Gisele Bundchen Bazaar Magazine

Gisele Bundchen Bazaar Magazine, a photo by Biilboard Hot 100 on Flickr.

Via Flickr:
Gisele Bündchen

BornGisele Caroline Bündchen 20 July 1980 (age 31) Horizontina, Rio Grande do Sul, Brazil
Height1.80 m (5 ft 11 in)
Hair colorLight Brown
Eye colorBlue
Measurements35-23-35.5 (89-59-90)
Weight57 kg (130 lb; 9.0 st)
Dress size38 EU/6 US
Shoe size37 EU/6 US/4 UK
AgencyIMG Models
SpouseTom Brady (2009–present)
Website www.giselebundchen.com.br

USA FASHION & MUSIC NEWS - GISELE BUNDCHEN BIOGRAPHY AND PICTURES
thefireboys.blogspot.com/2009/10/giselebundchengooglegrou...

==Gisele Bundchen Biography==
Gisele Caroline Bundchen ( born July 20, 1980 in Horizontina, Rio Grande do Sul, Brazil) is a Brazilian model, occasional film actress and goodwill ambassador for the United Nations Environment Program. According to Forbes, she is the highest-paid model in the world and also the sixteenth richest woman in the entertainment world, with an estimated $150 million fortune.

==Family and early life==
Bundchen was born in the Brazilian town of Tres de Maio and grew up in Horizontina, Rio Grande do Sul, to Vania Nonnenmacher, a bank clerk pensioner, and Valdir Bundchen, a university teacher and writer. She has five sisters - Raquel, Graziela, Gabriela, Rafaela and her fraternal twin Patrícia, Gisele's junior by five minutes. Bundchen is Roman Catholic and speaks Portuguese as her native language. She also speaks Spanish and English.

- I was born in Horizontina, a town in the backcountry of (Brazilian) state Rio Grande do Sul. The town was once mainly colonized by Germans. In the school which I attended, learning German was actually obligatory from third grade on. But being out of touch with the language for such a long time, I unfortunately forgot it. I belong to the sixth generation of my family in Brazil.

==Modeling career==
Originally, Bundchen wanted to be a professional volleyball player and considered playing for the Brazilian team, Sogipa. While in school, Bundchen was so thin that her friends used to call her "Olivia Palito" (Portuguese for Olive Oyl, Popeye's skinny girlfriend) and "Saracura" (a type of Brazilian shorebird).

In 1993, a then-13-year-old Bundchen joined a modeling course with her sisters Patrícia and Gabriela at her mother's insistence.The following year, Bundchen went to Sao Paulo on a school excursion to give them an opportunity to walk in a big city. In a shopping mall, while eating at McDonald's with her friends, Bundchen was discovered by a modeling agency. She was subsequently selected for a national contest, Elite Look of the Year, in which she placed second Claudia Menezes, from Bahia, took first place. Bundchen placed fourth in the world contest, held in Ibiza, Spain. In 1996, Bundchen moved to New York City usa to begin her modeling career, debuting at Fashion Week.


Gisele Bundchen on the Fashion Rio Inverno 2006, January 30, 2006. Her debut on the cover of the July 1999 issue of Vogue magazine, and the accompanying editorial entitled "The Return of the Sexy Model", is widely viewed as marking the end of the fashion's "heroin chic" era. She graced the cover again in November and December of that year. She won the VH1/Vogue Model of the Year for 1999, and a January 2000 cover gave her the rare honor of three consecutive Vogue covers. In 2000, she became the fourth model to appear on the cover of the music magazine Rolling Stone, when she was named "the most beautiful girl in the world." Bundchen has been on the covers of many top fashion magazines including W, Harper's Bazaar, ELLE, Allure, international editions of Vogue, as well as style and lifestyle publications such as i-D, The Face, Arena, Citizen K, Flair, GQ, Esquire, and Marie Claire. She has been featured both in the Pirelli Calendar 2001 and 2006 and in broader market publications such as Time, Vanity Fair, Forbes, Newsweek and Veja, more than 500 magazine covers throughout the world.

Bundchen consistently works with acclaimed photographers such as Mario Testino, Steven Meisel, Nick Knight, Mert and Marcus, Rankin, Annie Leibovitz, Karl Lagerfeld, Peter Lindbergh, David LaChapelle, Mario Sorrenti, Nino Munoz and Patrick Demarchelier, and with renowned directors such as Jean Baptiste Mondino and Bruno Aveillan.

Claudia Schiffer said: "Supermodels, like we once were, don't exist any more" and reckoned that Gisele Bundchen was the only one close to earning the supermodel title.

Naomi Campbell said: "Models need to earn their stripes - I just think the term is used a little too loosely. Kate Moss is obviously a supermodel but, after Gisele, I don’t think there’s been one."

On August 26, 2008, the New York Daily News, in a list, named Bundchen the fourth-most-powerful person in the fashion world.

On May 12, 2009, The Independent, called her the biggest star in fashion history.

==Endorsements and earnings==
Since her debut, Bundchen has been the face of a variety of advertising campaigns including several seasons of Christian Dior, Balenciaga, Mervyn's, Dolce & Gabbana, Missoni, Versace, Givenchy, Bvlgari, Lanvin, Guerlain, Valentino, Ralph Lauren, Earl Jean, Zara, Chloé, Michael Kors, Louis Vuitton and Victoria's Secret. She has appeared in advertisements for Nivea lotion and is the face of several Brazilian brands including Vivo, Multiplan (Shopping Malls), Colcci, Credicard (Citibank) and Volkswagen do Brasil. After C&A Brazil hired Bundchen as a spokesmodel and began airing television commercials, sales increased by 30%.


At the Fashion Rio Inverno 2006In May 2006, Bundchen signed another multi-million dollar deal, this time with American giant Apple Inc.. She starred in an advertising campaign to promote the new Macintosh line through the Get a Mac advertisements. Also in 2006, Bundchen became the new face of Swiss luxury watchmaker Ebel.

She has her own line of sandals with footwear company Grendene called Ipanema Gisele Bundchen. Forbes puts her 53rd on their list of the most powerful celebrities of 2007 because of the international success of her shoe line, making the brand Ipanema the most sold Brazilian flip-flop in the world, surpassing the legendary Havaianas. Custom Ipanema flip-flops sell for as much as $230 a pair. She is also the owner of a hotel in the south of Brazil, the Palladium Executive.

On May 1, 2007, it was announced that Bundchen had ended her contract with Victoria's Secret.

In July 2007, having earned an estimated total of $33 million in the past 12 months, Forbes magazine named her the world's top-earning model in the list of the World's 15 Top-Earning Supermodels.

An American economist named Fred Fuld developed a stock index to measure the profit performance improvement of companies represented by Bundchen compared with the Dow Jones Industrial Average. According to Fuld, the Gisele Bundchen Stock Index was up 15% between May and July 2007, substantially surpassing the Dow Jones Industrial Average which was up just 8.2%.


==Charity activities==
Bundchen lends her support and image to a number of charities and humanitarian causes, such as the I am African campaign, in which she painted her face to protest the lack of attention given to Africa's HIV/AIDS victims. Without receiving payment, Bundchen was, in 2006, the face of American Express Red Card, an initiative launched by U2 front man Bono and Bobby Shriver to send a percentage of monies earned from the financial transactions of this credit card to Africa's HIV/AIDS victims.

In 2009, she appeared almost simultaneously in more than 20 covers of the international issues of Elle magazines wearing (Product) Red clothing and posing with products from companies who support the same cause. (RED)’s primary objective is to engage the private sector in increasing assistance for the Global Fund, to help defeat AIDS in Africa. Companies whose products take on the mark contribute a percentage of the sales or portion of the profits from that product to the Global Fund to finance AIDS programs in Africa, with special attention on the health of women and children.


At the Fashion Rio Inverno 2006In 2003, Bundchen designed an exclusive and limited edition of platinum hearts, working with Platinum Guild International and Harper’s Bazaar, crafted by jewelers Gumuchian Fils. These platinum hearts were sold to raise money for St. Jude Children's Research Hospital which specializes in cancer treatment. She served as the spokesperson and campaign model for Fashion Targets Breast Cancer. Bundchen already gave a Sao Paulo Fashion Week's payment check for Zero Hunger (in Portuguese: Fome Zero), a Brazilian-government program introduced by Brazilian president Luiz Inacio Lula da Silva also in 2003.

