Los Angeles Times
The Los Angeles Times is a daily newspaper, published in Los Angeles, since 1881. It has the fourth-largest circulation among United States newspapers, is the largest U. S. newspaper not headquartered on the East Coast. The paper is known for its coverage of issues salient to the U. S. West Coast, such as immigration trends and natural disasters, it has won more than 40 Pulitzer Prizes for its coverage of other issues. As of June 18, 2018, ownership of the paper is controlled by Patrick Soon-Shiong, the executive editor is Norman Pearlstine. In the nineteenth century, the paper was known for its civic boosterism and opposition to unions, the latter of which led to the bombing of its headquarters in 1910; the paper's profile grew in the 1960s under publisher Otis Chandler, who adopted a more national focus. In recent decades, the paper's readership has declined and it has been beset by a series of ownership changes, staff reductions, other controversies. In January 2018, the paper's staff voted to unionize, in July 2018 the paper moved out of its historic downtown headquarters to a facility near Los Angeles International Airport.
The Times was first published on December 4, 1881, as the Los Angeles Daily Times under the direction of Nathan Cole Jr. and Thomas Gardiner. It was first printed at the Mirror printing plant, owned by Jesse Yarnell and T. J. Caystile. Unable to pay the printing bill and Gardiner turned the paper over to the Mirror Company. In the meantime, S. J. Mathes had joined the firm, it was at his insistence that the Times continued publication. In July 1882, Harrison Gray Otis moved from Santa Barbara to become the paper's editor. Otis made the Times a financial success. Historian Kevin Starr wrote that Otis was a businessman "capable of manipulating the entire apparatus of politics and public opinion for his own enrichment". Otis's editorial policy was based on civic boosterism, extolling the virtues of Los Angeles and promoting its growth. Toward those ends, the paper supported efforts to expand the city's water supply by acquiring the rights to the water supply of the distant Owens Valley; the efforts of the Times to fight local unions led to the October 1, 1910 bombing of its headquarters, killing twenty-one people.
Two union leaders and Joseph McNamara, were charged. The American Federation of Labor hired noted trial attorney Clarence Darrow to represent the brothers, who pleaded guilty. Otis fastened a bronze eagle on top of a high frieze of the new Times headquarters building designed by Gordon Kaufmann, proclaiming anew the credo written by his wife, Eliza: "Stand Fast, Stand Firm, Stand Sure, Stand True." Upon Otis's death in 1917, his son-in-law, Harry Chandler, took control as publisher of the Times. Harry Chandler was succeeded in 1944 by his son, Norman Chandler, who ran the paper during the rapid growth of post-war Los Angeles. Norman's wife, Dorothy Buffum Chandler, became active in civic affairs and led the effort to build the Los Angeles Music Center, whose main concert hall was named the Dorothy Chandler Pavilion in her honor. Family members are buried at the Hollywood Forever Cemetery near Paramount Studios; the site includes a memorial to the Times Building bombing victims. The fourth generation of family publishers, Otis Chandler, held that position from 1960 to 1980.
Otis Chandler sought legitimacy and recognition for his family's paper forgotten in the power centers of the Northeastern United States due to its geographic and cultural distance. He sought to remake the paper in the model of the nation's most respected newspapers, notably The New York Times and The Washington Post. Believing that the newsroom was "the heartbeat of the business", Otis Chandler increased the size and pay of the reporting staff and expanded its national and international reporting. In 1962, the paper joined with The Washington Post to form the Los Angeles Times–Washington Post News Service to syndicate articles from both papers for other news organizations, he toned down the unyielding conservatism that had characterized the paper over the years, adopting a much more centrist editorial stance. During the 1960s, the paper won four Pulitzer Prizes, more than its previous nine decades combined. Writing in 2013 about the pattern of newspaper ownership by founding families, Times reporter Michael Hiltzik said that: The first generations bought or founded their local paper for profits and social and political influence.
Their children enjoyed both profits and influence, but as the families grew larger, the generations found that only one or two branches got the power, everyone else got a share of the money. The coupon-clipping branches realized that they could make more money investing in something other than newspapers. Under their pressure the companies split apart, or disappeared. That's the pattern followed over more than a century by the Los Angeles Times under the Chandler family; the paper's early history and subsequent transformation was chronicled in an unauthorized history Thinking Big, was one of four organizations profiled by David Halberstam in The Powers That Be. It has been the whole or partial subject of nearly thirty dissertations in communications or social science in the past four decades; the Los Angeles Times began a decline with Los Angeles itself with the decline in military production at the end of the Cold War. It faced hiring freezes in 1991-1992. Another major decision at the same time was to cut the range of circulation.
