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Make sure that all of your devices have Sync Library turned on and signed in with the same Apple ID that you use with Apple Music. If your music library is stored on your computer, check the cloud status of songs to find missing music and resolve issues.

I subscribed to iTunes Match and let it do it's thing. After about 5 days, I still have 21 songs that I purchased from iTunes(with DRM)showing waiting. I have tried to force them to update but still shows waiting.

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I should add that I tried to re-run/update iTunes match several times over several days with no change. I had approximately 4500 songs come back as matched,deleted those,downloaded new 256K versions,but these last songs are just waiting.Looking at the track info,I see that the date added is now 1/7/12 for all of them and the date modified is 12/28/11. This later date is presumably when I began the iTunes Match feature,but it seems too early for that. I am frustrated and unable to contact Apple Support. Going through the links in the iTunes Store,I am unable to get to a contact page. I got as far as a request for a hardware serial#,and I put in the number for my MacBook Pro. This number was rejected and I was unable to contact support. Can anyone tell me how to contact Apple Support on this issue? I can't be the only one with this problem.

I thought there was a change,but there wasn't. How can so many songs that I ripped be matched(thousands),while songs I purchased from iTunes sit waiting. At what point does iTunes Match give up and upload the remaing songs? This makes no sense!

I have about 7000 songs listed as "waiting" but the iTunes Match on my other computer, the one I have all my CDs in , says that iTunes Match is finished. If so, why does it say "waiting"? It's not uploading anything else.

Well I think I've solved it. I did some checking and found that for some reason iTunes match was trying to re-evaluate these few songs. There were duplicates in my library,with the 128K versions in a waiting status and the 256K versions matched. I deleted the lower bit rate files and no more songs in a waiting status. Problem solved.

It said that iTunes Match was complete on the first computer. I added some on after to see if something was stuck and they uploaded to the cloud with no problem.( Other than taking 3 hours to upload 9 songs even though some of them were on iTunes.)

captfantastic - if iTunes Match ran for three hours and uploaded only 9 songs, that's very unusual. Some possiblities come to mind - some less likely than others, but still worth looking into so they can be ruled out.

If you have trouble keeping a connection, that might well be part of the problem. I don't know how iTunes Match handles connection interruptions, but one thing that could happen would be that it would simply stop processing. It might start up again as a matter of routine, but if it keeps getting interrupted, a lot of songs could simply be still in waiting status.

If you determine there is nothing unusual with respect to file size/type, and your connection is fine, then I would proceed with the assumption there is a corrupted file somewhere. I would suggest creating an empty library, importing some of the "waiting" songs to the new library and running Match from there. In case you do not know how to create a new library, on a mac, quit iTunes, then start it back up holding down the option key. If you are using Windows, I believe holding down the shift key when starting iTunes does the same thing. This will also be the way you re-load your main library when that happens.

I am still trying to understand the interaction among my personal/iTunes music library, my iTunes Match service, and the Apple Music Synch library. At the moment I subscribe to AppleOne (includes Apple Music) and also to iTunes match (which I might, or might not need - beats me!) I cannot find any explanation of the eight different statuses I see in "Cloud Status" on the Music App on my MacBook Air (Monterey, up-to-date.)

This Apple Support page describes some of these status, but not all, and suggests that they are indicated via icons, when in fact they are indicated via a column of text. So is there a complete list available somewhere, or can someone explain this to me? [And tell me whether to keep or dump iTunes Match...]

You don't need iTunes Match, Apple Music does that. Which icons/status do you have that aren't included in provided link? Some music I have shows under the Cloud column. Download icon if the music has been download. Dotted cloud if the music is no longer available.

"The Anniversary Waltz" is the title of two medley singles released in 1990 by English rock band Status Quo.[1] The medleys consist of hit songs from the 1950s, 1960s, and 1970s. One of the songs performed, Dion's "The Wanderer" had previously been covered by Status Quo in 1984. "The Anniversary Waltz" was divided into two parts for release as a single. Part One was the bigger hit, reaching number two on the UK Singles Chart, and was included on their 1990 compilation album Rocking All Over the Years.