She was, in 2009, one of the celebrities to sign up for the auction fundraiser of celebrities autographed iPods to raise cash for the victims of Hurricane Katrina, organised by Tonic.com., alongside former U.S.A.'s president Bill Clinton, Cher, Beyonce, Britney Spears, Mariah Carey, Ellen DeGeneres and others. The money is for the Music Rising institution which aims to recover and invest in the musical culture of the destroyed areas.

She promotes protecting the Brazilian Atlantic Forest and Amazon Rainforest water sources, donating to this cause a percentage of profits from her line of sandals named Ipanema Gisele Bundchen. Also, Bundchen helps projects such as Nascentes do Brasil, ISA, Y Ikatu Xingu and De Olho nos Mananciais.

Bundchen and Grendene, the company that produces and disseminates her line of sandals, also joined the Florestas do Futuro project for the reforestation of the Brazilian Atlantic Forest. The project was created by the NGO named SOS Atlantic Forest in 2004. The new forest, named for Gisele Bundchen Sementes, started with 25,500 shoots of 100 different species, enough to revitalize an area of 15 hectares.

On 20 September, 2009, she was designated Goodwill Ambassador for the United Nations Environment Programme (UNEP).

==Acting career==
In 2004, Bundchen entered the film industry, playing the bank robbers' leader, Vanessa, in the 2004 remake Taxi. In 2006, she played a minor character in The Devil Wears Prada.

Personal life and Relationships:
On Thursday, February 26, 2009, Bundchen married New England Patriots quarterback Tom Brady in a small Catholic ceremony in Los Angeles ( la ). On April 5, 2009, the couple remarried in Costa Rica with Brady's son, John Edward Thomas Moynahan, present. For the ceremony, Gisele wore a dress and veil designed by famed fashion designer John Galliano. Bundchen's three dogs were also present at the ceremony. Bundchen and Brady had been dating since late 2006. Before marrying him, she dated actor Leonardo DiCaprio and professional surfer Kelly Slater. On Friday, June 19 2009, People magazine reported that Gisele was pregnant with her first child with husband Tom Brady. The baby is due on December 14, 2009.

==Music tribute==
As an homage to Bundchen, Brazilian singer and songwriter Gabriel Guerra, along with musician Pedro Cezar, wrote the song Tributo a Gisele (Tribute to Gisele in English), which is currently the theme of the model's official website. In January 2008, Bundchen met Gabriel Guerra at Copacabana Palace Hotel in Rio de Janeiro.
There's another music called "Coisa Linda" ( Pretty Woman ) dedicated to Gisele Bundchen by Nelio Guerson and Carlos Guerson. More info on Palco MP3, Last FM and Garagem MP3.

==One reason to love New York==
In the December 2005 issue, New York magazine chose and publicized a list of 123 reasons to love New York City with reason number 43 being that Gisele Bundchen lives there.

==Nude photography==
On April 11, 2008, a black-and-white photo of Bundchen, shot by Irving Penn, was auctioned for US$193,000 (£96,000). The picture was one of dozens from the collection of Gert Elfering that were sold at Christie's International in New York. In all, the auction tallied US$4.27 million and included pictures of Brigitte Bardot, Kate Moss, Naomi Campbell, Christy Turlington and Carla Bruni. Bundchen's picture reached the highest price in comparison with the others. Bardot was the second with US$181,000 (£90,000).

In 2009, Gisele featured, on artistic nude picture, the cover of the work retrospective book of Australian photographer Russell James.

==Image inspiration==
In 2006, Elle magazine bosses surveyed the American leading stylists and asked them to name the star whose hair is a favourite for their clients. More than 50 per cent gave Gisele the title of best hair in Hollywood, followed by Sienna Miller in at second place and Nicole Richie in at third position.

In February 2008, a result of research was publicized by The International Society of Aesthetic Plastic Surgery (ISAPS) to reveal how world celebrity images, which overwhelm popular media, influence people's choices and decisions to undergo plastic surgery. The question asked was "What influences do celebrities have on the decisions patients make?". The survey was sent to more than 20,000 plastic surgeons in 84 countries. Gisele Bundchen, Jennifer Lopez, Angelina Jolie, Nicole Kidman, Pamela Anderson, Sophia Loren, Brad Pitt and George Clooney were the most frequently mentioned celebrities. Gisele won the abdomen and hair categories and took second place in the breasts category.

==Controversies==
PETA anti-fur target
In 2002, during the taping of the annual Victoria's Secret Fashion Show, Bundchen was the target of a protest made by four members of People for the Ethical Treatment of Animals because she was signed to be the new face of Blackglama, a trademark of a fur-farming cooperative. When Bundchen was on stage, four women jumped onto the runway holding posters that read "Gisele: Fur Scum" and included the logo for PETA. Bundchen tried to ignore them while several security guards detained the protesters. Bundchen told CNN that the protest was "unwarranted" because the fashion show featured only faux fur. After the incident, the producers decided to stop the music and redid Bundchen's segment once the protesters were removed.

References

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The Most Beautiful Girl in the World : Photos : Rolling Stone
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Gisele Bündchen Closes Out Givenchy’s All-Star Show – The Cut. Nymag.com. Retrieved on 2011-10-28.
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Our Founder Sejaa web site
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"Gisele Explains Breastfeeding "Law" Comment After Outcry". UsMagazine.com.

Stephanie Seymour Vogue Magazine

Stephanie Seymour Vogue Magazine, a photo by Biilboard Hot 100 on Flickr.

Via Flickr:
Stephanie Seymour Biography

Birth name Stephanie M. Seymour
Date of birth July 23, 1968 (1968-07-23) (age 41)
Place of birth San Diego, California, U.S.A.
Height 5 ft 10 in (1.78 m)
Hair color Light Brown
Eye color Blue-Green
Measurements (US) 33-23-33
(EU) 85-58-85
Dress size (US) 4
(EU) 34
Shoe size (US) 9
(EU) 41
Spouse(s) Tommy Andrews (1989-1990) 1 child
Peter Brant (1995-Present) 3 children
Stephanie M. Seymour (born July 23, 1968) is an American model and actress. Seymour has modeled for many notable fashion magazines and designers, and has been photographed by several well-known photographers including Herb Ritts, Richard Avedon, and Gilles Bensimon. She has appeared on over 300 magazine covers

STEPHANIE SEYMOUR TOP MODEL SUPERMODEL & Biography Pictures.
thefireboys.blogspot.com/2009/11/stephanieseymourgooglegr....

==Career==
Born in San Diego, California, the middle child of a California real estate-developer father and hairstylist mother, Seymour started her modeling career working for local newspapers and department stores in her hometown at the age of 14. In 1983, she entered the Elite Model Management Look of the Year modeling contest (now called Elite Model Look), but lost.

In the late 1980s and early 1990s, Seymour appeared in numerous issues of the Sports Illustrated swimsuit issue, and appeared on the cover of Vogue. During the same period, Seymour was a primary lingerie and hosiery model for the relatively new Victoria's Secret company in its mail-order catalogs and retail stores. In 1991 and again in 1994, Seymour posed for Playboy.

In 1998, she wrote Stephanie Seymour's Beauty Secrets for Dummies. In 2000, Seymour was ranked #91 on the FHM 1000 Sexiest Women of 2000. In 2006, she appeared in a campaign for Gap with her children.

Salvatore Ferragamo's creative campaign for his fall/winter 2007/2008 collection featured Seymour and Claudia Schiffer, shot on location in Italy with Mario Testino. In the promotional photos, the supermodels play film stars protected by bodyguards and pursued by the paparazzi.

==Acting==
In 2000, Seymour played Helen Frankenthaler in the movie Pollock. In 2002 she played the role of Sara Lindstrom in the "Crazy" episode of Law & Order: Criminal Intent.

==Personal life==
At the age of 16, she began dating John Casablancas, the head of Elite Model Management, who was, at the time, married to model Jeanette Christjansen. The couple lived together before Seymour broke off the relationship.

From 1989 to 1990 she was married to guitarist Tommy Andrews. The marriage failed, but resulted in the birth of her first son, Dylan Thomas Andrews in 1990.