They cut circulation in California's Central Valley, Nevada and the San Diego ed
St. Louis is an independent city and major inland port in the U. S. state of Missouri. It is situated along the western bank of the Mississippi River, which marks Missouri's border with Illinois; the Missouri River merges with the Mississippi River just north of the city. These two rivers combined form the fourth longest river system in the world; the city had an estimated 2017 population of 308,626 and is the cultural and economic center of the St. Louis metropolitan area, the largest metropolitan area in Missouri, the second-largest in Illinois, the 22nd-largest in the United States. Before European settlement, the area was a regional center of Native American Mississippian culture; the city of St. Louis was founded in 1764 by French fur traders Pierre Laclède and Auguste Chouteau, named after Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain and retroceded back to France in 1800. In 1803, the United States acquired the territory as part of the Louisiana Purchase.
During the 19th century, St. Louis became a major port on the Mississippi River, it separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. In 1904, it hosted the Summer Olympics; the economy of metropolitan St. Louis relies on service, trade, transportation of goods, tourism, its metro area is home to major corporations, including Anheuser-Busch, Express Scripts, Boeing Defense, Energizer, Enterprise, Peabody Energy, Post Holdings, Edward Jones, Go Jet and Sigma-Aldrich. Nine of the ten Fortune 500 companies based in Missouri are located within the St. Louis metropolitan area; this city has become known for its growing medical and research presence due to institutions such as Washington University in St. Louis and Barnes-Jewish Hospital. St. Louis has two professional sports teams: the St. Louis Cardinals of Major League Baseball and the St. Louis Blues of the National Hockey League. One of the city's iconic sights is the 630-foot tall Gateway Arch in the downtown area.
The area that would become St. Louis was a center of the Native American Mississippian culture, which built numerous temple and residential earthwork mounds on both sides of the Mississippi River, their major regional center was at Cahokia Mounds, active from 900 to 1500. Due to numerous major earthworks within St. Louis boundaries, the city was nicknamed as the "Mound City"; these mounds were demolished during the city's development. Historic Native American tribes in the area included the Siouan-speaking Osage people, whose territory extended west, the Illiniwek. European exploration of the area was first recorded in 1673, when French explorers Louis Jolliet and Jacques Marquette traveled through the Mississippi River valley. Five years La Salle claimed the region for France as part of La Louisiane; the earliest European settlements in the area were built in Illinois Country on the east side of the Mississippi River during the 1690s and early 1700s at Cahokia and Fort de Chartres. Migrants from the French villages on the opposite side of the Mississippi River founded Ste.
Genevieve in the 1730s. In early 1764, after France lost the 7 Years' War, Pierre Laclède and his stepson Auguste Chouteau founded what was to become the city of St. Louis; the early French families built the city's economy on the fur trade with the Osage, as well as with more distant tribes along the Missouri River. The Chouteau brothers gained a monopoly from Spain on the fur trade with Santa Fe. French colonists used African slaves as domestic workers in the city. France, alarmed that Britain would demand French possessions west of the Mississippi and the Missouri River basin after the losing New France to them in 1759–60, transferred these to Spain as part of the Viceroyalty of New Spain; these areas remained in Spanish possession until 1803. In 1780 during the American Revolutionary War, St. Louis was attacked by British forces Native American allies, in the Battle of St. Louis; the founding of St. Louis began in 1763. Pierre Laclede led an expedition to set up a fur-trading post farther up the Mississippi River.
Before Laclede had been a successful merchant. For this reason, he and his trading partner Gilbert Antoine de St. Maxent were offered monopolies for six years of the fur trading in that area. Although they were only granted rights to set-up a trading post and other members of his expedition set up a settlement; some historians believe that Laclede's determination to create this settlement was the result of his affair with a married woman Marie-Thérèse Bourgeois Chouteau in New Orleans. Laclede on his initial expedition was accompanied by Auguste Chouteau; some historians still debate. The reason for this lingering question is that all the documentation of the founding was loaned and subsequently destroyed in a fire. For the first few years of St. Louis's existence, the city was not recognized by any of the governments. Although thought to be under the control of the Spanish government, no one asserted any authority over the settlement, thus St. Louis had no local government; this led Laclede to assume a position of civil control, all problems were disposed i
Washington University in St. Louis
Washington University in St. Louis is a private research university in St. Louis, Missouri. Founded in 1853, named after George Washington, the university has students and faculty from all 50 U. S. states and more than 120 countries. As of 2017, 24 Nobel laureates in economics and medicine, physics have been affiliated with Washington University, nine having done the major part of their pioneering research at the university. Washington University's undergraduate program is ranked 19th by U. S. News & World Report in 2018 and 11th by The Wall Street Journal in their 2018 rankings; the university is ranked 20th in the world in 2018 by the Academic Ranking of World Universities. The acceptance rate for the class of 2023 was 14%, with students selected from more than 31,000 applications. Of students admitted 90 percent were in the top 10 percent of their class. Washington University is made up of seven graduate and undergraduate schools that encompass a broad range of academic fields. To prevent confusion over its location, the Board of Trustees added the phrase "in St. Louis" in 1976.
