text:
Camp meeting

The camp meeting is a form of Protestant Christian religious service originating in England and Scotland as an evangelical event in association with the communion season. It was held for worship, preaching and communion on the American frontier during the Second Great Awakening of the early 19th century. Revivals and camp meetings continued to be held by various denominations, and in some areas of the mid-Atlantic, led to the development of seasonal cottages for meetings.

Originally camp meetings were held in frontier areas, where people without regular preachers would travel on occasion from a large region to a particular site to camp, pray, sing hymns, and listen to itinerant preachers at the tabernacle. Camp meetings offered community, often singing and other music, sometimes dancing, and diversion from work. The practice was a major component of the Second Great Awakening, an evangelical movement promoted by Baptist, Methodist, Presbyterian and other preachers in the early 19th century. Certain denominations took the lead in different geographic areas.

As with brush arbor revivals and tent revivals, camp meetings today are often held annually at campgrounds owned by a Christian denomination.

Background
The camp meeting is a phenomenon of American frontier Christianity, as well as  British Christianity, but with strong roots in traditional practices of the Presbyterian Church in Scotland and the United States. Scots and Scots-Irish predominated in many parts of the frontier at this time, and had brought their familiar Presbyterian communion season practices with them. Barton W. Stone and Alexander Campbell, two leading ministers of the later Restoration Movement of the 1830s, had each been ordained as Presbyterian ministers and served for several years in that role, leading preaching at numerous meetings.

The movement of thousands of settlers to new territories without permanent villages of the types they knew meant they were without religious communities. Not only were there few authorized houses of worship, there were fewer ordained ministers to fill the pulpits. The "camp meeting" led by itinerant preachers was an innovative response to this situation. Word of mouth told there was to be a religious meeting at a certain location. Due to the primitive means of transportation, if the meeting was to be more than a few miles' distance from the homes of those attending, they would need to stay at the revival for its entire duration, or as long as they desired to remain. People generally camped out at or near the revival site, as on the frontier there were usually neither adequate accommodations nor the funds for frontier families to use them. People were attracted to large camp meetings from a wide area. Some came out of sincere religious devotion or interest, others out of curiosity and a desire for a break from the arduous frontier routine; the structure of the situation often resulted in new converts.

Freed from daily routines for the duration of the meeting, participants could take part in almost continuous services, which resulted in high emotions; once one speaker was finished (often after several hours), another would often rise to take his place.

Lee Sandlin gave an overview of the typical camp meeting in frontier America:

Sandlin's commentary is a provocative opinion piece compared to the less sensationalist descriptions by those better qualified to write about the event, such as Colonel Robert Patterson, who had been involved in the settlement of Kentucky practically from the beginning. He had described with amazement the religious phenomena taking place during the sequence of meetings. His description of the Cane Ridge Revival, taken from a letter to the Rev. Doctor John King on September 25, 1801, is memorable:

Patterson tried, "as well as I am able", to describe the emotion.

Patterson went on to describe other manifestations which lasted from "one hour to 24", and continued:

Revivalism had been a significant force in religion since the 1740s and the First Great Awakening, but in the days of the camp meeting, "revivalism became the dominant religious culture." These sorts of meetings contributed greatly to what became known as the Second Great Awakening. A particularly large and successful revival was held at Cane Ridge, Kentucky in 1801, led by some ministers later active in what became the Restoration Movement. Some scholars suggest that this was the pioneering event in the history of frontier camp meetings in America. What made camp meetings successful and multiply quite rapidly "were their emphases upon revivalism and morality, de-emphasis upon formal theology, clergy sharing the worldview of the frontier dwellers, and respect for common people.

Frost summarizes: "Camp-meeting religion reinforced older themes of revivalism, including a sense of cooperation among the denominations, all of which confronted individual sinners with the necessity of making a decision to be converted."

In the early 1800s in what is now Toronto, Ohio, members of the Sugar Grove Methodist Episcopal Church with the assistance of circuit preachers began a series of camp meetings in the surrounding area. One such meeting, first being held out of the home of a local family, has met annually in Hollow Rock Run since it was formally organized as a Methodist camp in 1818 while continuing to use the family's farm land. In 1875 at the urging of prominent clergy and members, the camp meeting became interdenominational through the formation of the Hollow Rock Holiness Camp Meeting Association and its leasing and eventual purchase of the land. The association, which still operates the camp, notes that it is the oldest Christian camp meeting in continual existence in the United States, being supported by various denominations in the Wesleyan-Holiness tradition.

Another camp gathering area, known now as the Campgrounds, was located in present-day Merrick, New York. Parishioners arrived by wagon, parking them in two concentric circles. Eventually some started building small seasonal cottages, which offered more comfort than the wagons for repeated use. A chapel and a house for the minister were also built. In the 1920s, with new areas open to those with cars, people stopped using the campground. The cottages and church buildings were adapted as local, permanent residences, and most survive today. The two roads, Wesley and Fletcher avenues, encompass the area of the original paths which the wagons would encircle. The area is also known as Tiny Town because of the small size of the original cottages.

In the aftermath of the American Civil War, such evangelical camp meetings gained wide recognition and a substantial increase in popularity as a result of a holiness movement camp meeting in Vineland, New Jersey in 1867. In the mid-Atlantic states, the Methodist Church led many of these camp meetings and established semi-permanent sites for summer seasons. Ocean Grove, New Jersey, founded in 1869, has been called the "Queen of the Victorian Methodist Camp Meetings." Similar areas include Cape May Point, New Jersey, with others in Maryland and New York. At the end of the nineteenth century, believers in Spiritualism also established camp meetings throughout the United States.

Camp meetings in the United States continued to be conducted on a wide scale for many years. Some are still held in the 21st century, primarily by Methodist (including churches affiliated with the holiness movement) and Pentecostal groups, as well as other Protestants, such as Baptists and Presbyterians. Some scholars consider the revival meeting a form that arose to recreate the spirit of the frontier camp meeting.

The Balls Creek Campground camp meeting was established in 1853 and is believed to be one of the largest religious campgrounds in the southern United States. Other sites of Methodist camp meetings in North Carolina are the Chapel Hill Church Tabernacle, Center Arbor, and Pleasant Grove Camp Meeting Ground (1830).

