Compact Disc

150px
The readable surface of a Compact Disc includes a spiral track wound tightly enough to cause light to diffract into a full visible spectrum
Media type	Optical disc
Encoding	Various
Capacity	Typically up to 700 MB (up to 80 minutes audio)
Read mechanism	780 nm wavelength (infrared and red edge) semiconductor laser, 1200 Kb/s (1×)
Write mechanism	1200 Kb/s (1×)
Developed by	Philips, Sony
Usage	Audio and data storage

The Compact Disc (also known as a CD) is an optical disc used to store digital data. It was originally developed to store and play back sound recordings only, but the format was later adapted for storage of data (CD-ROM), write-once audio and data storage (CD-R), rewritable media (CD-RW), Video Compact Discs (VCD), Super Video Compact Discs (SVCD), PhotoCD, PictureCD, CD-i, and Enhanced CD. Audio CDs and audio CD players have been commercially available since October 1982.

Standard CDs have a diameter of 120 millimetres (4.7 in) and can hold up to 80 minutes of uncompressed audio or 700 MB (700 × 2²⁰ bytes) of data. The Mini CD has various diameters ranging from 60 to 80 millimetres (2.4 to 3.1 in); they are sometimes used for CD singles, storing up to 24 minutes of audio or delivering device drivers.

CD-ROMs and CD-Rs remain widely used technologies in the computer industry. The CD and its extensions are successful: in 2004, worldwide sales of CD audio, CD-ROM, and CD-R reached about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.^[1] Compact Discs are increasingly being replaced or supplemented by other forms of digital distribution and storage, such as downloading and flash drives, with audio CD sales dropping nearly 50% from their peak in 2000.^[2]

History[link]

This section may be confusing or unclear to readers. Please help clarify the section; suggestions may be found on the talk page. (January 2010)

The Compact Disc is an evolution of LaserDisc technology. Sony first publicly demonstrated an optical digital audio disc in September 1976. In September 1978 they demonstrated an optical digital audio disc with a 150 minute playing time, and with specifications of 44,056 Hz sampling rate, 16-bit linear resolution, cross-interleaved error correction code, that were similar to those of the Compact Disc introduced in 1982. Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on March 13–16, 1979, in Brussels.^[3] On March 8, 1979 Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc"^[4] in Eindhoven, Netherlands.^[5] On March 6, 2009, Philips received an IEEE Milestone with the following citation: "On 8 March 1979, N.V. Philips' Gloeilampenfabrieken demonstrated for the international press a Compact Disc Audio Player. The demonstration showed that it is possible by using digital optical recording and playback to reproduce audio signals with superb stereo quality. This research at Philips established the technical standard for digital optical recording systems."^[6]

Sony executive Norio Ohga, who later became the CEO and chairman of Sony, was convinced of the format's commercial potential, and pushed further development despite widespread skepticism.^[7] Later in 1979, Sony and Philips Consumer Electronics (Philips) set up a joint task force of engineers to design a new digital audio disc. Led by Kees Schouhamer Immink and Toshitada Doi, the research pushed forward laser and optical disc technology that began independently by Philips and Sony in 1977 and 1975, respectively.^[4] After a year of experimentation and discussion, the task force produced the Red Book, the Compact Disc standard. Philips contributed the general manufacturing process, based on video LaserDisc technology. Philips also contributed eight-to-fourteen modulation (EFM), which offers both a long playing time and a certain resilience to defects such as scratches and fingerprints, while Sony contributed the error-correction method, CIRC. The Compact Disc Story,^[8] told by a former member of the taskforce, gives background information on the many technical decisions made, including the choice of the sampling frequency, playing time, and disc diameter. The task force consisted of around four to eight persons,^[9][10] though according to Philips, the Compact Disc was thus "invented collectively by a large group of people working as a team."^[11]

The first test CD was pressed in Langenhagen near Hannover, Germany, by the Polydor Pressing Operations plant. The disc contained a recording of Richard Strauss's Eine Alpensinfonie (in English, An Alpine Symphony), played by the Berlin Philharmonic and conducted by Herbert von Karajan.^[12] The first public demonstration was on the BBC television program Tomorrow's World when The Bee Gees' album Living Eyes (1981) was played.^[13] In August 1982 the real pressing was ready to begin in the new factory, not far from the place where Emile Berliner had produced his first gramophone record 93 years earlier. By now, Deutsche Grammophon, Berliner's company and the publisher of the Strauss recording, had become a part of PolyGram. The first CD to be manufactured at the new factory was The Visitors (1981) by ABBA.^[14] The first album to be released on CD was Billy Joel's 52nd Street, that reached the market alongside Sony's CD player CDP-101 on October 1, 1982 in Japan.^[15] Early the following year on March 2, 1983 CD players and discs (16 titles from CBS Records) were released in the United States and other markets. This event is often seen as the "Big Bang" of the digital audio revolution. The new audio disc was enthusiastically received, especially in the early-adopting classical music and audiophile communities and its handling quality received particular praise. As the price of players gradually came down, the CD began to gain popularity in the larger popular and rock music markets. The first artist to sell a million copies on CD was Dire Straits, with its 1985 album Brothers in Arms.^[16] The first major artist to have his entire catalogue converted to CD was David Bowie, whose 15 studio albums were made available by RCA Records in February 1985, along with four Greatest Hits albums.^[17] In 1988, 400 million CDs were manufactured by 50 pressing plants around the world.^[18]

The CD was planned to be the successor of the gramophone record for playing music, rather than primarily as a data storage medium. From its origins as a musical format, CDs have grown to encompass other applications. In June 1985, the computer readable CD-ROM (read-only memory) and, in 1990, CD-Recordable were introduced, also developed by both Sony and Philips.^[19] The CD's compact format has largely replaced the audio cassette player in new automobile applications, and recordable CDs are an alternative to tape for recording music and copying music albums without defects introduced in compression used in other digital recording methods. Other newer video formats such as DVD and Blu-ray have used the same form factor as CDs, and video players can usually play audio CDs as well. With the advent of the MP3 in the 2000s, the sales of CDs has dropped in seven out of the last eight years. In 2008, large label CD sales dropped 20%,^[20] although independent and DIY music sales may be tracking better according to figures released March 30, 2009.^[21]

Physical details[link]

It has been suggested that Blu-spec CD be merged into this article or section. (Discuss) Proposed since May 2011.

Diagram of CD layers.
A. A polycarbonate disc layer has the data encoded by using bumps.
B. A shiny layer reflects the laser.
C. A layer of lacquer protects the shiny layer.
D. Artwork is screen printed on the top of the disc.
E. A laser beam reads the CD and is reflected back to a sensor, which converts it into electronic data

A CD is made from 1.2 millimetres (0.047 in) thick, polycarbonate plastic and weighs 15–20 grams.^[22] From the center outward, components are: the center spindle hole (15 mm), the first-transition area (clamping ring), the clamping area (stacking ring), the second-transition area (mirror band), the program (data) area, and the rim. The inner program area occupies a radius from 25 to 58 mm.

A thin layer of aluminium or, more rarely, gold is applied to the surface making it reflective. The metal is protected by a film of lacquer normally spin coated directly on the reflective layer. The label is printed on the lacquer layer, usually by screen printing or offset printing.

CD data is stored as a series of tiny indentations known as "pits", encoded in a spiral track moulded into the top of the polycarbonate layer. The areas between pits are known as "lands". Each pit is approximately 100 nm deep by 500 nm wide, and varies from 850 nm to 3.5 µm in length. The distance between the tracks, the pitch, is 1.6 µm.

Scanning velocity is 1.2–1.4 m/s (constant linear velocity) – equivalent to approximately 500 rpm at the inside of the disc, and approximately 200 rpm at the outside edge. (A disc played from beginning to end slows down during playback.)

The program area is 86.05 cm² and the length of the recordable spiral is (86.05 cm² / 1.6 µm) = 5.38 km. With a scanning speed of 1.2 m/s, the playing time is 74 minutes, or 650 MB of data on a CD-ROM. A disc with data packed slightly more densely is tolerated by most players (though some old ones fail). Using a linear velocity of 1.2 m/s and a track pitch of 1.5 µm yields a playing time of 80 minutes, or a data capacity of 700 MB. Even higher capacities on non-standard discs (up to 99 minutes) are available at least as recordables, but generally the tighter the tracks are squeezed, the worse the compatibility.^{[citation needed]}

A CD is read by focusing a 780 nm wavelength (near infrared) semiconductor laser through the bottom of the polycarbonate layer. The change in height between pits and lands results in a difference in the way the light is reflected. By measuring the intensity change with a photodiode, the data can be read from the disc.

The pits and lands themselves do not directly represent the zeros and ones of binary data. Instead, non-return-to-zero, inverted encoding is used: a change from pit to land or land to pit indicates a one, while no change indicates a series of zeros. There must be at least two and no more than ten zeros between each one, which is defined by the length of the pit. This in turn is decoded by reversing the eight-to-fourteen modulation used in mastering the disc, and then reversing the Cross-Interleaved Reed-Solomon Coding, finally revealing the raw data stored on the disc.

CDs are susceptible to damage from both normal use and environmental exposure. Pits are much closer to the label side of a disc, enabling defects and contaminants on the clear side to be out of focus during playback. Consequently, CDs are more likely to suffer damage on the label side of the disk. Scratches on the clear side can be repaired by refilling them with similar refractive plastic, or by careful polishing.

