with the London Community Gospel Choir (who also appeared on Blur's hit "Tender").