Music and hymn singing
The camp meeting tradition fostered a tradition of music and hymn singing with strong oral, improvisatory, and spontaneous elements.

Hymns were taught and learned by rote, and a spontaneous and improvisatory element was prized. Both tunes and words were created, changed, and adapted in true folk music fashion:

"Specialists in nineteenth-century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody. The melody was either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly."

"Spontaneous song became a marked characteristic of the camp meetings. Rough and irregular couplets or stanzas were concocted out of Scripture phrases and every-day speech, with liberal interspersing of Hallelujahs and refrains. Such ejaculatory hymns were frequently started by an excited auditor during the preaching, and taken up by the throng, until the meeting dissolved into a 'singing-ecstasy' culminating in general hand-shaking. Sometimes they were given forth by a preacher, who had a sense of rhythm, under the excitement of his preaching and the agitation of his audience. Hymns were also composed more deliberately out of meeting, and taught to the people or lined out from the pulpit."

Collections of camp meeting hymns were published, which served both to propagate tunes and texts that were commonly used, and to document the most commonly sung tunes and texts. Example hymnals include The Pilgrams' songster; or, A choice collection of spiritual songs (1828), The Camp-meeting Chorister (1830) and The Golden Harp (1857)

Many of these songs were republished in shape note songbooks such as A Supplement to the Kentucky Harmony (1820), the Sacred Harp (1844), and dozens of other publications; they can typically be distinguished by the reuse and re-arrangement of certain lines of lyrics from other songs, re-set to a new melody and sometimes containing new lyrics. Many of these camp songs are also set in a "call and response" format, typically, every line of lyric is followed by the words "Glory Hallelujah!" (although this varies, and other phrases or combinations can be used as well), which allows for easy audience participation in their original format, as the audience can call back the response even if they do not know the lyrics of the song itself. For example, the tune "Antioch 277" from the Sacred Harp reads:

I know that my Redeemer lives, Glory, Hallelujah! What comfort this sweet sentence gives, Glory Hallelujah! Shout on, pray on, we're gaining ground, Glory Hallelujah! The dead's alive and the lost is found, Glory Hallelujah! (F.C. Wood, 1850)

The 20th-century American composer Charles Ives used the camp meeting phenomenon as a metaphysical basis for his Symphony No. 3 (Ives). He incorporated hymn tunes and American Civil War-era popular songs (which are closely related to camp meeting songs) as part of the symphony's musical material. The piece was not premiered until 1946, almost 40 years after its composition, and the symphony was awarded the Pulitzer Prize in 1947.

Anabaptism
The Dunkard Brethren Church, a denomination of Conservative Anabaptist Christianity, holds its annual camp meeting at Roxbury Holiness Camp.

Methodism

Francis Asbury, the first bishop of the American Methodist Episcopal Church, was a staunch supporter of camp meetings. At Methodist camp meetings, which continue to occur today: "... both the Eucharist and Love Feast were celebrated. But the focus of the camp meeting was on preaching of the "way of salvation," and the physical layout of the camp meeting assembly area came to be a sacred space representing the stages on the way of salvation. The altar rail, originated the point for receiving Holy Communion, came to represent the surrender of oneself in conversion and entire sanctification. The "mourner's bench" (or "anxious bench," as it was decried by the theologians of the Mercersburg movement) was placed in front of the altar rail and represented the experience of spiritual "awakening" that typically preceded conversion in understanding of the "way of salvation." In a weekend format, one might expect a sermon on sin, awakening and repentance on Friday, sermons on conversion and assurance on Saturday, and preaching on sanctification (including entire sanctification) on Sunday."

Throughout the United States, several camp meeting facilities were founded, many of which remain operational to this day. For example, the Balls Creek Campground is a popular Methodist camp meeting that was formed in 1853. In 1869, the Ocean Grove Camp-Meeting Association was founded, running a popular Methodist camp meeting at Ocean Grove, New Jersey. Methodists flocked to the area, especially around major feasts of the Church, such as during Christmastide. Sunday Sabbatarian principles were practiced, with swimming being forbidden on the Lord's Day, as well as the gates to the city being locked on that day. Ocean Grove "prohibited other activities deemed not consonant with Christian living--dancing, cardplaying, and the sale of liquor."

On Sunday, 31 May 1807, the first Camp Meeting was held in England at Mow Cop. At the time, Wesleyan Methodists disapproved and subsequently expelled Hugh Bourne "because you have a tendency to set up other than the ordinary worship.". He eventually formed the Primitive Methodist Church. The Wesleyan Methodist Church and the Primitive Methodist Church in Great Britain later reunited to form the Methodist Church of Great Britain).

During his visits to England, Lorenzo Dow brought reports of North American camp meetings. Hugh Bourne, William Clowes and Daniel Shoebotham saw this as an answer to complaints from members of the Harriseahead Methodists that their weeknight prayer meeting was too short. Bourne also saw these as an antidote to the general debauchery of the Wakes week in that part of the Staffordshire Potteries, one of the reasons why he continued organising camp meetings in spite of the opposition from the Wesleyan authorities.

The pattern of the Primitive Methodist camp meeting was as a time of prayer and preaching from the Bible. In the first camp meeting, four separate "preaching stations" had been set up by the afternoon, each with an audience, while in between others spent the time praying.

From May 1807 to the establishing of Primitive Methodism as a denomination in 1811, a series of 17 camp meetings was held. There were a number of different venues beyond Mow Cop, including Norton-in-the-Moors during the Wakes in 1807 (Bourne's target venue), and Ramsor in 1808.

After Bourne and a significant number of his colleagues, including the Standley Methodist Society, had been put out of membership of the Burslem Wesleyan Circuit, they formed a group known as the Camp Meeting Methodists until 1811. That year they joined with the followers of William Clowes, known as the "Clowesites".

Camp meetings were a regular feature of Primitive Methodist life throughout the 19th century, and still survive today. The annual late May Bank Holiday weekend meetings at Cliff College are one example. A number of tents are set up around the site, each featuring a different preacher.