By mid 1991, she became involved with Axl Rose, the lead singer of Guns N' Roses. She appeared in two music videos by Guns N' Roses: "Don't Cry" and "November Rain". The couple broke up in February 1993 after Rose accused Seymour of being unfaithful. In August 1994, Rose sued Seymour for assaulting him during a 1992 Christmas party, mental and emotional abuse, and for withholding $100,000 worth of jewelry. Rose claimed he and Seymour were engaged. In turn, Seymour countersued Rose for assaulting her and denied they were ever engaged.

Shortly after her break up with Rose, Seymour began dating Peter Brant, a married publisher and real estate developer. She gave birth to the couple's first son (her second) Peter Jr. in December 1993. Seymour and Brant married in 1995 in France. Seymour gave birth to their second son Harry in 1996 and to their third child, daughter Lily Margaret, in 2004. In March 2009, Seymour filed for divorce from Brant after 14 years of marriage.

==Filmography==
Film
Year Film Role Notes
2000 Pollock Helen Frankenthaler
Television
Year Title Role Notes
2002 Law & Order: Criminal Intent Sara Lindstrom Episode: "Crazy"

Que Coisa Linda & Coisa Linda Muito

Que Coisa Linda & Coisa Linda Muito, a photo by Victoria´s Secret Show on Flickr.

Via Flickr:
Que Coisa Linda & Coisa Linda Muito


COISA LINDA
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(P) 1993 All Rights Reserved SR 258450
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Brazilian music played by Brazilians! Coisa Linda means "Beautiful thing" in Portuguese and celebrates love, music and life, which are in fact, beautiful things!
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MPEG-1 Audio Layer 3 Filename extension .mp3
Internet media type audio/mpeg, audio/MPA, audio/mpa-robust
Type of format Audio
Standard(s) ISO/IEC 11172-3, ISO/IEC 13818-3
MPEG-1 Audio Layer 3, more commonly referred to as MP3, is a patented digital audio encoding format using a form of lossy data compression. It is a common audio format for consumer audio storage, as well as a de facto standard of digital audio compression for the transfer and playback of music on digital audio players.

MP3 is an audio-specific format that was designed by the Moving Picture Experts Group as part of its MPEG-1 standard. The group was formed by several teams of engineers at Fraunhofer IIS in Erlangen, Germany, AT&T-Bell Labs (now a division of Alcatel-Lucent) in Murray Hill, NJ, USA, Thomson-Brandt, and CCETT as well as others. It was approved as an ISO/IEC standard in 1991.

The use in MP3 of a lossy compression algorithm is designed to greatly reduce the amount of data required to represent the audio recording and still sound like a faithful reproduction of the original uncompressed audio for most listeners. An MP3 file that is created using the setting of 128 kbit/s will result in a file that is about 1/11th the size of the CD file created from the original audio source. An MP3 file can also be constructed at higher or lower bit rates, with higher or lower resulting quality.

The compression works by reducing accuracy of certain parts of sound that are deemed beyond the auditory resolution ability of most people. This method is commonly referred to as perceptual coding. It internally provides a representation of sound within a short-term time/frequency analysis window, by using psychoacoustic models to discard or reduce precision of components less audible to human hearing, and recording the remaining information in an efficient manner.

This technique is often presented as relatively conceptually similar to the principles used by JPEG, an image compression format. The specific algorithms, however, are rather different: JPEG uses a built-in vision model that is very widely tuned (as is necessary for images), while MP3 uses a complex, precise masking model that is much more signal dependent.


==Development==
The MP3 lossy audio data compression algorithm takes advantage of a perceptual limitation of human hearing called auditory masking. In 1894, Alfred Marshall Mayer reported that a tone could be rendered inaudible by another tone of lower frequency. In 1959, Richard Ehmer described a complete set of auditory curves regarding this phenomenon. Ernst Terhardt et al. created an algorithm describing auditory masking with high accuracy. This work added on a variety of reports from authors dating back to Fletcher, and to the work that initially determined critical ratios and critical bandwidths.

The psychoacoustic masking codec was first proposed in 1979, apparently independently, by Manfred R. Schroeder, et al. from AT&T-Bell Labs in Murray Hill, NJ, and M. A. Krasner both in the United States. Krasner was the first to publish and to produce hardware for speech, not usable as music bit compression, but the publication of his results as a relatively obscure Lincoln Laboratory Technical Report did not immediately influence the mainstream of psychoacoustic codec development. Manfred Schroeder was already a well-known and revered figure in the worldwide community of acoustical and electrical engineers, and his paper had influence in acoustic and source-coding (audio data compression) research. Both Krasner and Schroeder built upon the work performed by Eberhard F. Zwicker in the areas of tuning and masking of critical bands, that in turn built on the fundamental research in the area from Bell Labs of Harvey Fletcher and his collaborators. A wide variety of (mostly perceptual) audio compression algorithms were reported in IEEE's refereed Journal on Selected Areas in Communications. That journal reported in February 1988 on a wide range of established, working audio bit compression technologies, some of them using auditory masking as part of their fundamental design, and several showing real-time hardware implementations.

The immediate predecessors of MP3 were "Optimum Coding in the Frequency Domain" (OCF), and Perceptual Transform Coding (PXFM). These two codecs, along with block-switching contributions from Thomson-Brandt, were merged into a codec called ASPEC, which was submitted to MPEG, and which won the quality competition, but that was mistakenly rejected as too complex to implement. The first practical implementation of an audio perceptual coder (OCF) in hardware (Krasner's hardware was too cumbersome and slow for practical use), was an implementation of a psychoacoustic transform coder based on Motorola 56000 DSP chips.

MP3 is directly descended from OCF and PXFM. MP3 represents the outcome of the collaboration of Dr. Karlheinz Brandenburg, working as a postdoc at AT&T-Bell Labs with Mr. James D. Johnston of AT&T-Bell Labs, collaborating with the Fraunhofer Society for Integrated Circuits, Erlangen, with relatively minor contributions from the MP2 branch of psychoacoustic sub-band coders.

MPEG-1 Audio Layer 2 encoding began as the Digital Audio Broadcast (DAB) project managed by Egon Meier-Engelen of the Deutsche Forschungs- und Versuchsanstalt für Luft- und Raumfahrt (later on called Deutsches Zentrum für Luft- und Raumfahrt, German Aerospace Center) in Germany. The European Community financed this project, commonly known as EU-147, from 1987 to 1994 as a part of the EUREKA research program.

As a doctoral student at Germany's University of Erlangen-Nuremberg, Karlheinz Brandenburg began working on digital music compression in the early 1980s, focusing on how people perceive music. He completed his doctoral work in 1989 and became an assistant professor at Erlangen-Nuremberg. While there, he continued to work on music compression with scientists at the Fraunhofer Society (in 1993 he joined the staff of the Fraunhofer Institute).

In 1991 there were two proposals available: Musicam and ASPEC (Adaptive Spectral Perceptual Entropy Coding). The Musicam technique, as proposed by Philips (The Netherlands), CCETT (France) and Institut für Rundfunktechnik (Germany) was chosen due to its simplicity and error robustness, as well as its low computational power associated with the encoding of high quality compressed audio. The Musicam format, based on sub-band coding, was the basis of the MPEG Audio compression format (sampling rates, structure of frames, headers, number of samples per frame).

Much of its technology and ideas were incorporated into the definition of ISO MPEG Audio Layer I and Layer II and the filter bank alone into Layer III (MP3) format as part of the computationally inefficient hybrid filter bank. Under the chairmanship of Professor Musmann (University of Hannover) the editing of the standard was made under the responsibilities of Leon van de Kerkhof (Layer I) and Gerhard Stoll (Layer II).

A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D. Johnston (USA) took ideas from ASPEC, integrated the filter bank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.

All algorithms were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3, published in 1993. Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3, originally published in 1995. There is also MPEG-2.5 audio, a proprietary unofficial extension developed by Fraunhofer IIS. It enables MP3 to work satisfactorily at very low bitrates and added lower sampling frequencies.

Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the Compact Disc (CD) parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.

Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some jokingly refer to Suzanne Vega as "The mother of MP3". Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where Binaural Masking Level Depression causes spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model.

==Going public==
A reference simulation software implementation, written in the C language and known as ISO 11172-5, was developed by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.

Later, on July 7, 1994, the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on July 14, 1995 (previously, the files had been named .bit). With the first real-time software MP3 player Winplay3 (released September 9, 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on computer.

