The New York Times
The New York Times is an American newspaper based in New York City with worldwide influence and readership. Founded in 1851, the paper has won more than any other newspaper; the Times is ranked 17th in the world by circulation and 2nd in the U. S; the paper is owned by The New York Times Company, publicly traded and is controlled by the Sulzberger family through a dual-class share structure. It has been owned by the family since 1896. G. Sulzberger, the paper's publisher, his father, Arthur Ochs Sulzberger Jr. the company's chairman, are the fourth and fifth generation of the family to helm the paper. Nicknamed "The Gray Lady", the Times has long been regarded within the industry as a national "newspaper of record"; the paper's motto, "All the News That's Fit to Print", appears in the upper left-hand corner of the front page. Since the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials and features.
Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York, Sports of The Times, Science, Home and other features. On Sunday, the Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T: The New York Times Style Magazine; the Times stayed with the broadsheet full-page set-up and an eight-column format for several years after most papers switched to six, was one of the last newspapers to adopt color photography on the front page. The New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, Edward B. Wesley. Sold for a penny, the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release: We shall be Conservative, in all cases where we think Conservatism essential to the public good.
We do not believe that everything in Society is either right or wrong. In 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. However, the effort failed. On September 14, 1857, the newspaper shortened its name to The New-York Times. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War. One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials in the Times alone; the main office of The New York Times was attacked during the New York City Draft Riots. The riots, sparked by the beginning of drafting for the Union Army, began on July 13, 1863. On "Newspaper Row", across from City Hall, Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he manned himself; the mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.
In 1869, Henry Raymond died, George Jones took over as publisher. The newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party—popularly known as "Tammany Hall" —that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars to not publish the story. In the 1880s, The New York Times transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more progressive and Republican readers, the paper regained most of its lost ground within a few years. After George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million dollars to buy the Times, printing it under the New York Times Publishing Company.
However, the newspaper was financially crippled by the Panic of 1893, by 1896, the newspaper had a circulation of less than 9,000, was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000. Shortly after assuming control of the paper, Ochs coined the paper's slogan, "All The News That's Fit To Print"; the slogan has appeared in the paper since September 1896, has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was a jab at competing papers, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid and inaccurate reporting of facts and opinions, described by the end of the century as "yellow journalism". Under Ochs' guidance, aided by Carr
Orion is the 11th studio album by singer-songwriter Ryan Adams, released on May 18, 2010, on Adams' own record label PAX AM. Described as Adams' first "fully-realized sci-fi metal concept album," Orion was released on a limited vinyl run, could only be purchased from the PAX AM online store. There are no plans for a wide release, but as of November 4, 2010, Adams' new site paxamrecords.com is offering a standard edition vinyl that will include the download card of the entire album. Those who purchased the album in its limited run received a bonus 7" single; the album was recorded in 2006, while working on Easy Tiger with producer Jamie Candiloro, is Adams' first full-length album release since splitting from The Cardinals in March 2009. Orion's artwork was designed by Michel Langevin of Voivod. On the popular Ryan Adams forum, Ryan Adams Archive, Adams posted the following regarding Orion's stylistic influences: Ryan Adams – vocals and guitars Jamie Candiloro – drums and synths Dale Nixon – bass
Gold (Ryan Adams album)
Gold is the second studio album by Ryan Adams, released September 25, 2001 on Lost Highway Records. The album remains Adams' best-selling album, certifying Gold in the UK and going on to sell 364,000 copies in the U. S. and 812,000 worldwide. Adams noted. I wanted to invent a modern classic."Adams intended for the album to be a double album, but his record label, Lost Highway, condensed the album into a single disc. According to Adams, the label "took the last five songs, made it a bonus disc and put it on the first hundred and fifty thousand copies. Fucking my fans over and making them pay extra for a record I wanted to be a double album, they counted that as one record." This bonus disc is known as Side Four. The album includes "When the Stars Go Blue", covered by artists such as The Corrs and Bono, Tyler Hilton, Bethany Joy Galeotti, Tim McGraw and as a duo by Kurt Nilsen featuring Venke Knutson. "New York, New York" became a notable VH1 favorite following the September 11 attacks. "The Rescue Blues" was featured in the end credits of the 2001 film Behind Enemy Lines.
Adams' friend and former roommate Adam Duritz lends background vocals to several tracks. Adams received three Grammy Award nominations in 2002: Best Rock Album, Best Male Rock Vocal Performance for "New York, New York", Best Male Country Vocal Performance for "Lovesick Blues". Stephen King's 2006 book Lisey's Story includes part of the lyrics to "When the Stars Go Blue"; the song "The Rescue Blues" was featured in an episode of Scrubs. In 2011, "Answering Bell" was featured on the soundtrack to Bridesmaids. Q listed Gold as one of the best 50 albums of 2001. Kludge included it on their list of the 25 best albums of 2001. Rolling Stone ranked "Gold" the 81st best record of the 2000s. NME ranked Gold at number 193 on its list of The 500 Greatest Albums of All Time. All tracks written by Ryan Adams except where noted. Notes: D1 indicates Disk 1. Electric guitar, piano Bucky Baxter – Steel guitar Andre Carter – trumpet Richard Causon – piano Jennifer Condos – bass Milo De Cruz – bass Adam Duritz – choir, background vocals Keith Hunter – choir Rami Jaffi – accordion Ethan Johns – Drums, electric guitar, chamberlain strings, lead guitar, Hammond B-3, background vocals, acoustic guitar, 12-string guitar mandocello, string arrangement, slide guitar, bass, electric piano, harmonium, banjo Jim Keltner – drums Rob McDonald – choir Sid Paige – concert master Julianna Raye – background vocals, choir Chris Stills – background vocals, electric guitar, acoustic guitar, acoustic 12-string guitar, guitar Benmont Tench – Hammond B-3, piano Kamasi Washington – saxophone C.
C. White – background vocals, solo vocals Rolling Stone InterviewGold at Metacritic
Robert Thomas Christgau is an American essayist and music journalist. One of the earliest professional rock critics, he spent 37 years as the chief music critic and senior editor for The Village Voice, during which time he created and oversaw the annual Pazz & Jop poll, he has covered popular music for Esquire, Newsday, Rolling Stone, Billboard, NPR, MSN Music, was a visiting arts teacher at New York University. Christgau is known for his terse, letter-graded capsule album reviews, first published in his "Consumer Guide" columns during his tenure at The Village Voice from 1969 to 2006, he has authored three books based on those columns, including Christgau's Record Guide: Rock Albums of the Seventies and Christgau's Record Guide: The'80s, along with two collections of essays. He continued writing reviews in this format for MSN Music and Noisey—Vice's music section—where they are published in his "Expert Witness" column. Christgau was born in Greenwich Village and grew up in Queens, the son of a fireman.
He has said he became a rock and roll fan when disc jockey Alan Freed moved to the city in 1954. After attending a public school in New York City, he left New York for four years to attend Dartmouth College, graduating in 1962 with a B. A. in English. While at college his musical interests turned to jazz, but he returned to rock after moving back to New York. Christgau has said that Miles Davis' 1960 album Sketches of Spain initiated in him "one phase of the disillusionment with jazz that resulted in my return to rock and roll", he was influenced by New Journalism writers such as Gay Talese and Tom Wolfe. "My ambitions when I went into journalism were always, to an extent, literary", Christgau said. Christgau wrote short stories, before giving up fiction in 1964 to become a sportswriter, a police reporter for the Newark Star-Ledger, he became a freelance writer after a story he wrote about the death of a woman in New Jersey was published by New York magazine. Christgau was among the first dedicated rock critics.
He was asked to take over the dormant music column at Esquire, which he began writing in June 1967. After Esquire discontinued the column, Christgau moved to The Village Voice in 1969, he worked as a college professor. From early on in his emergence as a critic, Christgau was conscious of his lack of formal knowledge of music. In a 1968 piece he commented: I don't know anything about music, which ought to be a damaging admission but isn't... The fact is that pop writers in general shy away from such arcana as key signature and beats to the measure... I used to confide my worries about this to friends in the record industry, they didn't know anything about music either. The technical stuff didn't matter, I was told. You just gotta dig it. In early 1972, he accepted a full-time job as music critic for Newsday. Christgau returned to the Village Voice in 1974 as music editor, he remained there until August 2006, when he was fired shortly after the paper's acquisition by New Times Media. Two months Christgau became a contributing editor at Rolling Stone.
Late in 2007, Christgau was fired by Rolling Stone, although he continued to work for the magazine for another three months. Starting with the March 2008 issue, he joined Blender, where he was listed as "senior critic" for three issues and "contributing editor". Christgau had been a regular contributor to Blender, he continued to write for Blender until the magazine ceased publication in March 2009. In 1987, he was awarded a Guggenheim Fellowship in the field of "Folklore and Popular Culture" to study the history of popular music. Christgau has written for Playboy and Creem, he appears about the Replacements. He taught during the formative years of the California Institute of the Arts; as of 2007, he was an adjunct professor in the Clive Davis Department of Recorded Music at New York University. In August 2013, Christgau revealed in an article written for Barnes & Noble's website that he is writing a memoir. On July 15, 2014, Christgau debuted a monthly column on Billboard's website. Christgau is best known for his "Consumer Guide" columns, which have been published more-or-less monthly since July 10, 1969, in the Village Voice, as well as a brief period in Creem.
In its original format, the "Consumer Guide" consisted of 18 to 20 single-paragraph album reviews, each of, given a letter grade ranging from A+ to E−. These reviews were collected and extensively revised in a three-volume book series, the first of, published in 1981 as Christgau's Record Guide: Rock Albums of the Seventies. In his original grading system from 1969 to 1990, albums were given a grade ranging from A+ to E-. Under this system, Christgau considered a B+ or higher to be a personal recommendation, he noted. In 1990, Christgau changed the format of the "Consumer Guide" to focus more on the albums. B+ records that Christgau deemed "unworthy of a full review" were given brief comments and star marks ranging from three down to one, denoting an honorable mention", records which Christgau believed may be of interest to their own target audience. Lesser albums were filed under categories such as "Neither" and "Duds" (which indicated bad records and were listed without fur
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