Disc shapes and diameters[link]

Comparison of several forms of disk storage showing tracks (not-to-scale); green denotes start and red denotes end.
* Some CD-R(W) and DVD-R(W)/DVD+R(W) recorders operate in ZCLV, CAA or CAV modes.

The digital data on a CD begins at the center of the disc and proceeds toward the edge, which allows adaptation to the different size formats available. Standard CDs are available in two sizes. By far, the most common is 120 millimetres (4.7 in) in diameter, with a 74- or 80-minute audio capacity and a 650 or 700 MB data capacity. This capacity was reportedly specified by Sony executive Norio Ohga so as to be able to contain the entirety of Beethoven's Ninth Symphony on one disc.^[7] This diameter has been adopted by subsequent formats, including Super Audio CD, DVD, HD DVD, and Blu-ray Disc. 80 mm discs ("Mini CDs") were originally designed for CD singles and can hold up to 24 minutes of music or 210 MB of data but never became popular.^{[citation needed]} Today, nearly every single is released on a 120 mm CD, called a Maxi single.^{[citation needed]}

Novelty CDs are also available in numerous shapes and sizes, and are used chiefly for marketing. A common variant is the "business card" CD, a single with portions removed at the top and bottom making the disk resemble a business card.

Logical formats[link]

Audio CD[link]

The logical format of an audio CD (officially Compact Disc Digital Audio or CD-DA) is described in a document produced by the format's joint creators, Sony and Philips in 1980. The document is known colloquially as the "Red Book" after the color of its cover. The format is a two-channel 16-bit PCM encoding at a 44.1 kHz sampling rate per channel. Four-channel sound was to be an allowable option within the Red Book format, but has never been implemented. Monaural audio has no existing standard on a Red Book CD; mono-source material thus is usually presented as two identical channels in a standard Red Book stereo track.

44.1 kHz sample rate[link]

The selection of the sample rate was based primarily on the need to reproduce the audible frequency range of 20 Hz – 20 kHz. The Nyquist–Shannon sampling theorem states that a sampling rate of more than twice the maximum frequency of the signal to be recorded is needed, resulting in a required rate of at least 40 kHz. The exact sampling rate of 44.1 kHz was inherited from a method of converting digital audio into an analog video signal for storage on U-matic video tape, which was the most affordable way to transfer data from the recording studio to the CD manufacturer at the time the CD specification was being developed. The device that converts an analog audio signal into PCM audio, which in turn is changed into an analog video signal is called a PCM adaptor. This technology could store six samples (three samples per stereo channel) in a single horizontal line. A standard NTSC video signal has 245 usable lines per field, and 59.94 fields/s, which works out to be 44,056 samples/s/stereo channel. Similarly, PAL has 294 lines and 50 fields, which gives 44,100 samples/s/stereo channel. This system could store 14-bit samples with some error correction, or 16-bit samples with almost no error correction.

There was a long debate over the use of 14-bit (Philips) or 16-bit (Sony) quantization, and 44,056 or 44,100 samples/s (Sony) or approximately 44,000 samples/s (Philips). When the Sony/Philips task force designed the Compact Disc, Philips had already developed a 14-bit D/A converter, but Sony insisted on 16-bit. In the end, 16 bits and 44.1 kilosamples per second prevailed. Philips found a way to produce 16-bit quality using its 14-bit DAC by using four times oversampling.

Storage capacity and playing time[link]

The partners aimed at a playing time of 60 minutes with a disc diameter of 100 mm (Sony) or 115 mm (Philips).^[9] Sony vice-president Norio Ohga suggested extending the capacity to 74 minutes to accommodate Wilhelm Furtwängler's recording of Ludwig van Beethoven's Symphony No. 9 from the 1951 Bayreuth Festival.^[23][24]

The additional 14-minute playing time subsequently required changing to a 120 mm disc. Kees Immink, Philips' chief engineer, however, denies this, claiming that the increase was motivated by technical considerations, and that even after the increase in size, the Furtwängler recording would not have fit on one of the earliest CDs.^[8][9] According to a Sunday Tribune interview,^[25] the story is slightly more involved. In 1979, Philips owned PolyGram, one of the world's largest distributors of music. PolyGram had set up a large experimental CD plant in Hannover, Germany, which could produce huge numbers of CDs having, of course, a diameter of 115 mm. Sony did not yet have such a facility. If Sony had agreed on the 115-mm disc, Philips would have had a significant competitive edge in the market. Sony decided that something had to be done. The long playing time of Beethoven's Ninth Symphony imposed by Ohga was used to push Philips to accept 120 mm, so that Philips' PolyGram lost its edge on disc fabrication.^[25]

The 74-minute playing time of a CD, which was longer than the 20 minutes per side^[26][27] typical of long-playing (LP) vinyl albums, was often used to the CD's advantage during the early years when CDs and LPs vied for commercial sales. CDs would often be released with one or more bonus tracks, enticing consumers to buy the CD for the extra material. However, attempts to combine double LPs onto one CD occasionally resulted in the opposite situation in which the CD would actually offer fewer tracks than the equivalent LP.

Playing times beyond 74 minutes are achieved by decreasing track pitch beyond the original red book standard. Most players can accommodate the more closely spaced data.^[28] Christian Thielemann's live Deutsche Grammophon recording of Bruckner's Fifth with the Munich Philharmonic in 2004 clocks at 82:34.^[29] The Kirov Orchestra recording of Pyotr Ilyich Tchaikovsky's The Nutcracker conducted by Valery Gergiev and released by Philips/PolyGram Records (catalogue number 462 114) on October 20, 1998, clocks at 81:14.^{[citation needed]} Disc two of Gold (Deutsche Grammophon/Universal Classics 477 743) by Herbert von Karajan clocks in at 81:21.^{[citation needed]} Zubin Mehta's 1975 recording of Gustav Mahler's Symphony No. 2 with the Vienna Philharmonic released on Decca Legends clocks at 81:11.^{[citation needed]} The Mission of Burma compilation album Mission of Burma, released in 1988 by Rykodisc, previously held the record at 80:08.^[30]

Data structure[link]

The smallest entity in a CD is called a frame, which consists of 33 bytes and contains six complete 16-bit stereo samples (two bytes × two channels × six samples = 24 bytes). The other nine bytes consist of eight CIRC error-correction bytes and one subcode byte, used for control and display. Each byte is translated into a 14-bit word using eight-to-fourteen modulation, which alternates with three-bit merging words. In total there are 33 × (14 + 3) = 561 bits. A 27-bit unique synchronization word is added, so that the number of bits in a frame totals 588 (which are decoded to only 192 bits music).

These 588-bit frames are in turn grouped into sectors. Each sector contains 98 frames, totaling 98 × 24 = 2352 bytes of music. The CD is played at a speed of 75 sectors per second, which results in 176,400 bytes per second. Divided by two channels and two bytes per sample, this results in a sample rate of 44,100 samples per second.

For CD-ROM data discs, the physical frame and sector sizes are the same. Since error concealment cannot be applied to non-audio data in case the CIRC error correction fails to recover the user data, a third layer of error correction is defined, reducing the payload to 2048 bytes per sector for the Mode-1 CD-ROM format. To increase the data-rate for Video CD, Mode-2 CD-ROM, the third layer has been omitted, increasing the payload to 2336 user-available bytes per sector, only 16 bytes (for synchronization and header data) less than available in Red-Book audio.

"Frame"[link]

For the Red Book stereo audio CD, the time format is commonly measured in minutes, seconds and frames (mm:ss:ff), where one frame corresponds to one sector, or 1/75th of a second of stereo sound. In this context, the term frame is erroneously applied in editing applications and does not denote the physical frame described above. In editing and extracting, the frame is the smallest addressable time interval for an audio CD, meaning that track start and end positions can only be defined in 1/75 second steps.

Logical structure[link]

The largest entity on a CD is called a track. A CD can contain up to 99 tracks (including a data track for mixed mode discs). Each track can in turn have up to 100 indexes, though players which handle this feature are rarely found outside of pro audio, particularly radio broadcasting. The vast majority of songs are recorded under index 1, with the pre-gap being index 0. Sometimes hidden tracks are placed at the end of the last track of the disc, often using index 2 or 3. This is also the case with some discs offering "101 sound effects", with 100 and 101 being indexed as two and three on track 99. The index, if used, is occasionally put on the track listing as a decimal part of the track number, such as 99.2 or 99.3. (Information Society's Hack was one of very few CD releases to do this, following a release with an equally obscure CD+G feature.) The track and index structure of the CD carried forward to the DVD as title and chapter, respectively.

Manufacturing tolerances[link]

Current manufacturing processes allow an audio CD to contain up to 80 minutes (variable from one replication plant to another) without requiring the content creator to sign a waiver releasing the plant owner from responsibility if the CD produced is marginally or entirely unreadable by some playback equipment. Thus, in current practice, maximum CD playing time has crept higher by reducing minimum engineering tolerances; by and large, this has not unacceptably reduced reliability.

CD-Text[link]

CD-Text is an extension of the Red Book specification for audio CD that allows for storage of additional text information (e.g., album name, song name, artist) on a standards-compliant audio CD. The information is stored either in the lead-in area of the CD, where there is roughly five kilobytes of space available, or in the subcode channels R to W on the disc, which can store about 31 megabytes.