The Allegheny Wesleyan Methodist Connection holds its camp meetings annually at Methodist Camp in Stoneboro, Pennsylvania. Each conference of the Bible Methodist Connection of Churches owns land on which its camp meetings are held each year. The Primitive Methodist Church also has camp meetings in its districts. Many United Methodist churches also hold yearly camp meetings, such as the Shiloh United Methodist Church Camp Meeting, Northport Indian United Methodist Church and Trinity United Methodist Camp Meeting, for example. Many Free Methodist churches hold camp meetings every year, such as those that take place at the Tri-State Free Methodist Campground.

Presbyterianism
In 1825, the Presbytery of Hopewell established a network of camp meetings.

The Smyrna Presbyterian Church, a congregation of the Presbyterian Church (USA) continues to hold an annual camp meeting at its Camp Smyrna. The Red River Meeting House, belonging to the Cumberland Presbyterian Church, also has a yearly camp meeting.

Disuse and Adaptation
A number of camp meeting grounds have fallen into disuse or diverged from their original use and ownership. These include Rehoboth Beach, Delaware, founded as a Methodist camp meeting in 1873 and now a beach resort town. Its temperance fountain remains. Old Orchard Beach, Maine, similarly became a seaside resort.

title: Camp meeting


text:
Minnesota Avenue station

Minnesota Avenue station is an island-platformed Washington Metro station in the Central Northeast/Mahaning Heights neighborhood of Northeast Washington, D.C., United States. The station was opened on November 20, 1978, and is operated by the Washington Metropolitan Area Transit Authority (WMATA).

On the Orange Line's westbound service, Minnesota Ave is the last station before crossing the Anacostia River, as well as the last above-ground station until East Falls Church in Virginia. West of the station, trains curve over RFK Stadium parking lots before descending underground.

Location
Minnesota Avenue station is located between Kenilworth Avenue and Minnesota Avenue, at Grant Street, immediately east of the CSX Landover Subdivision rail bed. The station is an east-Washington commuter station with a small parking lot and many Metrobuses serving the east side of the city from here. It is also southwest of the historic western terminus of the Chesapeake Beach Railway.

History
The station opened on November 20, 1978. Its opening coincided with the completion of 7.4 mi of rail northeast of the Stadium–Armory station and the opening of the Cheverly, Deanwood, Landover, and New Carrollton stations.

In May 2018, Metro announced an extensive renovation of platforms at twenty stations across the system. New Carrollton station was closed from May 28, 2022, through September 5, 2022, as part of the summer platform improvement project, which also affected the Minnesota Avenue, Deanwood, Cheverly, and Landover stations on the Orange Line. Shuttle buses and free parking were provided at the closed stations.

On September 10, 2022, Blue Line trains started serving the station due to the 14th Street bridge shutdown as a part of the Blue Plus service. The service ended on May 7, 2023 with the reopening of the Yellow Line.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Minnesota Avenue station


text:
Wikipedia:Articles for deletion/Grosvenor Utah

This page is an archive of the discussion surrounding the proposed deletion of the page entitled Grosvenor, Utah.

This page is kept as a historic record.

The result of the debate was to delete the article.

City doesn't even exist. There is an arch in Utah by that name...no city. tslack2000 23:51, May 18, 2004 (UTC)
 * Speedy delete as nonsense...? - Lucky 6.9 05:51, 19 May 2004 (UTC)
 * If it's clearly factually incorrect, doesn't that make it a speedy delete? Average Earthman 12:13, 19 May 2004 (UTC)
 * Yes, it seems like this is a candidate for speedy deletion. I was directed to place this on the VfD list by RickK.  Although it is obvious to me now that it shouldn't be here, do I leave it here? Or can I remove it from this list and just add it to the Speedy delete list?  (Just for the record, I'm glad I had the opportunity to experience adding a page to this list, so I don't consider this a complete waste.  Thanks for your patience as I learn the system.) tslack2000 19:35, May 20, 2004 (UTC)

This page is now preserved as an archive of the debate and is no longer 'live'. Subsequent comments on the issue or the deletion should be placed on other relevant 'live' pages. Please do not edit this page.


text:
Deanwood station

Deanwood station is an island-platformed Washington Metro station in the Deanwood neighborhood of Northeast Washington, D.C., United States. The station was opened on November 20, 1978, and is operated by the Washington Metropolitan Area Transit Authority (WMATA). Providing service for only the Orange Line, the station is the final station in the District of Columbia going east. The station is located at Minnesota Avenue and 48th Street Northeast.

Deanwood averaged just 585 daily entries in 2023, making it the least-utilized Metro station in the District of Columbia.

History
The station opened on November 20, 1978. Its opening coincided with the completion of 7.4 mi of rail northeast of the Stadium–Armory station and the opening of the Cheverly, Landover, Minnesota Avenue, and New Carrollton stations.

In May 2018, Metro announced an extensive renovation of platforms at twenty stations across the system. New Carrollton station was closed from May 28, 2022, through September 5, 2022, as part of the summer platform improvement project, which also affected the Minnesota Avenue, Deanwood, Cheverly, and Landover stations on the Orange Line. Shuttle buses and free parking were provided at the closed stations.

On September 10, 2022, Blue Line trains started serving the station due to the 14th Street bridge shutdown as a part of the Blue Plus service. The service ended on May 7, 2023 with the reopening of the Yellow Line.

Notable places nearby

 * Kenilworth Aquatic Gardens

title: Deanwood station


text:
Buttonwood Agreement

The Buttonwood Agreement is the founding document of what is now the New York Stock Exchange and is one of the most important financial documents in U.S. history. The agreement organized securities trading in New York City and was signed on May 17, 1792 between 24 stockbrokers outside of 68 Wall Street. According to legend the signing took place under a buttonwood tree where their earliest transactions had occurred. The New York Stock Exchange celebrates the signing of this agreement on May 17, 1792 as its founding.

History
In March 1792, twenty-four of New York's leading merchants met secretly at Corre's Hotel to discuss ways to bring order to the securities business. Two months later, on May 17, 1792, these men signed a document called the Buttonwood Agreement, named after their traditional meeting place under a buttonwood tree – not because it was signed there.

There were too many brokers involved to meet under a tree. Business was conducted in various offices and coffee houses. In 1793, they coordinated their business inside the Tontine Coffee House on the corner of Wall and Water streets.

The document is now part of the archival collection of the New York Stock Exchange.