In 2003, the severe acute respiratory syndrome (SARS) epidemic involving 30 countries affected 8,000 individuals, 774 of whom died, causing worldwide concern. At the time, SARS patients experienced social stigma, and reported mental health problems such as anxiety and depression [1]. In an evaluation of mental health status among 1,394 SARS survivors in Hong Kong between 2005 and 2006, 47.8% experienced post-traumatic stress disorder (PTSD) after SARS, and 25.6% of those continued to have PTSD even 30 months after complete treatment for SARS [2].

Anger status was defined as a STAXI total score of 14 or higher, which is equivalent to the average score of a prison inmate with moderate to severe symptoms of depression (28.1%), suicidal thoughts (33.6%), and alcohol abuse (39.1%) [17].

Why does the issue of visibility and its association with minority status matter in multi-ethnic societies? How do these demographic changes engender a need to rethink what we mean by minority status and in particular its link with visibility as non-White? These questions matter in terms of equality issues. The question of whether racially ambiguous or White looking multiracial people should be regarded as visible minorities (and their racial categorization as such) is critical, as many equality frameworks are premised on the White/non-White divide, and presume disadvantage on the basis of people being seen as either White or non-White (Feliciano, 2016).

YouTube also offers a free audio library of both songs and sound effects that can be used by anyone in YouTube videos without any restrictions, and which also means that users can monetize their videos to use the songs.

Both Rick and Francis are prolific song-writers, having

written hundreds of songs for various Quo albums. In

particular, one person with whom a lot of their songs were

written was Bob Young, their tour manager for a number of

years. He also played harmonica / blues harp for Quo over the

same period. He left in the early eighties, but is rumoured

to be working on the new album.

Of course, that doesn't mean no-one else writes songs: before

he left in 1984/5, Alan Lancaster also wrote a large number of

songs, including 'Ol' Rag Blues,' a hit in September 1983. He

often co-wrote songs with Rick and Francis. A lot of the

fans' favourites, such as 'Backwater,' were written by Rick

and Alan.

Finally, occasionally all the members of the band write songs

together, such as 'Break the Rules' and 'Roll Over Lay Down,'

which were both written by Francis, Rick, Alan, John Coghlan

and Bob Young.

However, Quo are also well known for their covers. Possibly

the song that is most associated with them is 'Rocking All

Over The World,' which was written by John Fogerty.

Post-release monitoring is vital to the rehabilitation process. Gibbons offer a unique challenge, as they are notoriously difficult to follow through the forest, but their duets offer a non-invasive window into their lives. The aim of this project is to create a method that will evaluate the health of rehabilitated and released gibbons through acoustic analyses. Gibbon duets are in part genetically determined, but learning may play a role in song development. Additionally, songs may indicate resource holding potential, and are vital to acquiring mates and producing offspring. Captive-raised gibbons are often denied the experience of co-singing with their parents, and are generally less fit than their wild counterparts due to living in confined spaces. The female great call is a primary holder of information during a song bout, and will be the focus of this study. To explore how captivity could impact singing, we recorded the great calls of six individuals from three Nomascus species of rehabilitated gibbons at the Endangered Primate Rescue Center (EPRC) in Cuc Phuong National Park, Vietnam. The first song bout from each day was used for analysis. We extracted 23 parameters from 102 great call recordings (n = 10-25/gibbon). A Principal Component Analysis revealed that the first three components accounted for 71.81% of the variance in the data. PCI focused on the bark phrase, PCII focused on the Oo phrase, and PCIII focused mainly on temporal parameters. We then ran correlations to explore how these principal components related to age and weight. This study provides preliminary evidence to support a non-invasive way to monitor behavior and rehabilitation using acoustic markers. Our results suggest that genetics, age, and weight impact the production of female Nomascus spp. great calls. The significance of acoustic markers in rehabilitation practices is generally overlooked in the literature and merits further investigation. Future studies should implement acoustic markers to monitor individuals in captivity to better inform rehabilitation and release practices. 17dc91bb1f