==Internet==
From the first half of 1994 through the late 1990s, MP3 files began to spread on the Internet. The popularity of MP3s began to rise rapidly with the advent of Nullsoft's audio player Winamp (released in 1997), and the Unix audio player mpg123. In 1998, the Rio PMP300, one of the first portable MP3 players was released, despite legal suppression efforts by the RIAA.

In November 1997, the website mp3.com was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer file sharing of music ripped from CDs, which would have previously been nearly impossible. The first large peer-to-peer filesharing network, Napster, was launched in 1999.

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argue that this free sharing of music reduces sales, and call it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down and later sold) and against individual users who engaged in file sharing.

Despite the popularity of the MP3 format, online music retailers often use other proprietary formats that are encrypted or obfuscated in order to make it difficult to use purchased music files in ways not specifically authorized by the record companies. Attempting to control the use of files in this way is known as Digital Rights Management. Record companies argue that this is necessary to prevent the files from being made available on peer-to-peer file sharing networks. This has other side effects, though, such as preventing users from playing back their purchased music on different types of devices. However, the audio content of these files can usually be converted into an unencrypted format. For instance, users are often allowed to burn files to audio CD, which requires conversion to an unencrypted audio format.

Unauthorized MP3 file sharing continues on next-generation peer-to-peer networks. Some authorized services, such as Beatport, Bleep, Juno Records, eMusic, Zune Marketplace, Walmart.com, and Amazon.com sell unrestricted music in the MP3 format.

==Encoding audio==
The MPEG-1 standard does not include a precise specification for an MP3 encoder, but does provide example psychoacoustic models, rate loop, and the like in the non-normative part of the original standard. At the present, these suggested implementations are quite dated. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information from the audio input. As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. It must be kept in mind that an encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.

During encoding, 576 time-domain samples are taken and are transformed to 576 frequency-domain samples. If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)

==Decoding audio==
Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output - that they produce from a given MP3 file - will be the same, within a specified degree of rounding tolerance, as the output specified mathematically in the ISO/IEC standard document (ISO/IEC 11172-3). Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).

==Audio quality==
When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. Using a lower bit rate provides a relatively lower audio quality and produces a smaller file size. Likewise, using a higher bit rate outputs a higher quality audio, but also results in a larger file.

Files encoded with a lower bit rate will generally play back at a lower quality. With too low a bit rate, compression artifacts (i.e. sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even with identical bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

Quality is dependent on the choice of encoder and encoding parameters. However, in 1998, MP3 at 128 kbit/s was providing quality only equivalent to AAC at 64 kbit/s and MP2 at 192 kbit/s.

The simplest type of MP3 file uses one bit rate for the entire file — this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.

Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).

A test given to new students by Stanford University Music Professor Jonathan Berger showed that student preference for MP3 quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music. Others have reached the same conclusion, and some record producers have begun to mix music specifically to be heard on iPods and mobile phones.

==Bit rate==
Several bit rates are specified in the MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, and the available sampling frequencies are 32, 44.1 and 48 kHz.[21] Additional extensions were defined in MPEG-2 Audio Layer III: bit rates 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s and sampling frequencies 16, 22.05 and 24 kHz.

A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. 128 kbit/s is the most common, offering adequate audio quality in a relatively small space. As Internet bandwidth availability and hard drive sizes have increased, higher bit rates like 160 and 192 kbit/s have increased in popularity.

Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, so the bitrates 128, 160 and 192 kbit/s represent compression ratios of approximately 11:1, 9:1 and 7:1 respectively.

Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.

==VBR==
MPEG audio may use variable bitrate (VBR). Layer III can use bitrate switching and bit reservoir. Variable bitrate is used when the goal is to achieve a fixed level of quality. The final file size of a VBR encoding is less predictable than with constant bitrate. Average bitrate is a compromise between the two - the bitrate is allowed to vary for more consistent quality, but is controlled to remain near an average value chosen by the user, for predictable file sizes. Although technically an MP3 decoder must support VBR to be standards compliant, historically some decoders have bugs with VBR decoding, particularly before VBR encoders became widespread.

==File structure==

An MP3 file is made up of multiple MP3 frames, which consist of a header and a data block. This sequence of frames is called an elementary stream. Frames are not independent items ("byte reservoir") and therefore cannot be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a sync word, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the MPEG standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file. ISO/IEC 11172-3 defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain ID3 metadata, which precedes or follows the MP3 frames; as noted in the diagram.

==Design limitations==
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There are several limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder. Newer audio compression formats such as Vorbis, WMA Pro and AAC no longer have these limitations. In technical terms, MP3 is limited in the following ways:

Time resolution can be too low for highly transient signals and may cause smearing of percussive sounds.
Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution.
The combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.
Frequency resolution is limited by the small long block window size, which decreases coding efficiency.
There is no scale factor band for frequencies above 15.5/15.8 kHz.
Joint stereo is done only on a frame-to-frame basis.
Internal handling of the bit reservoir increases encoding delay.
Encoder/decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.
The data stream can contain an optional checksum, but the checksum only protects the header data, not the audio data.

==ID3 and other tags==
Main articles: ID3 and APEv2 tag
A "tag" in an audio file is a section of the file that contains metadata such as the title, artist, album, track number or other information about the file's contents.

As of 2006, the most widespread standard tag formats are ID3v1 and ID3v2, and the more recently introduced APEv2.

APEv2 was originally developed for the MPC file format. APEv2 can coexist with ID3 tags in the same file or it can be used by itself.

Tag editing functionality is often built into MP3 players and editors, but there also exist tag editors dedicated to the purpose.

==Volume normalization==
Since volume levels of different audio sources can vary greatly, it is sometimes desirable to adjust the playback volume of audio files such that a consistent average volume is perceived. The idea is to control the average volume across multiple files, not the volume peaks in a single file. This gain normalization, while similar in purpose, is distinct from dynamic range compression (DRC), which is a form of normalization used in audio mastering. Gain normalization may defeat the intent of recording artists and audio engineers who deliberately set the volume levels of the audio they recorded.

A few standards for storing the average volume of an MP3 file in its metadata tags, enabling a specially designed player to automatically adjust the overall playback volume for each file, have been proposed. A popular and widely implemented such proposal is "Replay Gain", which is not MP3-specific. When used in MP3s, it is stored differently by different encoders, and as of 2008, Replay Gain-aware players don't yet support all formats.

==Licensing and patent issues==
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Many organizations have claimed ownership of patents related to MP3 decoding or encoding. These claims have led to a number of legal threats and actions from a variety of sources, resulting in uncertainty about which patents must be licensed in order to create MP3 products without committing patent infringement in countries that allow software patents.

The various MP3-related patents expire on dates ranging from 2007 to 2017 in the U.S. The initial near-complete MPEG-1 standard (parts 1, 2 and 3) was publicly available in December 6, 1991 as ISO CD 11172. In the United States, patents cannot claim inventions that were already publicly disclosed by the inventor more than a year prior to the filing date, but for patents filed prior to June 8, 1995, submarine patents made it possible to extend the effective lifetime of a patent through application extensions. Patents filed for anything disclosed in ISO CD 11172 a year or more after its publication are questionable; if only the known MP3 patents filed by December 1992 are considered MP3 decoding, then MP3 may be patent free in the US by December of 2012.

Thomson Consumer Electronics claims to control MP3 licensing of the Layer 3 patents in many countries, including the United States, Japan, Canada and EU countries. Thomson has been actively enforcing these patents.

MP3 license revenues generated about €100 million for the Fraunhofer Society in 2005.

In September 1998, the Fraunhofer Institute sent a letter to several developers of MP3 software stating that a license was required to "distribute and/or sell decoders and/or encoders". The letter claimed that unlicensed products "infringe the patent rights of Fraunhofer and Thomson. To make, sell and/or distribute products using the [MPEG Layer-3] standard and thus our patents, you need to obtain a license under these patents from us."

However, there exist both free and/or proprietary alternatives, with free formats such as Vorbis, AAC, and others. Microsoft's usage of its own proprietary Windows Media format allows it to avoid licensing issues associated with these patents by avoiding usage of the MP3 format entirely. Until the key patents expire, unlicensed encoders and players could be infringing in countries where the patents are valid.