Document agreement
In brief, the agreement had two provisions: 1) the brokers were to deal only with each other, thereby eliminating the auctioneers, and 2) the commissions were to be 0.25%. It reads as follows:

"We the Subscribers, Brokers for the Purchase and Sale of the Public Stock, do hereby solemnly promise and pledge ourselves to each other, that we will not buy or sell from this day for any person whatsoever, any kind of Public Stock, at a less rate than one quarter percent Commission on the Specie value and that we will give preference to each other in our Negotiations. In Testimony whereof we have set our hands this 17th day of May at New York, 1792."

Signers
The twenty-four brokers, known as Founding and Subsequent Fathers, who signed the Buttonwood Agreement were (including business location):

 * Peter Anspach … 3 Great Dock Street
 * Armstrong & Barnewall … 58 Broad Street
 * Andrew D. Barclay … 136 Pearl Street
 * Samuel Beebe … 21 Nassau Street
 * G. N. Bleecker … 21 Broad Street
 * Leonard Bleecker … 16 Wall Street
 * John Bush … 195 Water Street
 * John Ferrers … 205 Water Street
 * Isaac M. Gomez … 32 Maiden Lane
 * Bernard Hart … 55 Broad Street
 * John A. Hardenbrook … 24 Nassau Street
 * Ephraim Hart … 74 Broadway
 * John Henry … 13 Duke Street
 * Augustine H. Lawrence … 132 Water Street
 * Samuel March … 243 Queen Street
 * Charles McEvers Jr. … 194 Water Street
 * Julian McEvers … 140 Greenwich Street
 * David Reedy … 58 Wall Street
 * Robinson & Hartshorne … 198 Queen Street
 * Benjamin Seixas … 8 Hanover Square
 * Hugh Smith … Tontine Coffee House
 * Lutton & Hardy … 20 Wall Street
 * Benjamin Winthrop … 2 Great Dock Street
 * Alexander Zuntz … 97 Broad Street

title: Buttonwood Agreement


text:
Nature (disambiguation)

Nature, in the broadest sense, is the natural, physical, or material world or universe.

Nature may also refer to:

Specialized perspectives

 * Nature (philosophy), in philosophy
 * Nature (Christianity), in Christian theology
 * Natural environment, the ecological sphere of life on Earth

Music

 * Nature (group), a K-Pop girl group formed in 2018
 * Nature (rapper), Jermain Baxter (born 1972), American rapper
 * Nature (The Mutton Birds album), 1995
 * Nature (Paul Kelly album), 2018
 * Nature: The Essence Part Three, an album by Ahmad Jamal, 1998
 * "Nature" (song), by the Fourmyula, 1969; covered by the Mutton Birds, 1992
 * "Nature", a song by Lu Han, 2019

Periodicals and literature

 * Nature (journal), a British weekly scientific journal published since 1869
 * La Nature, an 1873–1972 French magazine aimed at the popularization of science
 * Nature Magazine, a 1923–1959 magazine published by the American Nature Association
 * "Nature" (essay), an 1836 essay and collection of essays by Ralph Waldo Emerson
 * "Nature", one of the essays in Mill's 1874 book Three Essays on Religion
 * "Nature" (Tobler essay), a 1783 essay by Georg Christoph Tobler

Radio and television

 * Nature (radio programme), a British wildlife and environmental programme
 * Nature (TV program), an American wildlife documentary series since 1982

Other uses

 * Nature, another name for the wine grape Gewürztraminer

title: Nature (disambiguation)


text:
Cheverly station

Cheverly station is a side-platformed Washington Metro station in Prince George's County, Maryland, United States. The station was opened on November 20, 1978, and is operated by the Washington Metropolitan Area Transit Authority (WMATA). Providing service for the Orange Line, the station is the first station going east in Maryland on the Orange Line. The station is in the residential area of Cheverly at Columbia Park Road near U.S. Route 50. It is a commuter station with 530 parking spaces.

Cheverly had the lowest average weekday ridership of any Metro station until the opening of Loudoun Gateway in 2022 as part of Phase 2 of the Silver Line.

History

The station opened on November 20, 1978. Its opening coincided with the completion of 7.4 mi of rail northeast of the Stadium–Armory station and the opening of the Deanwood, Landover, Minnesota Avenue, and New Carrollton stations.

From March 26, 2020, until June 28, 2020, this station was closed due to the 2020 coronavirus pandemic.

In May 2018, Metro announced an extensive renovation of platforms at twenty stations across the system. New Carrollton station was closed from May 28, 2022, through September 5, 2022, as part of the summer platform improvement project, which also affected the Minnesota Avenue, Deanwood, Cheverly, and Landover stations on the Orange Line. Shuttle buses and free parking were provided at the closed stations.

On September 10, 2022, Blue Line trains started serving the station due to the 14th Street bridge shutdown as a part of the Blue Plus service. The service ended on May 7, 2023 with the reopening of the Yellow Line.

title: Cheverly station


text:
100 episodes

In the U.S. television industry, 100 episodes is the traditional threshold for a television series to enter syndicated reruns. One hundred episodes are advantageous for stripped syndication because it allows for 20 weeks of weekday reruns (depending on the number of episodes produced once the program debuts in syndication) without repeating an episode, and such shows can be sold for higher per-episode pricing.

One of the first series made specifically for syndication, the 1953–1955 sitcom Life with Elizabeth, purposely ended its run after only 65 episodes, concerned that producing more would saturate the market and reduce the syndication package's value. In recent years, the minimum number of episodes for off-network, stripped syndication has been set at 88 (typically four seasons of 22 episodes), although some programs have been relatively successful in syndication with fewer episodes. The Jetsons, for instance, only aired 75 episodes.

Overview
Syndication is often a profitable enterprise because a series can be rerun for years after it ends production. Shows of limited profitability during their first run will still prove to be viable to the production company if they can last 100 episodes. This point is usually reached during a series' fifth season.

Shows that have produced fewer episodes have become syndication successes, in some cases prompting additional episodes to be commissioned specifically for syndication to reach the 100-episode mark. WKRP in Cincinnati was a major success in syndication despite having only produced 90 episodes, eventually prompting 47 additional episodes to be produced a decade after the original ended. The Monkees, a show that lasted only 58 episodes and two seasons, went on to be rerun extensively in the decades that followed, with interest in the series being revived in the 1980s when the series was rerun on cable. The Honeymooners was a series spun off in 1955–1956 from sketches of the same name that aired on The Jackie Gleason Show, an hour-long variety program (1952–1955). While only 39 episodes of The Honeymooners were produced, there were enough Honeymooners sketches from The Jackie Gleason Show (which ran again in the 1956–1957 season and would be revived in the 1960s) to compile a syndication package with over 100 episodes. Mama's Family was put into syndication despite having only 35 episodes at the time of its cancellation; the surprise success of the show in summer reruns and syndication prompted the syndicator to rush the show back into production, which led to an additional 95 episodes aired over four seasons in first-run syndication. The Munsters also was put into syndication despite running for two seasons, but with 70 episodes; the series became popular in reruns to the point that an updated version of the series was produced in the late 1980s and early 1990s with an entirely new cast and 72 episodes over three seasons.

More recently, Clueless had reasonable success in syndication, especially on cable, even though only 62 episodes had been produced by the time the series ended in 1999. Chappelle's Show entered syndication despite only producing 33 episodes, five of which were clip shows. Series which have entered the public domain, such as Dusty's Trail, Meet Corliss Archer, and Life with Elizabeth are sometimes aired regardless of the number of episodes because there is no licensing fee.

Dramas, which do not require daily runs, have also had success in syndication with shorter runs. For example, Lost in Space ceased production in 1968 after 84 episodes because of declining ratings, but did well in syndication for a number of years. The original Star Trek series had only 79 episodes available when its network run ended in 1969, but after its considerable success in syndication, it spawned multiple feature films and more than six spin-off series. Other examples include The Prisoner and Hondo, both successfully syndicated for more than 30 years despite having only 17 episodes produced. The original 1978 series Battlestar Galactica and its spin-off Galactica 1980 produced a combined 34 episodes, yet it not only remains in syndication but it also led to a 2003 reimagining that lasted for 75 episodes. In 2014, AMC released The Walking Dead for reruns on MyNetworkTV after 51 episodes had aired; that series was still in production at the time, and MyNetworkTV airs its shows once a week instead of in a daily strip.

The growth of cable and satellite television has prompted channels to rerun series more often, with fewer episodes. Reruns of a particular show may air multiple times a day, several days a week, despite having only one or two seasons of episodes produced.

By the early 2010s, the milestone for syndication was accepted at 88 episodes, which is typically reached after four seasons. Shows approaching the 88-episode target are often renewed despite low ratings in order to ensure syndication. Production companies can offer discounts on licensing fees to the networks to encourage renewal. Shows that are approaching the 88-episode syndication milestone while suffering from poor ratings are often moved to graveyard slots on Friday or Saturday in order to burn off remaining episodes. By the end of that decade, with the rise of subscription video on demand services and different funding models which make continuing series more expensive, the threshold for a series to be profitable in syndication has been dropped even lower to 50 episodes. It was noted in 2024 that no American series that had been originally made for streaming television had ever reached the 100 episode threshold.

An extreme example of a show renewed primarily for syndication purposes was 'Til Death, which was pulled from Fox's lineup just seven episodes into its third season, after it had fallen out of the top 100 in the primetime ratings. Cancellation seemed imminent, but the show was renewed for a fourth season after Sony Pictures Entertainment offered Fox a discount on the licensing fee. Unaired episodes from the third season were broadcast alongside fourth season episodes from October 2009 through June 2010 (a total of 37 episodes), including four new episodes airing in a Christmas Day "marathon" and two new episodes being scheduled against Super Bowl XLIV with the knowledge that these episodes would have minuscule ratings. The overlapped seasons led to some comical confusion, because four different actresses played the part of Allison Stark during this span of episodes. The show eventually reached 81 episodes, and debuted in off-network syndication in the fall of 2011.

Niche genres
The 100-episode threshold is generally applied solely to scripted prime time programming, since sitcoms and dramas are the most prevalent in syndicated reruns. Other programming may follow different patterns. For example, the traditional syndication model seldom works for most reality shows, and both annual and semi-annual contests have also been a relative failure in syndication.

Game shows
On rare occasions, game shows have been rerun on broadcast television. Despite having very high output as far as numbers of episodes (a typical 13-week run of even an unsuccessful game show yielded 65 episodes) are concerned, most networks instead opted to recycle the tapes of those shows, as it was viewed at the time as a more profitable practice than trying to sell reruns of daytime programming. The practice of rerunning some of the most popular game shows in syndication was rare, but not unheard of, in the 1970s and 1980s; Gambit was rerun in 1978 and Match Game was rerun in syndication in 1985. In addition, Classic Concentration was rerun by NBC between September 1991 and the summer of 1993. Jeopardy! and Wheel of Fortune, which have produced thousands of episodes over their runs of 35 or more years in syndication as of 2019, offers a package of reruns (with the former using the title Daytime Jeopardy!) as companion series for stations with an extra time slot.

With the advent of cable channels such as Game Show Network, the subchannel network Buzzr, and advertising-supported linear video services such as Pluto TV, rerunning game shows has become more common; for instance, Merv Griffin's Crosswords, which lasted one season and 225 episodes in syndication during the 2007-08 season, ran continuously for several years thereafter, originally in syndication and later on RTV. GSN has rerun several game shows that ran less than 100 episodes, including Greed (44 episodes), Dog Eat Dog (26 episodes), Power of 10 (18 episodes), and perhaps the most extreme case, Million Dollar Password, which ran for only 12 episodes. Even among shows with hundreds (and even thousands) of episodes, since the early 2010s, GSN typically has only acquired the rights to 50 to 65 episodes at a time for most series. Rerunning game shows has proven to be successful; Stirr, the free over-the-top service run by Sinclair Broadcast Group, stated that Buzzr was the service's most popular nationwide channel. Pluto TV and The Roku Channel have launched 24-hour linear channels devoted to individual game shows, a trend that began with The Price Is Right: The Barker Era in December 2020 and since expanded to other game shows. A dedicated channel generally requires more than 100 episodes for optimal rotation, since a series of that length will begin repeating within less than three days; Pluto's Jeopardy! channel, ''Jeopardy! Hosted by Alex Trebek'', initially used a 250-episode package before expanding to 500 episodes in 2023.

Cartoons and children's programming
Rerunning children's programming generally requires fewer episodes than programming for adults. For most children's series, reruns are aired for a short period of time after the series finishes production, then are replaced. For weekly series, this practice dates to at least the 1960s, when Saturday morning cartoons would, after the end of their 13-week run, begin rerunning continuously for about a year (usually four runs/year) until being replaced by the next show, either new or archival. During the 1970s, 22 episodes was typically the number a producer sought in order for an animated program to be rerun beyond its first year. After several years, once the previous generation of children outgrew the show, it could be reintroduced for the next younger generation by airing reruns. For shows that are rerun daily, the time span is usually on the order of months. This also meant that cancellations of children's programming was extremely rare; because of the long lead time to produce a cartoon, networks usually bought a full season of a show before it began airing, meaning that it would be far too late to have any appreciable financial benefit by ending it.

It was noted in a study that when the animated series Robotech aired in 1985, daily strip syndication for a series for children required 65 episodes at minimum. Until the mid-2000s, the Disney Channel notably stuck to a 65-episode limit—which allows for four series to be shown every weekday for a year—until That's So Raven was renewed to end at 100 episodes.

title: 100 episodes


text:
Rhythm section

A rhythm section is a group of musicians within a music ensemble or band that provides the underlying rhythm, harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band. The rhythm section is often contrasted with the roles of other musicians in the band, such as the lead guitarist or lead vocals whose primary job is to carry the melody.

The core elements of the rhythm section are usually the drum kit and bass. The drums and bass provide the basic pulse and groove of a song. The section is augmented by other instruments such as keyboard instruments and guitars that are used to play the chord progression upon which the song is based. The bass instrument (either double bass, or electric bass guitar, or another low-register instrument such as the synth bass, depending on the group and its style of music) plays the low-pitched bassline. The bassline is a musical part that supports the chord progression, typically by playing a musically interesting bassline that outlines the important notes of the harmony, often by emphasizing the root, fifth, and third of each chord.

The term is common in modern small musical ensembles, such as bands that play jazz, country, blues, and rock. Orchestras that play popular music, film soundtracks (often called a "pops orchestra"), or musical theatre orchestras may also feature a rhythm section (at a minimum drum kit and electric bass/amplified double bass, but possibly including keyboards and guitar) that performs with the larger ensemble. The rhythm section provides a rock or pop feel and sounds that would be difficult to recreate with orchestral instruments.

Instruments
A typical rhythm section comprises one or more guitars (either electric guitars, in rock music bands; acoustic guitars, in country music, folk music and blues or both electric and acoustic in some bands); and/or a keyboard instrument (piano, electric piano, Hammond organ, synthesizer, etc.) a double bass, an acoustic bass guitar, or an electric bass guitar (depending on the style of music), and drums (usually acoustic, but in some post-1980s styles, the drums may be electronic drums).

In some styles of music, there may be additional percussionists playing instruments such as the djembe or shakers. Some styles of music often have two electric guitarists, such as rock genres like heavy metal music and punk rock. Some styles of music use multiple keyboard instrument performers simultaneously (e.g., piano and Hammond organ or electric piano and synthesizer) for a fuller sound. A rhythm section could be as small as two or three instruments (e.g., a guitarist and a bassist or a power trio of bass, drums and guitar) or it may be a fairly large ensemble with several keyboardists, several guitarists, auxiliary string players (mandolin, ukulele, etc.), a drummer and percussionists.

The largest rhythm sections may be led by a bandleader or a conductor who indicates the tempo of each song, starts each song, leads slow-downs of the music at cadences (sections of songs where the music comes to rest on a chord), and indicates when to change soloists and how and when the song will end.

The instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, and one or more players of chordal instruments (e.g., a pianist, guitarist, etc.). The term rhythm section may also refer to the instruments in this group (named collectively the "rhythm section instruments").

Klezmer bands rarely have percussion, but rely heavily on a bass instrument, often brass, and a piano or accordion. Traditional dance music bands from Central and Eastern Europe often build their rhythm section around a double bass and viola - the musician designated with the German term "Bratscher".

In music industry parlance, the amplifiers and some of the instruments are nicknamed the "backline." Backline instruments are commonly provided for bands at music festivals and other concerts where several bands will play during an event. By providing these backline instruments, the changeover process is quickened when new bands take the stage. The backline typically includes large and heavy items that are hard to transport, including large bass amplifiers and guitar amplifiers and their speaker cabinets, the drum kit (usually minus the cymbals and the snare drum, which each drummer brings from home), a Hammond organ, stage piano, and a keyboard amplifier.

Even when a venue or festival provides a backline amplification, musicians must still supply some instruments themselves, such as guitars, an electric bass, and in some cases the cymbals and/or the snare drum. The venue informs musicians about which instruments are supplied as the backline for a specific concert or stage and in many cases, the contract signed by the band and the venue/promoter contains an explicit list of the backline gear that will be on stage, even specifying brand names and model numbers.

Roles
In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing (as opposed to the melodic guitar solos and lead melody lines played by the lead guitar), often repeating quaver (eighth-note), half note or whole note chords. In the louder genres, such as hard rock, heavy metal, and punk rock, rhythm guitarists often play power chords with distortion. Rhythm guitarists often strum open chords in pop, rock, country, and folk music and play barre chords in many pop and rock styles.

Although rhythm sections spend much of the time providing accompaniment (backing parts) for songs, in some cases they provide other musical roles. In some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion (e.g., improvised guitar solos or solo breaks) or play a melodic role (e.g., a rhythm guitarist may play a lyrical countermelody behind a singer or a melodic intro line before the lead vocalist starts to sing). Since rhythm sections generally provide the background music for lead instruments and solo singers, rhythm sections are typically not as prominent as a singer or soloist. However, since rhythm sections provide the underpinning for a good performance by the lead instruments and vocalists, good rhythm sections are valued in the music industry. Some of the most accomplished rhythm sections have become famous, such as The Band, the E Street Band and Sly Dunbar and Robbie Shakespeare (the latter in reggae). In some popular bands, all of the band members, including rhythm section members, have become famous as individuals (e.g., the rhythm section members of The Beatles, The Rolling Stones, The Who, etc.).

In almost all genres of popular music and traditional music that use rhythm sections, ranging from rock to country to jazz, the rhythm section members are expected to be able to improvise (make up) their parts or prepare their own parts for a given song by listening to the CD at home. Once the bassist and chord-playing instruments are provided with the chord progression on a lead sheet (in which chords are typically named using the root note of the chord and its quality; e.g., C Major, d minor, G7, etc.), they are expected to be able to improvise or prepare a bass line and chord voicings, respectively, that suit the style of the song.

In each style of music, there are different musical approaches and styles that rhythm section members are expected to use. For example, in a country music song the guitarist will be expected to be able to perform a chord progression using an intricate fingerpicking style; in a heavy metal song, the guitarist will be expected to play power chords and complex, precise rhythmic patterns; in a jazz song, a guitarist will be expected to be able to play "jazz voicings" of the chords, which emphasize the third, seventh and often the sixth or ninth chord tones (this contrasts with the barre chord voicings used in pop and rock, which emphasize the root3e, fifth, and to a lesser degree, the third of the chord). Drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, an arranger, orchestrator or composer will provide a written-out bass part or drum part written in music notation (the five-line staff in which the notes are round symbols with or without stems). It is rare in jazz or rock for chords to be written out in music notation; the arranger or songwriter typically writes the chord symbol and expects the guitarist to improvise the appropriate chord voicing.

Other roles
Rhythm section members may be expected to sing backup vocals or harmony parts in some styles of music. In some styles of music, notably 2010s-era pop, hip hop music and funk, rhythm section members may be required to perform a rhythmic dance routine, which may range from a simple body movement to a complex dance choreography that requires significant dance skills. In some types of heavy metal music, rhythm section members (guitar, bass, drums) may be expected to be able to "headbang" (move their head in an up and down fashion in time with the beat) while performing. Less commonly, some rhythm section members may sing lead vocals (e.g., Phil Collins or Sting). In some groups, one rhythm section member may have other roles, such as bandleader (e.g., jazz bassist Charles Mingus), conductor (often the case in 2010s-era musical theatre shows), songwriter, composer or arranger.

Jazz

In the case of swing bands, the classic rhythm section comprises a quartet of electric guitar, piano, double bass, and drums; a noted example is that of the Count Basie Orchestra with Freddie Green, the Count, Walter Page, and Jo Jones. Earlier jazz bands had used banjo in place of guitar, and other bass instruments such as the tuba for recording purposes prior to the advent of microphone technology in studios.

As bebop evolved, smaller jazz groups dropped the guitar, and many free jazz ensembles dropped the piano as well. Auxiliary percussion such as claves, bongos or maracas can also be used, especially in music influenced by strains from Latin America such as salsa and samba. In theory any instrument or instruments can provide a steady rhythm: for example, in the trio led by Jimmy Giuffre the late 1950s, the clarinet, valve trombone and guitar all switched between lead and supporting roles.

In the 1950s, some jazz bandleaders began to replace the double bass with the then-newly invented electric bass. However, the electric bass made a big impact on jazz in the 1970s, with the advent of jazz rock and jazz fusion. The electric bass was much easier to amplify to stadium-filling volumes using large bass speaker cabinets and amplifiers than an upright bass. The electric bass also began to be used as an expressive solo instrument, as exemplified by the performances of Jaco Pastorius and Stanley Clarke.

In the 1970s, the main chordal rhythm instruments were often electric instruments such as the Rhodes electric piano or electric clavinet, often run through effects units such as fuzz, phasers, or wah-wah pedals and amplified through loud keyboard amplifiers. The jazz fusion rhythm section followed the lead of the rock rhythm sections of the era, and used banks of speakers and powerful amplifiers to create a massive sound large enough for stadium concerts. In the later 1980s and subsequent decades, jazz fusion bands such as the Chick Corea Elektric Band used synthesizers in the rhythm section, both for chordal accompaniment and for synth bass parts.

R&B, rock and pop

R&B and rock and roll groups in the 1950s emphasized rhythm, so their backup bands generally consisted only of the standard swing band rhythm section of guitar, piano, bass, and drums supporting a vocalist, and in some cases omitting the keyboards. The bass guitar took over from the double bass in the 1950s, and had almost completely taken over the bass role in the 1960s. As the 1960s progressed the term "rhythm section" as used in a pop music context sometimes came to refer to just the bass and drums. For example, Paul McCartney and Ringo Starr of the Beatles were referred to as the band's rhythm section.

In the 1970s, chordal instruments such as the electric and/or acoustic guitar and various keyboards (piano, electric piano, Hammond organ, clavinet) continued to be used to augment the bass and drums in soul, funk, and reggae groups. The sound of late 1960s and 1970s rhythm sections was often given a unique tone and sound due to the use of effects units. Funk bass players would play through auto-wah or envelope follower pedals. Reggae guitarists would plug into echo pedals. Rock guitarists would run their electric guitars through distortion and wah pedals. Electric piano or clavinet players also used effects.

In the 1980s, many rock and pop bands continued to be based around the basic rock rhythm section established by 1960s and 1970s bands: electric bass, drums, and electric guitar or keyboards. In the 1980s, the first widely-affordable digital synthesizer, Yamaha's DX7, was released. The distinctive FM synthesis tone of the DX7 is a key part of the sound of many 1980s pop and dance singles.

As electronic effects became more sophisticated, with the development of digital signal processing, during the 1980s, there was some crossover between the roles played by electronic keyboards and electric guitar. Even though electronic keyboards or organs were the standard instruments used to create sustained "pads" of sound (e.g., held backing chords) for ballads, with the introduction of digital delay pedals and other modern effects, electric guitars could produce similar "pads" or "walls of sound". The Edge, the guitarist from the rock band U2, often used digital delay and reverb-drenched electric guitar arpeggios (chords played one note after the other) to create a shimmering, sustained "pad" for the group. These arpeggio pads created a sustained sound that was similar to the sound of an electronic keyboard. By the late 1980s, the price of digital effects pedals dropped, making these effects units available to the general public.