Washington University was conceived by 17 St. Louis business and religious leaders concerned by the lack of institutions of higher learning in the Midwest. Missouri State Senator Wayman Crow and Unitarian minister William Greenleaf Eliot, grandfather of the poet T. S. Eliot, led the effort; the university's first chancellor was Joseph Gibson Hoyt. Crow secured the university charter from the Missouri General Assembly in 1853, Eliot was named President of the Board of Trustees. Early on, Eliot solicited support from members of the local business community, including John O'Fallon, but Eliot failed to secure a permanent endowment. Washington University is unusual among major American universities in not having had a prior financial endowment; the institution had no backing of a religious organization, single wealthy patron, or earmarked government support. During the three years following its inception, the university bore three different names; the board first approved "Eliot Seminary," but William Eliot was uncomfortable with naming a university after himself and objected to the establishment of a seminary, which would implicitly be charged with teaching a religious faith.
He favored a nonsectarian university. In 1854, the Board of Trustees changed the name to "Washington Institute" in honor of George Washington. Naming the University after the nation's first president, only seven years before the American Civil War and during a time of bitter national division, was no coincidence. During this time of conflict, Americans universally admired George Washington as the father of the United States and a symbol of national unity; the Board of Trustees believed that the university should be a force of unity in a divided Missouri. In 1856, the University amended its name to "Washington University." The university amended its name once more in 1976, when the Board of Trustees voted to add the suffix "in St. Louis" to distinguish the university from the nearly two dozen other universities bearing Washington's name. Although chartered as a university, for many years Washington University functioned as a night school located on 17th Street and Washington Avenue in the heart of downtown St. Louis.
Owing to limited financial resources, Washington University used public buildings. Classes began on October 1854, at the Benton School building. At first the university paid for the evening classes, but as their popularity grew, their funding was transferred to the St. Louis Public Schools; the board secured funds for the construction of Academic Hall and a half dozen other buildings. The university divided into three departments: the Manual Training School, Smith Academy, the Mary Institute. In 1867, the university opened the first private nonsectarian law school west of the Mississippi River. By 1882, Washington University had expanded to numerous departments, which were housed in various buildings across St. Louis. Medical classes were first held at Washington University in 1891 after the St. Louis Medical College decided to affiliate with the University, establishing the School of Medicine. During the 1890s, Robert Sommers Brookings, the president of the Board of Trustees, undertook the tasks of reorganizing the university's finances, putting them onto a sound foundation, buying land for a new campus.
Washington University spent its first half century in downtown St. Louis bounded by Washington Ave. Lucas Place, Locust Street. By the 1890s, owing to the dramatic expansion of the Manual School and a new benefactor in Robert Brookings, the University began to move west; the University board of directors began a process to find suitable ground and hired the landscape architecture firm Olmsted, Olmsted & Eliot of Boston. A committee of Robert S. Brookings, Henry Ware Eliot, William Huse found a site of 103 acres just beyond Forest Park, located west of the city limits in St. Louis County; the elevation of the land was thought to resemble the Acropolis and inspired the nickname of "Hilltop" campus, renamed the Danforth campus in 2006 to honor former chancellor William H. Danforth. In 1899, the university opened a national design contest for the new campus; the renowned Philadelphia firm Cope & Stewardson won unanimously with its plan for a row of Collegiate Gothic quadrangles inspired by Oxford and Cambridge Universities.
The cornerstone of the first building, Busch Hall, was laid on October 20, 1900. The construction of Brookings Hall and Cupples began shortly thereafter; the school delayed occupying these buildings until 1905 to accommodate the 1904 World's Fair and Olympics. The delay allowed the university to construct ten buildings instead of t
New Orleans rhythm and blues
New Orleans rhythm and blues is a style of rhythm and blues music that originated in the U. S. city of New Orleans. Most popular from 1948 to 1955, it was a direct precursor to rock and roll and influenced ska. Instrumentation includes drums, piano, electric guitar, vocals; the style is characterized by syncopated "second line" rhythms, a strong backbeat, soulful vocals. Artists such as Roy Brown, Dave Bartholomew, Fats Domino are representative of the New Orleans R&B sound; the "New Orleans Sound" can be characterized by predominant piano, "singing" horns, call-and-response elements. Clear influences of Kansas City Swing bands can be heard through the extensive use of trumpet and saxophone solos. A "double" bass line, when the guitar and bass play in unison, was combined with a strong backbeat to make the music easy to dance to, it is common to hear the influence of Caribbean rhythms such as the mambo and the calypso. In addition, the usage of blue notes is characteristic. Like most blues, New Orleans R&B follows a standard three-stanza form that contains tonic and dominant chords.