In spite of the patent restrictions, the perpetuation of the MP3 format continues. The reasons for this appear to be the network effects caused by:

familiarity with the format,
the large quantity of music now available in the MP3 format,
the wide variety of existing software and hardware that takes advantage of the file format,
the lack of DRM restrictions, which makes MP3 files easy to edit, copy and play in different portable digital players (Samsung, Apple, Creative, etc.),
the majority of home users not knowing or not caring about the patents' controversy and often not considering such legal issues when choosing their music format for personal use.
Additionally, patent holders declined to enforce license fees on free and open source decoders, which allows many free MP3 decoders to develop. Thus, while patent fees have been an issue for companies that attempt to use MP3, they have not meaningfully impacted users, which allows the format to grow in popularity.

Sisvel S.p.A. and its U.S. subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting Thomson a license to their patents. Motorola also recently signed with Audio MPEG to license MP3-related patents.

In September 2006, German officials seized MP3 players from SanDisk's booth at the IFA show in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild West to Germany" in the words of one commentator.

On February 16, 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk with a patent-infringement lawsuit regarding portable MP3 players. The suit was filed in Marshall, Texas; this is a common location for patent infringement suits due to the speed at which trials are conducted there.

Texas MP3 Technologies claimed infringement with U.S. patent 7,065,417, awarded in June 2006 to multimedia chip-maker SigmaTel, covering "an MPEG portable sound reproducing system and a method for reproducing sound data compressed using the MPEG method."

Alcatel-Lucent also claims ownership of several patents relating to MP3 encoding and compression, inherited from AT&T-Bell Labs. In November 2006 (prior to the companies' merger), Alcatel filed a lawsuit against Microsoft (see Alcatel-Lucent v. Microsoft), alleging infringement of seven of its patents. On February 23, 2007, a San Diego jury awarded Alcatel-Lucent a record-breaking US$1.52 billion in damages. The judge, however, reversed the jury verdict and ruled for Microsoft, and this ruling was upheld by the court of appeals. The appeals court actually ruled that Fraunhofer was a co-owner of one patent claimed to be owned by Alcatel-Lucent, due to work by James D. Johnston while Dr. Brandenburg worked at AT&T.

In short, with Thomson, Fraunhofer IIS, Sisvel (and its U.S. subsidiary Audio MPEG), Texas MP3 Technologies, and Alcatel-Lucent all claiming legal control of relevant MP3 patents related to decoders, the legal status of MP3 remains unclear in countries where those patents are valid.

==Security issues==
Microsoft Windows Media Format Runtime in Windows 2000, Windows XP, Windows Vista and Windows Server contained a coding error that permitted "remote code execution if a user opened a specially crafted media file". Such a file would allow the attacker to "then install programs; view, change, or delete data; or create new accounts with full user rights", if the account on which the file was played had administrator privileges. The problem was addressed in a critical update issued on September 8, 2009 (KB968816).

==Alternative technologies==
Main article: List of codecs
Many other lossy and lossless audio codecs exist. Among these, mp3PRO, AAC, and MP2 are all members of the same technological family as MP3 and depend on roughly similar psychoacoustic models. The Fraunhofer Gesellschaft owns many of the basic patents underlying these codecs as well, with others held by Dolby Labs, Sony, Thomson Consumer Electronics, and AT&T. In addition, there is also the open source file format Ogg Vorbis that has been available free of charge and without patent restrictions.

==See also==
Audio compression (data)
Comparison of audio codecs
Copyright infringement
Digital audio player
ID3
Joint stereo
LRC (file format)
Media player
MP3 blog
MP3 Surround
Streaming Media
DJ digital controller
AAC
Ogg Vorbis



Free Music & Music Download

A music download is the transferral of a song from an Internet-facing computer or website to a user's local computer. This term encompasses both legal downloads and downloads of copyright material without permission or payment.
Popular examples of online music stores that sell digital singles and albums include the iTunes Store, Napster, Zune Marketplace, Amazon MP3, Nokia Music Store, TuneTribe, Kazaa and eMusic. Paid downloads are sometimes encoded with Digital Rights Management that restricts making extra copies of the music or playing purchased songs on certain digital audio players. They are almost always compressed using a lossy codec (usually MPEG-1 Layer 3 or Windows Media), reducing file size and therefore bandwidth requirements.
However, this may cause an apparent loss in quality to a listener when compared to a CD, and cause compatibility issues with certain software and devices. Uncompressed files and losslessly compressed files are available at some sites.
As of 2006, digital music sales are estimated to have reached a trade value of approximately US$2 billion, with tracks available through 500 online services located in 40 countries, representing around 10 percent of the total global music market. Around the world in 2006, an estimated five billion songs, equating to 38,000 years in music, were swapped on peer-to-peer websites, while 509 million were purchased online. As of January 2011, Apple's iTunes Store alone saw $1.1 billion of revenue in fiscal Q1.

Music downloads offered by artists
Some artists allow their songs to be downloaded ( FREE ) directly from their websites. This is the case. So do it for free.

Challenges to legal music downloads
Even legal music downloads have faced a number of challenges from artists, record labels and the Recording Industry Association of America. In July 2007, the Universal Music Group decided not to renew their long-term contracts with iTunes. This legal challenge was primarily based upon the issue of pricing of songs, as Universal wanted to be able to charge more or less depending on the artist, a shift away from iTunes' standard 99 cents per song pricing. Many industry leaders feel that this is only the first of many show-downs between Apple Inc. and the various record labels.

• FASHION WEEK - USA Fashion and Music News
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Billboard Hot 100 & Billboard Music Awards

Billboard Hot 100 & Billboard Music Awards, a photo by Victoria´s Secret Show on Flickr.

Via Flickr:
Billboard Hot 100

Billboard Hot 100 & Billboard Music Awards
thefireboys.blogspot.com/p/billboard-hot-100-billboard-mu...

The Billboard Hot 100 is the United States music industry standard singles popularity chart issued weekly by Billboard magazine. Chart rankings are based on radio play and sales; the tracking-week for sales begins on Monday and ends on Sunday, while the radio play tracking-week runs from Wednesday to Tuesday. A new chart is compiled and officially released to the public by Billboard on Thursday. Each chart is dated with the "week-ending" date of the Saturday two weeks after. Example:
Monday, January 1 – sales tracking-week begins
Wednesday, January 3 – airplay tracking-week begins
Sunday, January 7 – sales tracking-week ends
Tuesday, January 9 – airplay tracking-week ends
Thursday, January 11 – new chart released, with issue date of Saturday, January 20.
The first number one song of the Hot 100 was "Poor Little Fool" by Ricky Nelson on August 4, 1958. As of the issue for the week ending December 17, 2011, the Hot 100 has had 1,009 different number-one hits. Its current number-one is "We Found Love" by Rihanna featuring Calvin Harris.


Contents
1 History
2 Hot 100 policy changes
2.1 Double-sided singles
2.2 Album cuts
2.3 EPs
2.4 Paid digital downloads
2.5 Remixes
2.6 Recurrents
3 Year-end charts
4 Limitations
5 Use in media
6 Similar charts
7 See also
8 Sources


History

What has always been known as the Hot 100 had existed for nearly fifteen years as numerous charts, tracking and ranking the most popular singles of the day in several areas. During the 1940s and 1950s, popular singles were ranked in three significant charts:
Best Sellers In Stores—ranked the biggest selling singles in retail stores, as reported by merchants surveyed throughout the country (20 to 50 positions).
Most Played By Jockeys—ranked the most played songs on United States radio stations, as reported by radio disc jockeys and radio stations (20 to 25 positions).
Most Played In Jukeboxes—ranked the most played songs in jukeboxes across the United States (20 positions). This was one of the main outlets of measuring song popularity with the younger generation of music listeners, as many radio stations resisted adding rock 'n roll music to their playlists for many years.
Although officially all three charts had equal "weight" in terms of their importance, many chart historians refer to the Best Sellers In Stores chart when referencing a song’s performance prior to the creation of the Hot 100. Billboard eventually created a fourth singles popularity chart that combined all aspects of a single’s performance (sales, airplay and jukebox activity), based on a point system that typically gave sales (purchases) more weight than radio airplay. On the week ending November 12, 1955, Billboard published The Top 100 for the first time. The Best Sellers In Stores, Most Played By Jockeys and Most Played In Jukeboxes charts continued to be published concurrently with the new Top 100 chart.
On June 17, 1957, Billboard discontinued the Most Played In Jukeboxes chart, as the popularity of jukeboxes waned and radio stations incorporated more and more rock-oriented music into their playlists. The week ending July 28, 1958 was the final publication of the Most Played By Jockeys and Top 100 charts, both of which had Perez Prado's instrumental version of "Patricia" ascending to the top.
On August 4, 1958, Billboard premiered one main all-genre singles chart: the Hot 100. Although similar to the Top 100, the first Hot 100 chart reset all songs’ "weeks on chart" status to "1". The Hot 100 quickly became the industry standard and Billboard discontinued the Best Sellers In Stores chart on October 13, 1958.
The Billboard Hot 100 is still the standard by which a song’s popularity is measured in the United States. The Hot 100 is ranked by radio airplay audience impressions as measured by Nielsen BDS, sales data compiled by Nielsen Soundscan (both at retail and digitally) and streaming activity provided by online music sources.
There are several component charts that contribute to the overall calculation of the Hot 100. The most significant ones are shown below.
Hot 100 Airplay—(per Billboard) approximately 1,000 stations, "composed of adult contemporary, R&B, hip-hop, country, rock, gospel, Latin and Christian formats, digitally monitored twenty-four hours a day, seven days a week. Charts are ranked by number of gross audience impressions, computed by cross-referencing exact times of radio airplay with Arbitron listener data."
Hot 100 Singles Sales—(per Billboard) "the top selling singles compiled from a national sample of retail store, mass merchant and internet sales reports collected, compiled, and provided by Nielsen SoundScan."
Hot Digital Songs—Digital sales are tracked by Nielsen SoundScan and are included as part of a title's sales points.
Hot 100 policy changes


The methods and policies by which this data is obtained and compiled have changed many times throughout the chart’s history.
As the advent of a singles music chart spawned chart historians and chart-watchers and greatly affected pop culture and produced countless bits of trivia, the main purpose of the Hot 100 is to aid those within the music industry – to reflect the popularity of the "product" (the singles, the albums, etc.) and to track the trends of the buying public. Billboard has (many times) changed its methodology and policies to give the most precise and accurate reflection of what is popular. A very basic example of this would be the ratio given to sales and airplay. During the Hot 100’s early history, singles were the leading way by which people bought music. At times when singles sales were robust, more weight was given to a song’s retail points than to its radio airplay.
As the decades passed, the recording industry concentrated more on album sales than singles sales. Musicians eventually expressed their creative output in the form of full-length albums rather than singles, and by the 1990s many record companies stopped releasing singles altogether (see Album Cuts, below). Eventually a song’s airplay points were weighted more so than its sales. Billboard has adjusted the sales/airplay ratio many times to more accurately reflect the true popularity of songs.

Double-sided singles
Billboard has also changed its Hot 100 policy regarding “two-sided singles” several times. The pre-Hot 100 chart "Best Sellers in Stores" listed popular A- and-B-sides together, with the side that was played most often (based on its other charts) listed first. One of the most notable of these, but far from the only one, was Elvis Presley’s "Don’t Be Cruel" / "Hound Dog." During the Presley single’s chart run, top billing was switched back and forth between the two sides several times. But on the concurrent "Most Played in Juke Boxes," "Most Played by Jockeys" and the "Top 100," the two songs were listed separately, as was true of all songs. With the initiation of the Hot 100 in 1958, A- and-B-sides charted separately, as they had on the former Top 100.
Starting with the Hot 100 chart for the week ending November 29, 1969, this rule was altered; if both sides received significant airplay, they were listed together. This started to become a moot point by 1972, as most major record labels solidified a trend they had started in the 1960s by putting the same song on both sides of the singles it serviced to radio.
More complex issues began to arise as the typical A-and-B-side format of singles gave way to 12 inch singles and maxi-singles, many of which contained more than one B-side. Further problems arose when, in several cases, a B-side would eventually overtake the A-side in popularity, thus prompting record labels to release a new single, featuring the former B-side as the A-side, along with a "new" B-side.
The inclusion of album cuts on the Hot 100 put the double-sided hit issues to rest permanently.

Album cuts
As many Hot 100 chart policies have been modified over the years, one rule always remained constant: songs were not eligible to enter the Hot 100 unless they were available to purchase as a single. However, on December 5, 1998 the Hot 100 changed from being a "singles" chart to a "songs" chart. During the 1990s, a growing trend in the music industry was to promote songs to radio without ever releasing them as singles. It was claimed by major record labels that singles were cannibalizing album sales, so they were slowly phased out. During this period, accusations began to fly of chart manipulation as labels would hold off on releasing a single until airplay was at its absolute peak, thus prompting a top ten or, in some cases, a number one debut. In many cases, a label would delete a single from its catalog after only one week, thus allowing the song to enter the Hot 100, make a high debut and then slowly decline in position as the one-time production of the retail single sold out.
It was during this period that several popular mainstream hits never charted on the Hot 100, or charted well after their airplay had declined. During the period that they were not released as singles the songs were not eligible to chart. Many of these songs dominated the Hot 100 Airplay chart for extended periods of time:
1995 The Rembrandts – "I’ll Be There For You" (number one for eight weeks)
1996 No Doubt – "Don't Speak" (number one for 16 weeks)
1997 Sugar Ray featuring Super Cat – "Fly" (number one for six weeks)
1997 Will Smith – "Men in Black" (number one for four weeks)
1997 The Cardigans – "Lovefool" (number two for eight weeks)
1998 Natalie Imbruglia – "Torn" (number one for 11 weeks)
1998 Goo Goo Dolls – "Iris" (number one for 18 weeks)
As debate and conflicts occurred more and more often, Billboard finally answered the requests of music industry artists and insiders by including airplay-only singles (or "album cuts") in the Hot 100.

EPs
Extended play (EP) releases were listed by Billboard on the Hot 100 and in pre-Hot 100 charts (Top 100) until the mid-to-late 1960s. With the growing popularity of albums, it was decided to move EPs (which typically contain four to six tracks) from the Hot 100 to the Billboard 200, where they are included to this day.
Paid digital downloads
Since February 12, 2005, the Billboard Hot 100 tracks paid digital downloads from such internet services as iTunes, Napster, Musicmatch, and Rhapsody. With paid digital downloads added to the airplay/sales formula of the Hot 100, many songs benefited on the charts from the change. Billboard initially started tracking downloads in 2003 with the Hot Digital Tracks chart. However, these downloads did not count towards the Hot 100 and that chart (as opposed to Hot Digital Songs) counted each version of a song separately (the chart still exists today along with Hot Digital Songs). This is the first major overhaul of the Hot 100's chart formula since December 1998.
The change in formula has shaken up the chart considerably, with some songs debuting on the chart strictly with robust online sales and others making drastic leaps. In recent years, several songs have been able to achieve 80-to-90 position jumps in a single week as their digital components were made available at online music stores. Since 2006, the all-time record for the biggest single-week upward movement was broken nine times.
In the issue dated August 11, 2007, Billboard began incorporating weekly data from Streaming media and On-demand services into the Hot 100. The first two major companies to provide their statistics to Nielsen BDS on a weekly basis are AOL Music and Yahoo! Music, with more to follow in the future.

Remixes
Billboard has also answered the call of music industry insiders who raised an issue regarding song remixes. A growing trend in the early first decade of the 21st century was to issue a song as a "remix" that was so drastically different in structure and lyrical content from its original version that it was essentially a whole new song. Under normal circumstances, airplay points from a song’s album version, "radio" mix and/or dance music remix, etc. were all combined and factored into the song’s performance on the Hot 100, as the structure, lyrics and melody remained intact. Criticisms began when songs were being completely re-recorded to the point that they no longer resembled the original recording. The first such example of this scenario is Jennifer Lopez’ "I'm Real". Originally entering the Hot 100 in its album version, a "remix" was issued in the midst of its chart run that featured rapper Ja Rule. This new version proved to be far more popular than the album version and the track was propelled to number one.
To address this issue, Billboard now separates airplay points from a song’s original version and its remix, if the remix is determined to be a "new song". Since administering this new chart rule, several songs have charted twice, normally credited as "Part 1" and "Part 2". The remix rule is still in place.

Recurrents
Billboard, in an effort to allow the chart to remain as current as possible and to give proper representation to new and developing artists and tracks, has (since 1991) removed titles that have reached certain criteria regarding its current rank and number of weeks on the chart. Recurrent criteria have been modified several times and currently (as of 2010), a song is permanently moved to "recurrent status" if it has spent 20 weeks on the Hot 100 and fallen below position number 50. Exceptions are made to re-releases and sudden resurgence in popularity of tracks that have taken a very long time to gain mainstream success. These rare cases are handled on a case-by-case basis and ultimately determined by Billboard’s chart managers and staff.
The most notable exception to the recurrent entry policy applies to holiday-themed releases, which are commonly reissued year after year in anticipation of Christmas purchasing. After its initial chart run, a holiday entry cannot re-enter the Hot 100 in subsequent years.
Year-end charts

Billboard's "chart year" runs from the first week of December to the final week in November. This altered calendar allows for Billboard to calculate year-end charts and release them in time for its final print issue on the last week of December. Prior to Nielsen SoundScan, year-end singles charts were calculated by an inverse-point system based solely on a song’s performance on the Hot 100 (for example, a song would be given one point for a week spent at position 100, two points for a week spent at position ninety-nine and so forth, up to 100 points for each week spent at number one). Other factors including the total weeks a song spent on the chart and at its peak position were calculated into its year-end total.
After Billboard began obtaining sales and airplay information from Nielsen SoundScan, the year-end charts are now calculated by a very straightforward cumulative total of yearlong sales and airplay points. This gives a more accurate picture of any given year’s most popular tracks, as a song that hypothetically spent nine weeks at number one in March could possibly have earned fewer cumulative points than a song that spent six weeks at number three in January. Songs at the peak of their popularity at the time of the November/December chart-year cutoff many times end up ranked on the following year's chart as well, as their cumulative points are split between the two chart-years, but often are ranked lower than they would have been had the peak occurred in a single year.
Limitations

The limitations of the Hot 100 have become more pronounced over time. Since the Hot 100 was based on singles sales, as singles have themselves become a less common form of song release, the Hot 100's data represented a narrowing segment of sales until the December 1998 change in the ranking formula.
Few music historians believe that the Hot 100 has been a perfectly accurate gauge of the most popular songs for each week or year. For example, during the 1950s and 1960s, payola and other problems skewed the numbers in largely undetectable ways.
Further, the history of popular music shows nearly as many remarkable failures to chart as it does impressive charting histories. Certain artists (such as Pink Floyd and Led Zeppelin) had tremendous album sales while being oblivious to the weekly singles charts. Business changes in the industry also affect artists' statistical "records." Single releases were more frequent and steady, and were expected to have much shorter shelf lives in earlier decades, making direct historical comparisons somewhat specious. Of the sixteen singles to top the Billboard chart for more than ten weeks since 1955, just one was released before 1992. During the first forty years of the rock era, no song had ever debuted at number one; since a 1995 change in methodology, nineteen songs have.
Strategizing also plays a role. Numerous artists have taken deliberate steps to maximize their chart positions by such tactics as timing a single's debut to face the weakest possible competition, or massively discounting the price of singles to the point where each individual sale represented a financial loss. Meanwhile, other artists would deliberately withhold even their most marketable songs in order to boost album sales. Particularly in the 1990s, many of the most heavily played MTV and radio hits were unavailable for separate purchase. Because of such countervailing strategies, it cannot be said that a Hot 100 chart necessarily lists the country's 100 most popular or successful songs. Strategies like these were the main reason behind the December 1998 change in the charts.
Some critics have argued that an overemphasis on a limited number of singles has distorted record industry development efforts, and there are nearly as many critics of the Hot 100 as there are supporters. Certain of these criticisms, however, are becoming less and less germane as digital downloads have revitalized the concept of “singles sales.”
The Billboard charts have endured as the only widely-circulated published report on songs that have been popular across the United States over the last half-century. Competing publications such as Cash Box, Record World, Radio & Records and most recently Mediabase have offered alternate charts, which sometimes differed widely.
Use in media

The Hot 100 served for many years as the data source for the weekly radio countdown show American Top 40. This relationship ended on November 30, 1991, as American Top 40 started using the airplay-only side of the Hot 100 (then called Top 40 Radio Monitor). The ongoing splintering of Top 40 radio in the early 1990s led stations to lean into specific formats, meaning that practically no station would play the wide array of genres that typically composed each weekly Hot 100 chart.
Similar charts

A new chart, the Pop 100, was created by Billboard in February 2005 to answer criticism that the Hot 100 was biased in favor of rhythmic songs, as throughout most of its existence, the Hot 100 was seen predominantly as a pop chart. It was discontinued in June 2009 due to the charts becoming increasingly similar.
The Canadian Hot 100 was launched June 16, 2007. Like the Hot 100 chart, it uses sales and airplay tracking compiled by Nielsen SoundScan and BDS.
The Japan Hot 100 was launched in the issue dated May 31, 2008, using the same methodologies as the Hot 100 charts for the U.S. and Canada, utilizing sales and airplay data from SoundScan Japan and radio tracking service Plantech.
Further information: List of Billboard Hot 100 chart achievements and milestones

See also

List of number-one hits (United States)
List of artists who reached number one in the United States
List of number-one Hot 100 Airplay hits
Bestseller
Billboard charts
Chart-topper
Single Certifications
Billboard Music Awards
List of best-selling music artists
List of best-charting U.S. music artists
Billboard Hot 100 50th Anniversary Charts
List of Billboard Hot 100 chart achievements and milestones


Sources

Fred Bronson's Billboard Book of Number 1 Hits, 5th Edition (ISBN 0-8230-7677-6)
Christopher G. Feldman, The Billboard Book of No. 2 Singles (ISBN 0-8230-7695-4)
Joel Whitburn's Top Pop Singles 1955-2008, 12 Edition (ISBN 0-89820-180-2)
Joel Whitburn Presents the Billboard Pop Charts, 1955–1959 (ISBN 0-89820-092-X)
Joel Whitburn Presents the Billboard Hot 100 Charts: The Sixties (ISBN 0-89820-074-1)
Joel Whitburn Presents the Billboard Hot 100 Charts: The Seventies (ISBN 0-89820-076-8)
Joel Whitburn Presents the Billboard Hot 100 Charts: The Eighties (ISBN 0-89820-079-2)
Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties (ISBN 0-89820-137-3)
Additional information obtained can be verified within Billboard's online archive services and print editions of the magazine.
References

Trust, Gary (2011-12-07). "Jay-Z, Kanye West Reach Hot 100's Top 10 with 'Paris'; Rihanna Still No. 1" . Billboard (Nielsen Business Media, Inc). Retrieved 2011-12-07.
Mayfield, Geoff (2007-08-04). "Billboard Hot 100 To Include Digital Streams" . Billboard magazine. Retrieved 2007-07-30.
Richard Campbell et al, Media and Culture: An Introduction to Mass Communication, 2004.
"Billboard Launches Canadian Hot 100 Chart" . Billboard magazine. 2007-06-07. Retrieved 2010-06-04.
Trust, Gary (2008-05-21). "Billboard Japan Hot 100 Finds Global Audience" . Billboard magazine. Retrieved 2010-06-04.

Billboard Music Award

The Billboard Music Award is an honor given by Billboard magazine, the preeminent publication covering the music business. The Billboard Music Awards show had been held annually in December until it went dormant in 2007, but it returned in May 2011. Janet Jackson has won the most awards.
Contents
1 Award process
2 Awards
2.1 Categories
2.1.1 Current categories
2.1.2 Defunct categories (1990–2006)
2.2 Recipients
2.2.1 Artist of the Year awards
2.2.2 Billboard Century Awards
2.2.3 Icon Award
2.2.4 Billboard Millennium Award
2.2.5 Artist of the Decade
2.3 Award record-holders
2.3.1 Artists with the most total wins
2.3.2 Most awards in a single year
2.3.3 Most wins within a category
3 The awards show
3.1 Venues
3.2 Hosts
4 See also

Award process

Unlike other awards, such as the Grammy Award, which determine nominations as a result of the highest votes received, the Billboard Music Awards finalists are based on year-end chart performance according to Nielsen data for sales, downloads and airplay. Awards were given for the top album/artist/single in different genres. Since 1992, the awards also give out a Billboard Century Award—the magazine's highest honor for creative achievement and named for Billboard's centennial in 1994. The award was renamed the Icon Award in 2011.

Awards

Categories
From 1990–2006, the show had the same categories and category names every year. In 2011, for the first time, all of the awards were renamed to "Top Award Title". The "of the year" portion of each category title no longer exists, and many of the awards have been further renamed. Other awards, including both "crossover" awards (No. 1 Classical Crossover Artist and No. 1 Classical Crossover Album) were discontinued.

Current categories
Album of the Year
Artist of the Year
Breakout Artist (Since 2011)
Century Award (2011: renamed to Icon Award)
Christian Artist
Christian Song
Concert Venue Award
Country Album
Country Artist
Digital Track
Duo/Group of the Year
Female Artist of the Year
Hot 100 Airplay Single of The Year
Hot 100 Female Artist
Hot 100 Group
Hot 100 Male Artist
Hot 100 Producer
Hot 100 Single of the Year
Hot 100 Songwriter
Latin Album
Latin Artist
Latin Song
Mainstream Top 40 Track
Male Artist of the Year
Millennium Award (Since 2011)
New Male R&B Artist
New R&B Artist
R&B Artist
R&B Producer
R&B Songwriter
R&B/Hip-Hop Group
Rap Artist
Touring Venue Award

Defunct categories (1990–2006)
New Male Artist
New Female Artist
New Group of the Year
Modern Rock Artist
Modern Rock Track
No. 1 Classical Crossover Artist
No. 1 Classical Crossover Album
Independent Album Artists
Independent Album
Bestselling Single
No. 1 Rhythmic Top 40 Title
Soundtrack Single

Recipients

Artist of the Year awards
1990: M.C. Hammer
1991: Mariah Carey
1993: Garth Brooks
1994: Ace of Base
1995: TLC
1996: Alanis Morissette
1997: LeAnn Rimes
1998: Usher
1999: Backstreet Boys
2000: Destiny's Child
2001: Destiny's Child
2002: Nelly
2003: 50 Cent
2004: Usher
2005: 50 Cent
2006: Chris Brown
2007: Akon*
2008: Chris Brown*
2009: Taylor Swift*
2010: Lady Gaga*
2011: Eminem
* received from Billboard magazine at the end of the year (no award show)

Billboard Century Awards
1992: George Harrison
1993: Buddy Guy
1994: Billy Joel
1995: Joni Mitchell
1996: Carlos Santana
1997: Chet Atkins
1998: James Taylor
1999: Emmylou Harris
2000: Randy Newman
2001: John Mellencamp
2002: Annie Lennox
2003: Sting
2004: Stevie Wonder
2005: Tom Petty
2006: Tony Bennett
2007–2010: no award

Icon Award
2011: Neil Diamond

Billboard Millennium Award
2011: Beyoncé Knowles

Artist of the Decade
1999: Mariah Carey
2009: Eminem

Award record-holders

Artists with the most total wins
ArtistNumber
of awards
Janet Jackson33
Michael Jackson31
Whitney Houston30
Mariah Carey30
Garth Brooks25
Backstreet Boys24
Usher22
Mary J. Blige20
Destiny's Child19
Lady Gaga19
Rihanna18
Eminem17
Madonna16
Carrie Underwood16
Enrique Iglesias16
Taylor Swift14
LeAnn Rimes12
Adele11
Beyoncé Knowles11
Katy Perry10
Alicia Keys10
Britney Spears10

Most awards in a single year
ArtistNumber
of awardsYear
Usher142004
Michael Jackson131983
Whitney Houston111993
Kelly Clarkson112005
Janet Jackson101990
Destiny's Child92001
Mary J. Blige92006
Lady Gaga92009
Ke$ha82010
Ashanti82002
Alicia Keys82004

Most wins within a category
ArtistCategory
Michael JacksonMale artist
Backstreet BoysGroup
RihannaInternational artist
Garth BrooksCountry artist
EminemRap artist

The awards show

Since its inception (created by Rick Garson), the BMAs had been telecast on the Fox network; however due to contractual expirations and other unforeseen circumstances, the awards were canceled for 2007. Plans for a new version of the awards in 2008 (in association with AEG Live) fell through, and the BMAs were not held until 2011.
On February 17, 2011, Billboard announced that it would bring the BMAs back to television, moving from its original home on Fox to its new network, ABC, on May 22, 2011.

Venues
1990–1991: The first two years were shot at the Barker Hangar in Santa Monica, California, and aired later.
From 1992 onwards, the shows have been live:
1992–1994: The Universal Amphitheater in Los Angeles
1995: The (now demolished) Coliseum in New York City.
Then the BMAs became the first awards show to move to Las Vegas:
1996: Center for Performing Arts and the Hard Rock Hotel and Casino, Las Vegas
1997–2006: MGM Grand Garden Arena.
2007–2010: There was no venue for 2007 as that year's ceremony was canceled, and no awards were held until 2011.
2011: The awards show returned to the MGM Grand Garden Arena.

Hosts
1990: Paul Shaffer and Morris Day (with Jerome Benton)
1991: Paul Shaffer
1992: Phil Collins
1993: Phil Collins
1994: Dennis Miller & Heather Locklear
1995: Jon Stewart
1996: Chris Rock
1997: David Spade
1998: Kathy Griffin & Andy Dick
1999: Kathy Griffin & Adam Corolla
2000: Kathy Griffin & *NSYNC
2001: Bernie Mac
2002: Cedric the Entertainer
2003: Ryan Seacrest with Nick Lachey & Jessica Simpson
2004: Ryan Seacrest
2005: LL Cool J
2006: no host
2007–2010: no awards
2011: Ken Jeong

See also

Billboard Touring Awards
Billboard Latin Music Awards

Tags : Billboard top 100, billboard, 100 top billboard, top 100, billboard charts, charts, music billboard, billboard songs, top billboard songs, hot 100 billboard

Nelio Guerson and Carlos Guerson Google Music Coisa Linda

Nelio Guerson and Carlos Guerson Google Music Coisa Linda, a photo by Victoria´s Secret Show on Flickr.

Via Flickr:
COISA LINDA
( Music and Lyrics By Nelio Guerson & Carlos Guerson )
(P) 1993 All Rights Reserved SR 258450
FREE MUSIC MP3 DOWNLOAD - Direct From Artist
WEBSITE:
palcomp3.com/nelioguerson/mp3-coisa-linda/
SONG FILE :
almora.palco.fm/e/d/d/2/nelio-guerson-carlos-guerson_cois...



Coisa linda
Foi tao belo o momento
Voce brincava de bambole
Cabelo solto ao vento
Coisa linda
Nao sai do meu pensamento
Te levar pra bambolear
No meu apartamento

Pra relaxar ligo a TV
Esta passando um filme romantico
Voce me diz que nao precisa aprender
Que pode ensinar a brincar de amor


Free Music & Music Download

A music download is the transferral of a song from an Internet-facing computer or website to a user's local computer. This term encompasses both legal downloads and downloads of copyright material without permission or payment.
Popular examples of online music stores that sell digital singles and albums include the iTunes Store, Napster, Zune Marketplace, Amazon MP3, Nokia Music Store, TuneTribe, Kazaa and eMusic. Paid downloads are sometimes encoded with Digital Rights Management that restricts making extra copies of the music or playing purchased songs on certain digital audio players. They are almost always compressed using a lossy codec (usually MPEG-1 Layer 3 or Windows Media), reducing file size and therefore bandwidth requirements.
However, this may cause an apparent loss in quality to a listener when compared to a CD, and cause compatibility issues with certain software and devices. Uncompressed files and losslessly compressed files are available at some sites.
As of 2006, digital music sales are estimated to have reached a trade value of approximately US$2 billion, with tracks available through 500 online services located in 40 countries, representing around 10 percent of the total global music market. Around the world in 2006, an estimated five billion songs, equating to 38,000 years in music, were swapped on peer-to-peer websites, while 509 million were purchased online. As of January 2011, Apple's iTunes Store alone saw $1.1 billion of revenue in fiscal Q1.

Music downloads offered by artists
Some artists allow their songs to be downloaded ( FREE ) directly from their websites. This is the case. So do it for free.

Challenges to legal music downloads
Even legal music downloads have faced a number of challenges from artists, record labels and the Recording Industry Association of America. In July 2007, the Universal Music Group decided not to renew their long-term contracts with iTunes. This legal challenge was primarily based upon the issue of pricing of songs, as Universal wanted to be able to charge more or less depending on the artist, a shift away from iTunes' standard 99 cents per song pricing. Many industry leaders feel that this is only the first of many show-downs between Apple Inc. and the various record labels.

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