During the 1980s era, rhythm sections in some styles of pop took an increasing turn towards electronic instruments. A 1980s-era dance pop band might be backed up by a rhythm section of a synth bass, electronic drums (or drum machine) and various synthesizer keyboards. In some 1980s and 1990s bands, live human rhythm sections were sometimes replaced by sequenced MIDI synthesizer rhythm tracks made in the studio. In the 1980s and 1990s, the roots rock scene went in the opposite direction from dance pop; roots rock favoured traditional instruments in the rhythm section such as acoustic piano, acoustic guitar, mandolin, pedal steel guitar, acoustic bass guitar and upright bass. Another 1980s-era trend that helped revive interest in acoustic instruments was the "MTV Unplugged" style of performances, in which a rock band performs with acoustic instruments, including acoustic guitars and an acoustic bass guitar.

In rock and pop, rhythm sections range in size from the barest, stripped-down size of the "power trio" (guitarist, bassist, and drummer) and the organ trio (Hammond organist, drummer, and a third instrument) to large rhythm sections with several stringed instrument players (mandolin, acoustic guitar, electric guitar, etc.), multiple keyboard players (e.g., piano, Hammond organ, electric piano, synth), two instruments playing a bass role (e.g., bass guitar and synth bass) and a group of auxiliary percussionists (congas, shakers, etc.) to fill out (or "sweeten") the sound. Some rhythm sections combine electronic/digital instruments that are sequenced, pre-recorded backup tracks and live instruments (including electric, electronic and acoustic instruments).

Musical roles
The drums and bass both supply a rhythmic pulse for the music, and the bass instrument supplies a harmonic foundation with a bassline. The types of basslines performed by the bass guitarist vary widely from one style of music to another. Despite all of the differences in the styles of bassline in most styles of popular music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often by emphasizing the roots of the chord progression) and laying down the beat (in collaboration with the drummer). The importance of the bass guitarist and the bass line varies in different styles of music. In some pop styles, such as 1980s-era pop and musical theater, the bass sometimes plays a relatively simple part, and the music forefronts the vocals and melody instruments. In contrast, in reggae or funk, entire songs may be centered around the bass groove, and the bassline is very prominent in the mix.

Similarly, the role of the drummer varies a great deal from one style of music to another. In some types of music, such as traditional 1950s-style country music, the drummer has a rudimentary "timekeeping" role, and the drums are placed low in the mix by the sound engineers. In styles such as progressive rock, metal, and jazz fusion, the drummers often perform complex, challenging parts, and the drums may be given a prominent placement in the mix; as well, the drummer may be often given prominent solo breaks, fills, or introductions that put the spotlight on their technical skills and musicality. In the more experimental forms of free jazz and jazz fusion, the drummer may not play the strict "timekeeping" role that is associated with drums in pop music. Instead, the drums may be used more to create textured polyrhythmic soundscapes. In this type of situation, the main pulse is often provided by the bass player rather than the drummer.

The rhythm section members sometimes break out of their accompaniment role when they are asked to perform keyboard solos, bass breaks, or drum solos. In genres such as progressive rock, art rock, or progressive metal, the rhythm section members may play complicated parts along with the lead guitar (or vocalist) and perform extended solos. In jazz groups and jazz fusion bands, the rhythm section members are often called on to perform improvised solos. In jazz, the drummer may "trade" short solo sections with a saxophone player or trumpet player; this practice, nicknamed "trading fours", typically involves the drummer and the horn player alternating four bar solo sections during a jazz tune. They can also trade eights, twos, ones, or other numbers depending on the musical context.

Organ trios
In organ trios, the lower octaves of a Hammond organ or electronic keyboard are used as a substitute for bass guitar or double bass. The organist can play the bassline using the bass pedal keyboard or using the lower manual. As well, the organist could play right-hand chords and melodies. Organ trios were a widely used type of jazz ensemble in the 1950s and 1960s to play hard bop.

Organ trios are sometimes used in rock as well. The Doors' keyboardist Ray Manzarek used a keyboard bass to play the bass lines. Manzarek, guitarist Robby Krieger, and drummer John Densmore would act as an organ trio with the addition of singer Jim Morrison.

Dixieland bands

New Orleans or Dixieland jazz bands occasionally use tuba, sousaphone, or bass saxophone in place of the double bass that was common in 1920s-era jazz bands. This tradition developed from the origins of New Orleans music in marching bands, which used instruments that could be carried on harnesses or with straps. Marching bands use a mixture of brass, woodwind, and percussion instruments, because all of these instruments can be played while marching.

Other variants
Not all rhythm sections follow the standard model of drummer-bassist-chordal instrument. Some bands have no drummer. In bands without a drummer, one or more instruments from the rhythm section often play in styles that replace the drum kit role—that is laying down the beat and backbeat. Traditional bluegrass bands typically do not have a drummer. In bluegrass bands, the timekeeping role is shared between several instruments: the upright bass generally plays the on-beats while the mandolin plays chop chords on the off-beats, with the banjo also keeping a steady eighth note rhythm.

This distributed nature allows for rhythmic continuity while players take turns highlighting the melody. In funk-oriented groups that do not have a drummer, the electric bass player may take over some of the drummer's role by using slap bass. With slap bass, the bassist slaps the low strings to create a strong "thump" (similar to the bass drum's role) and "snaps" or "pops" the high strings to create a percussive effect (the latter takes over some of the role played by the hi-hat cymbals). In some bands, there may be no bass player—the basslines may be played by the piano player, synth player, or guitarist. Using a guitar player to provide basslines is particularly effective if a guitar player has a seven-string guitar with a low "B" string.

Some jazz duos consist of a singer accompanied by a single piano player. In these duos, the jazz piano player has a challenging task; they have to provide all of the rhythmic and harmonic foundation that would normally be provided by a full rhythm section. A jazz pianist accompanying a singer in a duo needs to play a deep bassline, chords, and fill-in melody lines while the singer is performing. The pianist often improvises an instrumental solo in between vocal melodies.

Rarely, a jazz vocalist may perform in a duo with a double bass player. In this duo setting, the bass player may have to use less commonly-used bass techniques to fill out the sound, such as occasionally playing two or three-note double stops (to recreate the chord-playing role normally filled by a guitar or piano) or using percussive slaps on the fingerboard (to recreate some of the percussive elements provided by a drummer). The Canadian bassist Michel Donato has performed in a duo with singer Karen Young, and the pair released several albums in the 1980s and 1990s.

title: Rhythm section