CD + Graphics[link]

Compact Disc + Graphics (CD+G) is a special audio Compact Disc that contains graphics data in addition to the audio data on the disc. The disc can be played on a regular audio CD player, but when played on a special CD+G player, can output a graphics signal (typically, the CD+G player is hooked up to a television set or a computer monitor); these graphics are almost exclusively used to display lyrics on a television set for karaoke performers to sing along with. The CD+G format takes advantage of the channels R through W. These six bits store the graphics information.

CD + Extended Graphics[link]

Compact Disc + Extended Graphics (CD+EG, also known as CD+XG) is an improved variant of the Compact Disc + Graphics (CD+G) format. Like CD+G, CD+EG utilizes basic CD-ROM features to display text and video information in addition to the music being played. This extra data is stored in subcode channels R-W. Very few, if any, CD+EG discs have been published.

Super Audio CD[link]

Super Audio CD (SACD) is a high-resolution read-only optical audio disc format that was designed to provide higher fidelity digital audio reproduction than the Red Book. Introduced in 1999, it was developed by Sony and Philips, the same companies that created the Red Book. SACD was in a format war with DVD-Audio, but neither has replaced audio CDs.

Titles in the SACD format can be issued as hybrid discs; these discs contain the SACD audio stream as well as a standard audio CD layer which is playable in standard CD players, thus making them backward compatible.

CD-MIDI[link]

CD-MIDI is a format used to store music-performance data which upon playback is performed by electronic instruments that synthesize the audio. Hence, unlike Red Book, these recordings are not audio.

CD-ROM[link]

For the first few years of its existence, the CD was a medium used purely for audio. However, in 1985 the Yellow Book CD-ROM standard was established by Sony and Philips, which defined a non-volatile optical data computer data storage medium using the same physical format as audio Compact Discs, readable by a computer with a CD-ROM drive.

Video CD (VCD)[link]

Video CD (VCD, View CD, and Compact Disc digital video) is a standard digital format for storing video media on a CD. VCDs are playable in dedicated VCD players, most modern DVD-Video players, personal computers, and some video game consoles.

The VCD standard was created in 1993 by Sony, Philips, Matsushita, and JVC and is referred to as the White Book standard.

Overall picture quality is intended to be comparable to VHS video. Poorly compressed VCD video can sometimes be lower quality than VHS video, but VCD exhibits block artifacts rather than analog noise, and does not deteriorate further with each use, which may be preferable.

352x240 (or SIF) resolution was chosen because it is half the vertical, and half the horizontal resolution of NTSC video. 352x288 is similarly one quarter PAL/SECAM resolution. This approximates the (overall) resolution of an analog VHS tape, which, although it has double the number of (vertical) scan lines, has a much lower horizontal resolution.

Super Video CD[link]

Super Video CD (Super Video Compact Disc or SVCD) is a format used for storing video media on standard Compact Discs. SVCD was intended as a successor to VCD and an alternative to DVD-Video, and falls somewhere between both in terms of technical capability and picture quality.

SVCD has two-thirds the resolution of DVD, and over 2.7 times the resolution of VCD. One CD-R disc can hold up to 60 minutes of standard quality SVCD-format video. While no specific limit on SVCD video length is mandated by the specification, one must lower the video bit rate, and therefore quality, to accommodate very long videos. It is usually difficult to fit much more than 100 minutes of video onto one SVCD without incurring significant quality loss, and many hardware players are unable to play video with an instantaneous bit rate lower than 300 to 600 kilobits per second.

Photo CD[link]

Photo CD is a system designed by Kodak for digitizing and storing photos on a CD. Launched in 1992, the discs were designed to hold nearly 100 high quality images, scanned prints and slides using special proprietary encoding. Photo CDs are defined in the Beige Book and conform to the CD-ROM XA and CD-i Bridge specifications as well. They are intended to play on CD-i players, Photo CD players and any computer with the suitable software irrespective of the operating system. The images can also be printed out on photographic paper with a special Kodak machine. This format is not to be confused with Kodak Picture CD, which is a consumer product in CD-ROM format.

CD-i[link]

The Philips "Green Book" specifies the standard for interactive multimedia Compact Discs designed for CD-i players (1993). This format is unusual because it hides the initial tracks which contains the software and data files used by CD-i players by omitting the tracks from the disc's TOC (table of contents). This causes audio CD players to skip the CD-i data tracks. This is different from the CD-i Ready format, which puts CD-i software and data into the pregap of track 1. CD-i was the leading format of its time but was supplanted by the politics of competition. Philips Interactive Media lead the way in producing breakthrough titles, including the first interactive coloring book, Sesame Street Disc and children's programs, Groliers and Comptoms encyclopedias and many more pathbreaking programs.

Enhanced CD[link]

Enhanced CD, also known as CD Extra and CD Plus, is a certification mark of the Recording Industry Association of America for various technologies that combine audio and computer data for use in both Compact Disc and CD-ROM players.

The primary data formats for Enhanced Compact Disc's are mixed mode (Yellow Book/Red Book), CD-i, hidden track, and multisession (Blue Book).

VinylDisc[link]

VinylDisc is the hybrid of a standard Audio CD and the vinyl record. The vinyl layer on the disc's label side can hold approximately three minutes of music.

Bootable CD[link]

A bootable CD, or Live CD, is a CD that can be used to boot a computer system. The CD can contain an operating system installer (e.g. Windows 2000, Windows XP), or even a full usable operating system, very common in the Linux world, with most distributions, like Ubuntu or Fedora offering fully usable Live CDs.

Manufacture[link]

Replicated CDs are mass-produced initially using a hydraulic press. Small granules of heated raw polycarbonate plastic are fed into the press. A screw forces the liquefied plastic into the mold cavity. The mold closes with a metal stamper in contact with the disc surface. The plastic is allowed to cool and harden. Once opened, the disc substrate is removed from the mold by a robotic arm, and a 15 mm diameter center hole (called a stacking ring) is created. The time it takes to "stamp" one CD, is usually 2 to 3 seconds.

This method produces the clear plastic blank part of the disc. After a metallic reflecting layer (usually aluminum, but sometimes gold or other metal) is applied to the clear blank substrate, the disc goes under a UV light for curing and it is ready to go to press. To prepare to press a CD, a glass master is made, using a high-powered laser on a device similar to a CD writer. The glass master is a positive image of the desired CD surface (with the desired microscopic pits and lands). After testing, it is used to make a die by pressing it against a metal disc.

The die is a negative image of the glass master: typically, several are made, depending on the number of pressing mills that are to make the CD. The die then goes into a press and the physical image is transferred to the blank CD, leaving a final positive image on the disc. A small amount of lacquer is applied as a ring around the center of the disc, and rapid spinning spreads it evenly over the surface. Edge protection lacquer is applied before the disc is finished. The disc can then be printed and packed.

Manufactured CDs that are sold in stores are sealed via a process called "polywrapping" or shrink wrapping.

Recordable CD[link]

700 MB CD-R next to a mechanical pencil

Recordable Compact Discs, CD-Rs, are injection molded with a "blank" data spiral. A photosensitive dye is then applied, after which the discs are metalized and lacquer-coated. The write laser of the CD recorder changes the color of the dye to allow the read laser of a standard CD player to see the data, just as it would with a standard stamped disc. The resulting discs can be read by most CD-ROM drives and played in most audio CD players.

CD-R recordings are designed to be permanent. Over time the dye's physical characteristics may change, however, causing read errors and data loss until the reading device cannot recover with error correction methods. The design life is from 20 to 100 years, depending on the quality of the discs, the quality of the writing drive, and storage conditions. However, testing has demonstrated such degradation of some discs in as little as 18 months under normal storage conditions.^[31][32] This failure is known as CD rot. CD-Rs follow the Orange Book standard.

Recordable audio CD[link]

The recordable audio CD is designed to be used in a consumer audio CD recorder. These consumer audio CD recorders use SCMS (Serial Copy Management System), an early form of digital rights management (DRM), to conform to the AHRA (Audio Home Recording Act). The Recordable Audio CD is typically somewhat more expensive than CD-R due to (a) lower volume and (b) a 3% AHRA royalty used to compensate the music industry for the making of a copy.^[33]

High-capacity recordable CD[link]

A higher density recording format that can hold:

• 98.5 minutes of audio on a 12 cm (5 in) disc (compared to about 80 minutes for Red Book audio).
• 30 minutes of audio on an 8 cm (3 in) disc (compared to about 24 minutes for Red Book audio).

ReWritable CD[link]

CD-RW is a re-recordable medium that uses a metallic alloy instead of a dye. The write laser in this case is used to heat and alter the properties (amorphous vs. crystalline) of the alloy, and hence change its reflectivity. A CD-RW does not have as great a difference in reflectivity as a pressed CD or a CD-R, and so many earlier CD audio players cannot read CD-RW discs, although most later CD audio players and stand-alone DVD players can. CD-RWs follow the Orange Book standard.

High-speed ReWritable CD[link]

Due to technical limitations, the original ReWritable CD could be written no faster than 4x speed. High Speed ReWritable CD has a different design that permits writing at speeds ranging from 4x to 12x.

Original CD-RW drives can only write to original ReWritable CDs. High Speed CD-RW drives can typically write to both original ReWritable CDs and High Speed ReWritable CDs. Both types of CD-RW discs can be read in most CD drives.

Higher speed CD-RW discs, Ultra Speed (16x to 24x write speed) and Ultra Speed+ (32x write speed), are now available.

ReWritable Audio CD[link]

The ReWritable Audio CD is designed to be used in a consumer audio CD recorder, which won't (without modification) accept standard CD-RW discs. These consumer audio CD recorders use the Serial Copy Management System (SCMS), an early form of digital rights management (DRM), to conform to the United States' Audio Home Recording Act (AHRA). The ReWritable Audio CD is typically somewhat more expensive than CD-RW due to (a) lower volume and (b) a 3% AHRA royalty used to compensate the music industry for the making of a copy.^[33]

Copy protection[link]

The Red Book audio specification, except for a simple 'anti-copy' bit in the subcode, does not include any copy protection mechanism. Starting in early 2002, attempts were made by record companies to market "copy-protected" non-standard Compact Discs, which cannot be ripped, or copied, to hard drives or easily converted to MP3s. One major drawback to these copy-protected discs is that most will not play on either computer CD-ROM drives, or some standalone CD players that use CD-ROM mechanisms. Philips has stated that such discs are not permitted to bear the trademarked Compact Disc Digital Audio logo because they violate the Red Book specifications. Numerous copy-protection systems have been countered by readily available, often free, software.

See also[link]

References[link]

Further reading[link]

• Ecma International. Standard ECMA-130: Data Interchange on Read-only 120 mm Optical Data Disks (CD-ROM), 2nd edition (June 1996).
• Pohlmann, Kenneth C. (1992). The Compact Disc Handbook. Middleton, Wisconsin: A-R Editions. ISBN 0-89579-300-8.
• Peek, Hans et al. (2009) Origins and Successors of the Compact Disc. Springer Science+Business Media B.V. ISBN 978-1-4020-9552-8.
• Hans B. Peek, "The emergence of the compact disc", IEEE Communications Magazine, Jan. 2010, pp. 10–17.

External links[link]

Wikimedia Commons has media related to: Compact Disc

• Video How Compact Discs are Manufactured
• CD-Recordable FAQ Exhaustive basics on CDs
• Philips history of the CD (cache)
• Patent History (CD Player) - published by Philips 2005
• Patent History CD Disc - published by Philips 2003
• Sony History, Chapter 8, This is the replacement of Gramophone record ! (第8章 レコードに代わるものはこれだ) - Sony website in Japanese

Britney Spears
Spears performing at her Femme Fatale Tour in Europe, 2011
Background information
Birth name	Britney Jean Spears
Born	(1981-12-02) December 2, 1981 (age 30) McComb, Mississippi, U.S.
Genres	Pop, dance
Occupations	Singer, songwriter, dancer, actress, record producer, author, fashion designer, video director
Instruments	Vocals, piano
Years active	1992–present
Labels	Jive, RCA[1]
Associated acts	The New Mickey Mouse Club
Website	britneyspears.com britney.com

Britney Jean Spears (born December 2, 1981) is an American recording artist and entertainer. Born in McComb, Mississippi, and raised in Kentwood, Louisiana, Spears began performing as a child, landing acting roles in stage productions and television shows. She signed with Jive Records in 1997 and released her debut album ...Baby One More Time in 1999, which became the best-selling album by a teenage solo artist.^[2] During her first decade in the music industry, she became a prominent figure in mainstream popular music and popular culture, followed by a much-publicized personal life. Her first two albums established her as a pop icon and broke sales records, while title tracks "...Baby One More Time" and "Oops!... I Did It Again" became international number-one hits. Spears was credited with influencing the revival of teen pop during the late 1990s, and became the 'best-selling teen aged artist of all time' before she turned 20,^[3] garnering her the honorific title of "Princess of Pop".^[4]

In 2001, she released her third studio album Britney and expanded her brand, playing the starring role in the film Crossroads. She assumed creative control of her fourth studio album, In the Zone (2003), which yielded chart-topping singles "Me Against the Music", "Toxic" and "Everytime". After the release of two compilation albums, Spears experienced personal struggles and her career went into hiatus. Her fifth studio album, Blackout, was released in 2007 and despite receiving little promotion, it spawned hits "Gimme More" and "Piece of Me". In 2008, her erratic behavior and hospitalizations caused her to be placed in a conservatorship. The same year, her sixth studio album Circus was released, with the global chart-topping lead single "Womanizer", and hits such as "Circus" and "If U Seek Amy". She embarked on her highest-grossing global concert tour,^[5] The Circus Starring Britney Spears, in 2009. In October of the same year, she released a chart-topping single, "3", which became her third single to reach number one on the Billboard Hot 100. Her seventh studio album Femme Fatale, released in 2011, has become the first of her albums to yield three top ten singles in the United States, "Hold It Against Me", "Till the World Ends" and "I Wanna Go". The same year, she also gained her fifth number one single when she featured on the remix of "S&M" alongside Rihanna.

Spears work has earned her numerous awards and accolades, including a Grammy Award, 6 MTV Video Music Awards including the Lifetime Achievement Award, 9 Billboard Music Awards, and a star on the Hollywood Walk of Fame. In 2009, Billboard ranked her as the 8th overall Artist of the Decade,^[6] and also recognized her as the best-selling female artist of the first decade of the 21st century, as well as the fifth overall.^[7] The Recording Industry Association of America (RIAA) also recognized Spears as the eighth top-selling female artist in the United States, with 33 million certified albums.^[8] Nielsen SoundScan ranked Spears the tenth best-selling digital artist of the country, with more than 28.6 million digital singles as of January 2012.^[9] She has sold over 100 million albums worldwide, making her one of the best-selling music artists of all time.^[10] Rolling Stone recognized her instant success as one of the Top 25 Teen Idol Breakout Moments of all time,^[11] while VH1 ranked her eleventh on their "100 Greatest Women in Music" list in 2012.^[12] Forbes also revealed that Spears was the sixth most powerful celebrity, and the third best paid musician of 2011-12, having topped the list back in 2002.^[13] In Fall 2012, Spears will serve as a judge in the second season of the American version of The X Factor.^[14]

Biography[link]

1981–97: Early life, and career beginnings[link]

Britney Jean Spears was born on December 2, 1981, the second child of Lynne Irene (née Bridges) and James Parnell Spears. She is of English heritage through her maternal grandmother, Lillian Portelli who was born in London, and of distant Maltese and Sicilian (Sicani) descent.^[15][16][17] Her siblings are Bryan James and Jamie Lynn.^[18] At age three, she started to attend dance lessons in her hometown of Kentwood, Louisiana, and was selected to perform as a solo artist at the annual recital. During her childhood, she also attended gymnastics and voice lessons, and won many state-level competitions and children's talent shows.^[19][20][21] Spears made her local stage debut at age five, singing "What Child Is This?" at her kindergarten graduation. She said about her ambition as a child, "I was in my own world, [...] I found out what I'm supposed to do at an early age".^[20] At age eight, Spears and her mother Lynne traveled to Atlanta for an audition in the 1990s revival of The Mickey Mouse Club. Casting director Matt Casella rejected her for being too young to join the series at the time, but introduced her to Nancy Carson, a New York City talent agent. Carson was impressed with Spears's vocals and suggested enrolling her at the Professional Performing Arts School; shortly after, Lynne and her daughters moved to a sublet apartment in New York. Spears was hired for her first professional role as the understudy for the lead role of Tina Denmark in the Off-Broadway musical Ruthless!. She also appeared as a contestant on the popular television show Star Search, as well as being cast in a number of commercials.^[22][23] In December 1992, she was finally cast in The Mickey Mouse Club, but returned to Kentwood after the show was canceled. She enrolled at Parklane Academy in nearby McComb, Mississippi. Although she made friends with most of her classmates, she compared the school to "the opening scene in Clueless with all the cliques. [...] I was so bored. I was the point guard on the basketball team. I had my boyfriend, and I went to homecoming and Christmas formal. But I wanted more."^[20][24]

In June 1997, Spears was in talks with manager Lou Pearlman to join the female pop group Innosense. Lynne asked family friend and entertainment lawyer Larry Rudolph for his opinion and submitted a tape of Spears singing over a Whitney Houston karaoke song along with some pictures. Rudolph decided he wanted to pitch her to record labels, therefore she needed a professional demo. He sent Spears an unused song of Toni Braxton; she rehearsed for a week and recorded her vocals in a studio with a sound engineer. Spears traveled to New York with the demo and met with executives from four labels, returning to Kentwood the same day. Three of the labels rejected her, arguing that audiences wanted pop bands such as the Backstreet Boys and the Spice Girls, and "there wasn't going to be another Madonna, another Debbie Gibson, or another Tiffany." Two weeks later, executives from Jive Records returned calls to Rudolph.^[25] Senior vice president of A&R Jeff Fenster stated about Spears's audition that "It's very rare to hear someone that age who can deliver emotional content and commercial appeal. [...] For any artist, the motivation—the 'eye of the tiger'—is extremely important. And Britney had that."^[20] She then sang Houston's "I Have Nothing" (1992) for the executives, and got signed to the label.^[26] They appointed her to work with producer Eric Foster White for a month, who reportedly shaped her voice from "lower and less poppy" delivery to "distinctively, unmistakably Britney."^[27] After hearing the recorded material, president Clive Calder ordered a full album. Spears had originally envisioned "Sheryl Crow music, but younger more adult contemporary" but felt all right with her label's appointment of producers, since "It made more sense to go pop, because I can dance to it—it's more me." She flew to Cheiron Studios in Stockholm, Sweden, where half of the album was recorded from March to April 1998, with producers Max Martin, Denniz Pop and Rami Yacoub, among others.^[20]

[edit] 1998–2000: ...Baby One More Time, and Oops!... I Did It Again

After Spears returned to the United States, she embarked on a shopping mall promotional tour to promote her forthcoming album. Her show was a four song set and she was accompanied by two back up dancers. Her first concert tour followed, as an opening act for 'N Sync.^[28] Her debut album, ...Baby One More Time, was released on January 1999.^[29] It debuted at number one on the U.S. Billboard 200 and was certified two-times platinum by the Recording Industry Association of America after a month. Worldwide, the album topped the charts in fifteen countries and sold over ten million copies in a year.^[30] It became the biggest selling album ever by a teenage artist.^[21] The title track was released as the lead single from the album. Originally, Jive Records wanted its music video to be animated; however, Spears rejected it, and suggested the final idea of a Catholic schoolgirl.^[27] The single sold 500,000 copies on its first day, and peaked at number one on the Billboard Hot 100, topping the chart for two consecutive weeks.^[31][32] "...Baby One More Time" later received a Grammy nomination for Best Female Pop Vocal Performance.^[33] The title track also topped the singles chart for two weeks in the United Kingdom, and became the fastest-selling single ever by a female artist, shipping over 460,000 copies.^[34] It would later become the 25th most successful song of all time in British chart history.^[35] Spears is also the youngest female artist to have a million seller in the country.^[36] "(You Drive Me) Crazy" was released as the third single from the album. It became a top-ten hit worldwide and propelled ...Baby One More Time to sell 26 million copies.^[37]

The April 1999 cover of Rolling Stone featured Spears lying on her bed, clad with a bra, shorts and an open top. The American Family Association (AFA) referred to the shoot as "a disturbing mix of childhood innocence and adult sexuality" and called to "God-loving Americans to boycott stores selling Britney's albums." Spears responded to the outcry commenting, "What's the big deal? I have strong morals. [...] I'd do it again. I thought the pictures were fine. And I was tired of being compared to Debbie Gibson and all of this bubblegum pop all the time."^[38] Shortly before, Spears had announced publicly she would remain a virgin until marriage.^[21] On June 28, 1999, Spears began her first headlining ...Baby One More Time Tour in North America, which was positively received by critics,^[39] but generated some controversy due to her racy outfits.^[40] An extension of the tour, titled Crazy 2k, followed in March 2000. Spears premiered songs from her upcoming second album during the show.^[24]

Oops!... I Did It Again, her second studio album, was released in May 2000. It debuted at number one in the US, selling 1,3 million copies, breaking the SoundScan record for the highest debut sales by any solo artist.^[41] The album sold over 20 million copies worldwide.^[42] Rob Sheffield of Rolling Stone said that "the great thing about Oops! – under the cheese surface, Britney's demand for satisfaction is complex, fierce and downright scary, making her a true child of rock & roll tradition."^[43] The album's lead single, "Oops!... I Did It Again", peaked at the top of the charts in Australia, New Zealand, the United Kingdom and many other European nations.^[36][44] The album as well as the title track received Grammy nominations for Best Pop Vocal Album and Best Female Pop Vocal Performance, respectively.^[45]

The same year, Spears embarked on the Oops!... I Did It Again World Tour, which grossed $40.5 million; she also released her first book, Britney Spears' Heart-to-Heart, co-written with her mother.^[21][46] On September 7, 2000, Spears performed at the 2000 MTV Video Music Awards. Halfway through the performance, she ripped off her black suit to reveal a sequined flesh-colored bodysuit, followed by heavy dance routine. It is noted by critics as the moment that Spears showed signs of becoming a more provocative performer.^[47] Amidst media speculation, Spears confirmed she was dating 'N Sync member Justin Timberlake.^[21]

[edit] 2001–03: Britney, Crossroads, and In the Zone

Spears performing at the NFL Kickoff Live in 2003.

In February 2001, Spears signed a $7–8 million promotional deal with Pepsi, and released another book co-written with her mother, entitled A Mother’s Gift.^[21] Her third studio album, Britney, was released in November 2001. While on tour, she felt inspired by hip hop artists such as Jay-Z and The Neptunes and wanted to create a record with a funkier sound.^[48] The album debuted at number one in the Billboard 200 and reached top five positions in Australia, the United Kingdom and mainland Europe and sold over 12 million copies worldwide.^[36][49][50] Stephen Thomas Erlewine of Allmusic called Britney "the record where she strives to deepen her persona, making it more adult while still recognizably Britney. [...] It does sound like the work of a star who has now found and refined her voice, resulting in her best record yet."^[51] The album was honored with two Grammy nominations—Best Pop Vocal Album and Best Female Pop Vocal Performance for "Overprotected"— and was listed in 2008 as one of Entertainment Weekly's "100 Best Albums from the Past 25 Years".^[52][53] The album's first single, "I'm a Slave 4 U", became a top-ten hit worldwide.^[54]

Spears's performance of the single at the 2001 MTV Video Music Awards featured a caged tiger and a large albino python draped over her shoulders. It was harshly received by animal rights organization PETA, who claimed the animals were mistreated and scrapped plans for an anti-fur billboard that was to feature Spears.^[47] To support the album, Spears embarked on the Dream Within a Dream Tour. The show was critically praised for its technical innovations, the pièce de résistance being a water screen that pumped two tons of water into the stage.^[55][56] The tour grossed $43.7 million, becoming the second highest grossing tour of 2002 by a female artist, behind Cher's Farewell Tour.^[57] Her career success was highlighted by Forbes in 2002, as Spears was ranked the world's most powerful celebrity.^[58] Spears also landed her first starring role in Crossroads, released in February 2002. Although the film was largely panned, most critics actually praised Spears's acting.^[59][60][61] Crossroads, which had a $11 million budget, went on to gross over $57 million worldwide.^[61]

In June 2002, Spears opened her first restaurant, Nyla, in New York City, but terminated her relationship in November, citing mismanagement and "management's failure to keep her fully apprised".^[62] In July 2002, Spears announced she would take a six month break from her career; however, she went back into the studio in November to record her new album.^[63] Spears' relationship with Justin Timberlake ended after three years. In December 2002, Timberlake released the song "Cry Me a River" as the second single from his solo debut album. The music video featured a Spears look-alike and fueled the rumors that she had been unfaithful to him.^[64][65] As a response, Spears wrote the ballad "Everytime" with her backing vocalist and friend Annet Artani.^[66] The same year, Limp Bizkit frontman Fred Durst said that he was in a relationship with Spears. However, Spears denied Durst's claims.^[67] In a 2009 interview, he explained that "I just guess at the time it was taboo for a guy like me to be associated with a gal like her."^[67] Spears opened the 2003 MTV Video Music Awards with Christina Aguilera, performing "Like a Virgin". Halfway through they were joined by Madonna, with whom they both kissed. The incident was highly publicized.^[61]

Spears released her fourth studio album, In the Zone, in November 2003. She assumed more creative control by writing and co-producing most of the material.^[21] Vibe called it "A supremely confident dance record that also illustrates Spears's development as a songwriter."^[68] NPR listed the album as one of "The 50 Most Important Recording of the Decade", adding that "the decade's history of impeccably crafted pop is written on her body of work."^[69] In the Zone sold over 609,000 copies in the United States and debuted at the top of the charts, making Spears the first female artist in the SoundScan era to have her first four studio albums to debut at number one.^[21] It also debuted at the top of the charts in France and the top ten in Belgium, Denmark, Sweden and the Netherlands.^[70] In the Zone sold over 10 million copies worldwide.^[71] The album produced the hit singles: "Me Against the Music", a collaboration with Madonna; "Toxic"—which won Spears her first and only Grammy for Best Dance Recording; "Everytime" and "Outrageous".^[21]

[edit] 2004–07: Compilation albums, motherhood, personal struggles, and Blackout

Spears performing live on The Onyx Tour in 2004

On January 3, 2004, Spears married childhood friend Jason Allen Alexander at The Little White Wedding Chapel in Las Vegas. The marriage was annulled 55 hours later, stating that Spears "lacked understanding of her actions".^[72] She began The Onyx Hotel Tour in support of In the Zone in March 2004.^[73] On June 8, 2004, Spears fell and injured her left knee during the music video shoot for "Outrageous". She was taken immediately to a local hospital, where doctors performed an MRI scan and found floating cartilage. The following day, Spears underwent arthroscopic surgery. She was forced to remain six weeks with a thigh brace, followed by eight to twelve weeks of rehabilitation, which caused The Onyx Hotel Tour to be canceled.^[74] During 2004, Spears became involved in the Kabbalah Centre through her friendship with Madonna.^[75]

In July 2004, she announced her engagement to American dancer Kevin Federline, whom she had met three months before. The romance received intense attention from the media, since Federline had recently broken up with actress Shar Jackson, who was still pregnant with their second child at the time.^[21] The initial stages of their relationship were chronicled in Spears's first reality show Britney & Kevin: Chaotic. They held a wedding ceremony on September 18, 2004, but were not legally married until three weeks later on October 6 due to a delay finalizing the couple's prenuptial agreement.^[76] Shortly after, she released her first fragrance with Elizabeth Arden, Curious, which broke the company's first-week gross for a perfume.^[21] In October 2004, Spears announced she would be taking another career break to start a family.^[77] Greatest Hits: My Prerogative, her first greatest hits compilation album, was released in November 2004.^[78] Spears's cover version of Bobby Brown's "My Prerogative" was released as the lead single from the album, reaching the top of the charts in Finland, Ireland, Italy and Norway.^[79] The second single, "Do Somethin'", was a top ten hit in Australia, the United Kingdom and other countries of mainland Europe.^[80][81] Worldwide, Greatest Hits: My Prerogative sold over 5 million copies.^[82] In late 2004, Spears went on KIIS-FM radio in Los Angeles, CA to play a new demo titled "Mona Lisa." The demo was to be the first single from an upcoming album called the "Original Doll." However, Spears' label later cancelled the album for unknown reasons.^[83][84] Spears gave birth to her first child, Sean Preston Federline, on September 14, 2005.^[85]

In November 2005, she released her first remix compilation, B in the Mix: The Remixes, which consists of eleven remixes.^[86] It has sold over 1 million copies worldwide, making it one of the best selling remix albums of all time.^[87] In February 2006, pictures surfaced of Spears driving with her son Sean, on her lap instead of in a car seat. Child advocates were horrified by the photos of her holding the wheel with one hand and Sean with the other. Spears claimed that the situation happened because of a frightening encounter with paparazzi, and that it was a mistake on her part.^[21] The following month, she guest-starred on the Will & Grace episode "Buy, Buy Baby" as closeted lesbian Amber Louise.^[88] She publicly announced she no longer studied Kabbalah in June 2006, explaining, "my baby is my religion."^[75] Two months later, Spears posed nude for the cover of Harper's Bazaar. The picture was heavily compared to Demi Moore's August 1991 Vanity Fair cover.^[21] She gave birth to her second child, Jayden James Federline, on September 12, 2006.^[89] On November 7, 2006, Spears filed for divorce from Federline, citing irreconcilable differences.^[90] Their divorce was finalized in July 2007, when the couple reached a global settlement and agreed to share joint custody of their children.^[91] Spears's aunt Sandra Bridges Covington, with whom she had been very close, died of ovarian cancer in January.^[92] On February 16, 2007, Spears stayed in a drug rehabilitation facility in Antigua for less than a day. The following night, she shaved her head with electric clippers at a hair salon in Tarzana, Los Angeles. She admitted herself to other treatment facilities during the following weeks.^[93] After completing a month-long program at Promises, she wrote on her website, "I truly hit rock bottom. Till this day I don't think that it was alcohol or depression. [...] was like a bad kid running around with ADD."^[21] In May 2007, she produced a series of promotional concerts at House of Blues venues, titled The M+M's Tour.^[94] Spears lost physical custody of her children to Federline on October 1, 2007. The reasons of the court ruling were not revealed to the public.^[95] Also, in 2007 Spears was sued by Louis Vuitton over her 2005 music video "Do Something" for pimping out her Hummer interior in counterfiet Louis Vuitton cherry blossom fabric. Which resulted in her video being banned on European TV stations.^[96]

Her fifth studio album, Blackout, was released in October 2007. It debuted at the top of charts in Canada and Ireland, number two in the U.S. Billboard 200,—held off from the top spot by Eagles's Long Road out of Eden— France, Japan, Mexico and the United Kingdom and the top ten in Australia, Korea, New Zealand and many European nations. In the United States, Spears became the only female artist to have her first five studio albums debut at the two top slots of the chart.^[97] Blackout sold over 3.1 million copies worldwide.^[98] Peter Robinson of The Observer said that "Britney has delivered the best album of her career, raising the bar for modern pop music with an incendiary mix of Timbaland's Shock Value and her own back catalogue."^[99] Dennis Lim of Blender commented, "Spears’s fifth studio album is her most consistent, a seamlessly entertaining collection of bright, brash electropop."^[100] Blackout won Album of the Year at MTV Europe Music Awards 2008 and was listed as the fifth Best Pop Album of the Decade by The Times.^[101][102] Spears performed the lead single "Gimme More" at the 2007 MTV Video Music Awards. The performance was panned by many critics. David Willis of BBC stated her performance would "go down in the history books as being one of the worst to grace the MTV Awards".^[103] Despite the backlash, the single rocketed to worldwide success, peaking at number one in Canada and the top ten in almost every country it charted.^[104][105] The second single "Piece of Me" reached the top of the charts in Ireland and reached the top five in Australia, Canada, Denmark, New Zealand and the United Kingdom. The third single "Break the Ice" was released the following year and had moderate success due to Spears not being able to promote it properly.^{[106][107][108]} In December 2007, Spears began a relationship with paparazzo Adnan Ghalib.^[109]

[edit] 2008–10: Conservatorship, and Circus

Spears performing "Freakshow" at The Circus Starring Britney Spears, 2009.

On January 3, 2008, Spears refused to relinquish custody of her sons to Federline's representatives. She was hospitalized at Cedars-Sinai Medical Center, after police that arrived at her house noted she appeared to be under the influence of an illicit substance. The following day, Spears's visitation rights were suspended at an emergency court hearing, and Federline was given sole physical and legal custody of the children. On January 31, 2008, Spears was committed to the psychiatric ward of Ronald Reagan UCLA Medical Center and put on 5150 involuntary psychiatric hold. The court placed her under temporary conservatorship of her father James Spears and attorney Andrew Wallet, giving them complete control of her assets.^[21] Spears was released on February 6, 2008. Her parents expressed disappointment and concern at the decision to release her.^[110] The following month, she guest-starred on the How I Met Your Mother episode "Ten Sessions" as receptionist Abby. She received positive reviews for her performance, as well as bringing the series its highest ratings ever.^[111][112] In July 2008, Spears regained some visitation rights after coming to an agreement with Federline and his counsel.^[113] On September 7, 2008, Spears opened the MTV Video Music Awards with a pre-taped comedy sketch with Jonah Hill and an introduction speech. She won Best Female Video, Best Pop Video and Video of the Year for "Piece of Me".^[114] A 60-minute introspective documentary, Britney: For the Record, was produced to chronicle Spears' return to the recording industry. Directed by Phil Griffin, For the Record was entirely shot in Beverly Hills, Hollywood, and New York City during the third quarter of 2008.^[115] Main shooting began on September 5, 2008, two days before Spears' appearance at the MTV Video Music Awards. For the Record was broadcast on MTV on November 30, 2008 to 5.6 million viewers for the two airings on the premiere night. MTV reported that Spears' documentary garnered on average, the highest rating in its Sunday night timeslot, in the network's history.^[116]

Her sixth studio album Circus, was released in December 2008. It received positive reviews from critics; according to the music review aggregation of Metacritic, it garnered an average score of 64/100.^[117] Circus debuted at number one in Canada, Czech Republic and the United States, and inside the top in many European nations.^[105][118] In the United States, Spears became the youngest female artist to have five albums debut at number one, earning a place in the Guinness Book of World Records.^[119] She also became the only act in the Soundscan era to have four albums debut with 500,000 or more copies sold.^[118] Circus became one of the fastest-selling albums of the year,^[120] and has sold 4 million copies worldwide.^[121][122] Its lead single, "Womanizer", became her first number one in the Billboard Hot 100 since "...Baby One More Time" and topped the charts in countries such as Belgium, Canada, Denmark, Finland, France, Norway and Sweden.^[123][124] It was also nominated for a Grammy in the category of Best Dance Recording.^[125] In January 2009, Spears and her father James obtained a restraining order against her former manager Sam Lufti, ex-boyfriend Adnan Ghalib and attorney Jon Eardley—all of whom, court documents claim, had been conspiring to gain control of Spears's affairs. The restraining order forbids Lutfi and Ghalib from contacting Spears or coming within 250 yards of her, her property or family members.^[126] Spears embarked on The Circus Starring Britney Spears in March 2009. With a gross of U.S. $131.8 million, it became the fifth highest grossing tour of the year.^[127]

She released her second greatest hits album, The Singles Collection in November 2009. "3" became her third number one single in the US, and was the first song to debut at the top of the charts in three years.^[128] Later that month, she released an application for iPhone and iPod Touch titled "It's Britney!".^[129] In May 2010, Spears's representatives confirmed she was dating her agent Jason Trawick, and that they had decided to end their professional relationship to focus on their personal relationship.^[130] Spears designed a limited edition clothing line for Candie's, which was released in stores in July 2010.^[131] On September 28, 2010, she made a cameo appearance on a Spears-themed tribute episode of American TV show Glee, titled "Britney/Brittany". Spears approved of the episode, although her appearances received mixed reviews from critics.^[132][133] The episode drew Glee's second largest audience, as well as the show's highest ratings ever.^[134][135]

[edit] 2011–present: Femme Fatale and The X Factor

Spears performing "Gimme More" at the Femme Fatale Tour, 2011.

In March 2011, Spears released her seventh studio album Femme Fatale.^[136] Max Martin and Dr. Luke executive produced the album and the album's first single "Hold It Against Me". The single debuted at number-one on the Billboard Hot 100. This gave Spears her fourth number-one single on the chart, and made her only the second artist in history to have two consecutive singles debut at number-one, after Mariah Carey.^[137] The album peaked at number one in the United States (selling 276,000 copies in its first week), Canada, and Australia, and peaked inside the top ten on nearly every other chart. The album's peak in the United States ties Britney with Mariah Carey and Janet Jackson for the third-most number ones among women.^[138] As of March 9, 2012, Femme Fatale has sold 883,000 copies in the United States and 2.2 million worldwide and has been certified platinum by the RIAA.^[139][140] The album received positive critical reviews after its release, receiving a score of 67 on Metacritic, her highest critical score since Oops!... I Did It Again, with many critics naming the album one of Spears's best.^[141] In April 2011, Spears appeared in a remix to the song "S&M" by Rihanna after Rihanna asked her fans via Twitter who they wanted her to collaborate with.^[142] The song reached number one in the US in mid-April 2011, giving Spears her fifth number one on the chart.^[143] In early May, Spears' second single from Femme Fatale, "Till The World Ends", reached number three on the Billboard Hot 100 and had ninety-eight million audience impressions on the Billboard chart, granting Spears the highest weekly audience of her 13-year chart career.^[144]

Femme Fatale's third single "I Wanna Go" reached the top forty on the Billboard Hot 100 in June 2011. Among females in the last thirteen years, Spears now has the third-most top forty hits, with twenty-one.^[145] In August, the single managed to reach the top-ten on the Billboard Hot 100, which is the first time for Spears to have three songs from one album in the top-ten.^[146] On the week ending September 24, 2011, "I Wanna Go" moved 2–1 on the mainstream top 40, becoming her sixth number-one on that chart (making her tied for third all-time) and her first number-one and third top-ten pop song for Femme Fatale.^[147] Spears now has the longest span of number ones on the mainstream top 40, with a length of twelve years, seven months, and four days.^[147] In October 2011, the music video for Femme Fatale's fourth single "Criminal" caused controversy when British politicians criticized Spears for using replica guns while filming the video in an area of London that had been badly affected by the 2011 England riots. Members of the Hackney London Borough Council felt Spears "promoted gun violence" and suggested that Spears apologize and make a donation to a Hackney charity.^[148] Spears's management briefly responded, stating, "The video is a fantasy story featuring Britney's boyfriend, Jason Trawick, which literally plays out the lyrics of a song written three years before the riots ever happened."^[149] Later that month, due to her continued popularity, Spears became the seventh artist to gain one billion cumulative views on her Vevo account.^[150] On Billboard's 2011 Year-End list, Spears was fourteen on the Artists of the Year,^[151] due to being 32 on Billboard 200 artists and 10 on Billboard Hot 100 artists.^[152][153] Additionally, many critics, including those at Rolling Stone, named "Till the World Ends" one of the best songs of 2011.^{[154][155][156]}

On March 2011, Spears announced that she would tour throughout the United States during summer 2011.^[157] The Femme Fatale Tour opened June 16 at the Power Balance Pavilion in Sacramento, California^[158] to positive reviews.^[159] Many critics noted that Spears sang more of the concert live in response to lip-synching accusations during The Circus Starring Britney Spears, and that the dancing is some of her best in years.^[159] The first ten US dates of the tour grossed $6.2 million, landing the fifty-fifth spot on Pollstar's Top 100 North American Tours list for the half-way point of the year.^[160] The tour ended on December 10, 2011 in Puerto Rico after 79 performances.^[161] A concert special of the tour was filmed in 2D and 3D in Canada on August 13 and 14. It premiered on November 12 on Epix, receiving mixed reviews.^{[162][163][164][165]} It was released to DVD on November 21^[166][167] and sold 19,000 copies, debuting at no. 2 on the US Billboard DVD Chart behind Lady Gaga's The Monster Ball Tour: At Madison Square Garden.^[168] Since its release, the DVD has been certified Platinum by the Recording Industry Association of America (RIAA),^[169] and Gold by the Australian Recording Industry Association (ARIA).^[170]

On June 15, 2011, it was announced by Billboard that the RCA/Jive Label Group would be splitting, with Jive Records being fully moved under RCA Records staying intact. In August it was announced that Spears had officially joined the RCA's roster.^[171][172] During the 2011 MTV Video Music Awards on August 28, 2011, MTV played tribute to Spears with a group of young female dancers that memorialised Britney's music videos, performances, and style. Following which, Spears accepted the MTV Video Vanguard Award from Lady Gaga, who said that "industry wouldn't be the same without [her]".^[173][174] On September 9, 2011, Spears announced her second remix album, B in the Mix: The Remixes Vol. 2, which was released on October 7, along with the tracklist.^[175] On October 7, RCA Music Group announced it was disbanding Jive Records along with Arista Records and J Records. With the shutdown, Spears (and all other artists previously signed to these three labels) will release her future material on the RCA Records brand.^[176][177]

On December 16, Spears confirmed her engagement to her long-time boyfriend Jason Trawick, her former agent.^[178] Spears revealed her three-carat diamond ring at a party in Las Vegas on December 17.^[179] According to Joe Riccitelli, the executive vice president of promotion for RCA Records, Spears would be taking time off during 2012.^[180] However, on January 30, 2012, will.i.am confirmed that he recorded a track with Spears, set to be included on his upcoming fourth studio album, #willpower (2012).^[181] It was also reported that Simon Cowell was in talks with Spears for her to join the new season of the The X-Factor.^[182] According to Billboard and The Hollywood Reporter, Trawick negotiated Spears' contract with the show,^[183] which was later approved by conservatorship judge Reva Goetz.^[184] Cowell and the producers of the show agreed to pay the singer $15 million for season two, and also added Trawick as a one of the producers for the season.^[185] The rumor was later confirmed to be true.^{[14][186][187]} Spears also teamed up with Hasbro to release an exclusive version of Twister Dance, which will include a remix of "Till the World Ends".^[188] The singer also participated on a commercial, which was directed by Ray Kay, to promote the game.^[188]

Artistry[link]

Musical style, and performance[link]

Following her debut, Spears was credited with leading the revival of teen pop in the late 1990s. The Daily Yomiuri reported that "[m]usic critics have hailed her as the most gifted teenage pop idol for many years, but Spears has set her sights a little higher-she is aiming for the level of superstardom that has been achieved by Madonna and Janet Jackson."^[189] Rob Sheffield of Rolling Stone wrote: "Britney Spears carries on the classic archetype of the rock & roll teen queen, the dungaree doll, the angel baby who just has to make a scene."^[190] Rami Yacoub who co-produced Spears's debut album with lyricist Max Martin, commented, "I know from Denniz Pop and Max's previous productions, when we do songs, there's kind of a nasal thing. With N' Sync and the Backstreet Boys, we had to push for that mid-nasal voice. When Britney did that, she got this kind of raspy, sexy voice."^[191] Following the release of her debut album, Chuck Taylor of Billboard observed, "Spears has become a consummate performer, with snappy dance moves, a clearly real-albeit young-and funkdified voice ... "(You Drive Me) Crazy", her third single ... demonstrates Spears's own development, proving that the 17-year-old is finding her own vocal personality after so many months of steadfast practice."^[192] Stephen Thomas Erlewine of Allmusic referred to her music as a "blend of infectious, rap-inflected dance-pop and smooth balladry."^[193] Spears later commented, "With ...Baby One More Time, I didn't get to show my voice off. The songs were great, but they weren't very challenging".^[194]

Oops!...I Did It Again and subsequent albums saw Spears working with several contemporary R&B producers, leading to "a combination of bubblegum, urban soul, and raga."^[195] Her third studio album, Britney derived from the teen pop niche, "[r]hythmically and melodically ... sharper, tougher than what came before. What used to be unabashedly frothy has some disco grit, underpinned by Spears' spunky self-determination that helps sell hooks that are already catchier, by and large, than those that populated her previous two albums."^[196] Guy Blackman of The Age wrote that while few would care to listen to an entire Spears album, "[t]he thing about Spears, though, is that her biggest songs, no matter how committee-created or impossibly polished, have always been convincing because of her delivery, her commitment and her presence. For her mostly teenage fans, Spears expresses perfectly the conflicting urges of adolescence, the tension between chastity and sexual experience, between hedonism and responsibility, between confidence and vulnerability."^[197]

"You Got It All" noicon The cover of The Jets song was the first song recorded by Spears for her then-label Jive in 1997.[198] The prominent use of melisma and vibratos as she continuously raises key into a high range was viewed as a Mariah Carey influence.[199] "Freakshow" noicon The track is built around the 'wobbler' effect of dubstep, and her vocals are pitched down low, making her sound masculine.[200][201] She was credited as one of the artists who prompted the genre within a pop mainstream audience.[202]

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Spears possesses a soprano^[203] vocal range; her vocal ability however has been criticized, often drawing unfavorable comparison to her pop rival, Christina Aguilera.^[204] Critic Allan Raible derides her overdependence in Circus on digital effects and the robotic effect it creates. "She’s never been a strong vocalist..." writes Raible, "Could she handle these songs with stripped down arrangements and no vocal effects? More importantly, would anyone want to hear her attempt such a performance? Does it matter? No. The focus is still image over substance."^[205] Her image and persona are also often contrasted to Christina Aguilera. David Browne of Entertainment Weekly observed "Christina Aguilera may flash skin and belly button, but in her music and manner, she's too eager not to offend — she's a good girl pretending to be bad. Spears, however, comes across as a bad girl acting good ... Spears' artificial-sweetener voice is much less interesting than the settings, yet that blandness is actually a relief compared with Aguilera's numbing vocal gymnastics.^[206] In contrast, Allmusic comments: "Like her peer Christina Aguilera, Britney equates maturity with transparent sexuality and the pounding sounds of nightclubs ... Where Christina comes across like a natural-born skank, Britney is the girl next door cutting loose at college, drinking and smoking and dancing and sexing just a little too recklessly, since this is the first time she can indulge herself.^[207] Sal Cinquemani of Slant Magazine notes, "The disparity between Aguilera and Spears can't be measured solely by the timbre and octave range of their voices ... [Aguilera's] popularity has never reached the fever pitch of Britney's."^[208]

It has been widely reported that Spears lip-syncs in concert. Author Gary Giddins wrote in his book Natural selection: Gary Giddins on comedy, film, music, and books (2006) that "among many other performers accused of moving their lips while a machine does the labor are Britney Spears, Luciano Pavarotti, Shania Twain, Beyoncé, and Madonna."^[209] Rashod D. Ollison of The Baltimore Sun observes: "Many pop stars ... feel they have no choice but to seek vocal enhancement. Since the advent of MTV and other video music channels, pop audiences have been fed elaborate videos thick with jaw-dropping effects, awesome choreography, fabulous clothes, marvelous bodies. And the same level of perfection is expected to extend beyond the video set to the concert stage. So if Britney Spears, Janet Jackson or Madonna sounds shrill and flat without a backing track, fans won't pay up to $300 for a concert ticket."^[210] Giddins adds, "it was reported Britney Spears fans prefer her to lip-sync—despite her denials of doing so (contradicted by her own director)—because they expect flawless digitalization when they pay serious money for a concert."^[209]

In Australia, NSW Fair Trading Minister Virginia Judge has advised disclaimers be printed on any ticket for concerts which contain any prerecorded vocals. She commented: "There could have been some instances where people actually go and purchase a ticket thinking that they're going to have a live performance ... for some people that means that everything is live, it's fresh, it happens instantaneously, it's not something that's been pre-recorded. You want to make sure that they're actually paying for what they think they're getting."^[211] Noting on the prevalence of lip-syncing, Los Angeles Daily News reported "in the context of a Britney Spears concert, does it really matter? Like a Vegas revue show, you don't go to hear the music, you go for the somewhat-ridiculous spectacle of it all".^[212] Similarly, Aline Mendelsohn of the Orlando Sentinel remarked: "Let's get one thing straight: A Britney Spears concert is not about the music ... you have to remember that it's about the sight, not the sound."^[213] Critic Glenn Gamboa comments her concert tours are "like her life—a massive money-making venture designed to play up her talents and distract from her shortcomings with a mix of techno-tinged sex appeal and disco-flavored flash. And, like her life, it is, more or less, a success.^[214]

Influences[link]

Madonna (left) and Janet Jackson (right) are Spears's two biggest influences.

Throughout her career, Spears has drawn frequent comparisons to Madonna and Janet Jackson, in terms of vocals, choreography and stage presence, citing both as influences in her work. She has also named Michael Jackson as a source of inspiration.^[215] According to Spears: "I know when I was younger, I looked up to people... like, you know, Janet Jackson and Madonna. And they were major inspirations for me. But I also had my own identity and I knew who I was, you know."^[216] In the 2002 book Madonnastyle by Carol Clerk, she is quoted saying: "I have been a huge fan of Madonna since I was a little girl. She's the person that I've really looked up to. I would really, really like to be a legend like Madonna."^[217]

Many critics have argued that Spears should not be considered in the same league of talent as Jackson or Madonna. Journalists Erika Montalvo and Jackie Sheppard of the Rocky Mountain Collegian observed "[s]ome may argue that Spears is not only a good recording artist but also an important cultural icon."^[218] However, in examining her level of skill as an artist, it is questioned that "[a]lthough she has been classified among female elites such as Janet Jackson and Madonna, what does Ms. Spears really have in common with these divas of rock?"^[218] Joan Anderman of The Boston Globe remarked that "[t]hirteen costume changes in 90 minutes won't bless her with Madonna's intelligence or cultural barometer. An army of cutting-edge R&B producers won't supply her with Janet Jackson's sense of humor or sincere smile ... Britney's heroes aren't great singers. But they're real singers. Spears sounds robotic, nearly inhuman, on her records, so processed is her voice by digital pitch-shifters and synthesizers."^[219]

Reporter Ed Bumgardner commented her transition from teen pop start to adult sex symbol with her third studio album Britney "takes its cues from two other successful performers—Madonna and Janet Jackson—both of whom she brazenly rips off and both of whom, like Spears, are passable singers, at best."^[220] Critic Shane Harrison wrote: "From the minimalist thump and "Nasty" feel of "I'm a Slave 4 U" to the scattered quotes in "Boys", [Britney] feels like [Spears's] attempt at 'Control'."^[215]

Citing Jackson's resolve to incorporate personal and social issues into her work and Madonna's ability to constantly redefine the boundaries of socially acceptable material in the industry, Spears's catalog ultimately pales in comparison, because "[w]hile Jackson and Madonna wrote their own music about subjects of importance, [Spears's] music sounds like an upbeat version of either, 'I want to grow up but the media won't let me,' or 'Here kitty, kitty, I'm wearing my underwear outside of my leather pants'-type ballads."^[218] In contrast, Guy Blackman argues that although "no one would argue that Spears is some kind of pioneering pop auteur, there’s still a lot to like about her back catalogue. During her world-conquering peak, she was just about as cutting edge as you could get in the world of global pop superstardom. Spears didn’t just work with big names, she gave big names their names, and maintained her high currency in the world’s most fickle industry for years, when most aspiring starlets are lucky to manage months."^[197]

After meeting Spears face to face, Janet Jackson stated: "she said to me, 'I'm such a big fan; I really admire you.' That's so flattering. Everyone gets inspiration from some place. And it's awesome to see someone else coming up who's dancing and singing, and seeing how all these kids relate to her. A lot of people put it down, but what she does is a positive thing."^[221] Madonna's respect for Spears has also been a subject of observation. Santiago Fouz-Hernández and Freya Jarman-Ivens, authors of Madonna's drowned worlds: new approaches to her cultural transformations, 1983-2003 (2004) note that the most well known cross-generational relationship exists between Spears and Madonna in which "the entertainment newsmedia almost became obsessed with their relationship of mutual admiration."^[222] The biographers also report "[s]ome observers of popular culture, however, feel that the comparisons between the two artist are meaningless and fail to recognize Madonna's unique contribution: Madonna was never 'just another pop star' whereas Britney can more easily be seen as a standard manufactured pop act."^[222]

Legacy[link]

Spears's star on the Hollywood Walk of Fame

Spears became an international pop culture icon immediately after launching her recording career. Rolling Stone magazine wrote: "One of the most controversial and successful female vocalists of the 21st century," she "spearheaded the rise of post-millennial teen pop ... Spears early on cultivated a mixture of innocence and experience that broke the bank".^[223] She is listed by the Guinness World Records as having the "Best-selling album by a teenage solo artist" for her debut album ...Baby One More Time which sold over thirteen million copies in the United States.^[224] Melissa Ruggieri of the Richmond Times-Dispatch reported, "She's also marked for being the best-selling teenage artist. Before she turned 20 in 2001, Spears sold more than 37 million albums worldwide".^[225] As of 2011, she has sold over 100 million albums worldwide, making her one of the best-selling music artists of all time.^[10] She was also ranked as the fourth VH1's "50 Greatest Women of the Video Era" show list, ahead of most of her contemporaries and only behind veterans like Madonna, Janet Jackson, and Whitney Houston.^[226] Spears is also recognized as the best-selling female artist of the first decade of the 21st century, as well as the fifth overall.^[7] In December 2009, Billboard magazine ranked Spears the 8th Artist of the 2000s decade in the United States.^[6]

Spears is also known for her iconic performances and music videos.^[227] The music video for her debut single, "...Baby One More Time", was ranked number one on TRL's Final Countdown of the most iconic music videos.^[228] On the 2000 MTV Video Music Awards, before performing "Oops!... I Did It Again", the singer appeared behind a backlit screen, and descended a spiral staircase and started performing "(I Can't Get No) Satisfaction", while wearing a tuxedo.^[229] After performing a shortened version of the track, she tore the tuxedo off, revealing a skin-tight flesh-coloured outfit.^[230] The following year, Spears performed her single "I'm a Slave 4 U". Jocelyn Vena of MTV summarized the performance, saying, "draping herself in a white python and slithering around a steamy garden setting – surrounded by dancers in zebra and tiger outfits – Spears created one of the most striking visuals in the 27-year history of the show."^[231] She also duetted "The Way You Make Me Feel" with pop singer Michael Jackson on his 30th anniversary concert a few days earlier.^[232] During the opening of the 2003 MTV Video Music Awards on August 27, 2003, Spears joined Madonna, Christina Aguilera, and Missy Elliott.^[233] Halfway through the performance, Madonna kissed Spears and Aguilera on the lips.^[234] The kiss between Spears and Madonna generated strong reaction from the media.^[235] This performance was listed by Blender magazine as one of the twenty-five sexiest music moments on television history.^[236] MTV listed the performance as the number-one opening moments in the history of MTV Video Music Awards.^[237] In 2011, Spears was honored with the MTV Video Vanguard Award, for having made a profound effect on the MTV culture.^[238]