Within these chords, the three "blue notes" known as flatted notes, are the third and seventh scale degrees. In New Orleans R&B, the flatted third is notable. New Orleans Rhythm and blues was pioneered by local barrelhouse pianists Champion Jack Dupree and Professor Longhair. Professor Longhair, otherwise known as "Fess", was influential in the development of the New Orleans R&B sound. Allen Toussaint, an important figure in New Orleans R&B, described him as "The Bach of Rock'n' Roll", he combined Caribbean and boogie-woogie rhythms to create his signature style. The result was a usage of polyrhythms that he whistled while playing. Although he was admired by other New Orleans musicians, he did not gain national attention until the end of his career. During his early career, Longhair visited the Caldonia Inn to listen to Dave Bartholomew's band; when he sat in for Bartholomew's pianist, a large crowd flooded the venue. He decided to start his own band called the Four Hairs combo. Soon after, the band recorded their first four tunes at the Hi-Hat club for the Star Talent Label.
In 1950, Longhair worked with Mercury Records and recorded "Baldheaded". The song reached No.5 on Billboard's R&B chart. Due to financial complications, his work with Mercury was cut short. During the 1950s, he worked with Atlantic Records and recorded "Tipitina", which at the time was only a local hit, but today is recognized as a New Orleans R&B classic. There were two types of local pianists in New Orleans. "Professors" were classically trained and understood music theory. They played in a variety of styles in the brothels of Storyville; because they were more skilled, audiences expected them play any request, thrown their way. Notable "professor" pianists include Buddy Christian, Clarence Williams, Alton Purnell, Spencer Williams, Jelly Roll Morton. Barrelhouse pianists were untrained with little to no background in music theory, they were self-taught and played in a blues style. Barrelhouse pianists were considered semi-professional and played for drinks, food, or tips. Roy Brown, Dave Bartholomew, Paul Gayten, Smiley Lewis, Fats Domino, Annie Laurie, Larry Darnell were the primary artists who achieved national fame.
Roy Brown is considered to be one of the pioneers of the New Orleans Urban Blues as one of the first singers to blend elements of gospel into the blues. His "crying" sound became his signature. In March 1947, Cecil Gant heard Brown sing "Good Rockin' Tonight" during a set break at a club called the Rainbow Room. Cecil enjoyed the song so much that he had Brown sing it over the phone for De Luxe Records. Brown signed a contract with DeLuxe, recorded the song at J&M Studio. "Good Rockin' Tonight" was an immediate success in New Orleans, reached the national charts about one year later. It became his biggest hit, was successful enough for Brown and his band "The Mighty Men" to tour across California and the southwestern United States. "Good Rockin' Tonight," made a reappearance in the charts in 1949 after DeLuxe was sold to King Records, who did their best to promote it, something, not easy because at the time the word "rock" was a slang for "sex", which many people believed the song implied. In 1950, Brown climbed his way up the charts once again with his song "Hard Luck Blues".
Other popular tunes by Roy Brown include "Boogie at Midnight", "Love Don't Love Nobody", "Long About Sundown", "Cadillac Baby", "Party Doll", "Let the Four Winds Blow", "Saturday Night". Dave Bartholomew was a bandleader and trumpet player. In the early stages of his career, between 1939 and 1942, he played on the S. S Capitol Riverboat with Fats Pichon. Toward the end of his residency, Pichon resigned to take a solo gig at the Old Absinthe House in New Orleans. Bartholomew took over the riverboat band until he was drafted in 1942. While serving in the army, he learned how to arrange music as a member of the 196th AGF band. Upon discovering his passion for arranging and band leading, he was eager to return to New Orleans and make a name for himself. In 1949, Bartholomew and his band recorded the hit song "Country Boy", while signed with DeLuxe, his true calling however, was to be involved with music production. He established himself as a band leader who arranged and scouted talent. During the 1950s, Bartholomew co-wrote most of the hits coming out of New Orleans.
Paul Gayten moved with his trio to New Orleans in his early twenties and established a residency at the Club Robin Hood. In 1947, his band recorded the two R&B hits "True" and "Since I Fe
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus