======================== unified (from filesystem) ========================
                                         'bitrate'  '128.0'
                                        'duration'  '206'
                                          'artist'  'Betty Boop (Helen Kane)'
                                     'text_people'  ''
                                         'release'  'Film Clip'
                                           'title'  'I Love Myself'
                                           'quals'  ("['Q-HAP-3', 'Q-LOCALNESS-2', 'Q-UNU-1', 'Q-JZFKS-2', 'Q-HHRNBTT-1', "
 "'Q-OLDST-1', 'q-syn-1', 'q-bass-1', 'q-busy-2', 'q-grit-1', 'q-play-2', "
 "'q-chart-2', 'q-drums-1', 'q-other-3', 'q-piano-1', 'q-vocals-4', "
 "'q-mixbeat-1']")
                             'musicbrainz_albumid'  ''
                       'musicbrainz_albumartistid'  ''
                            'musicbrainz_artistid'  ''
                             'musicbrainz_trackid'  ''
                                     'tracknumber'  '00'
                                      'tracktotal'  ''
                                            'date'  '1930'
                                        'comments'  ''
                                           'genre'  'prerock-jb-jazz-unsorted'
                                             'bpm'  '115.326'
                                             'key'  '9A'
                                        'acoustid'  ''
rest: ''

======================== rawer (from filesystem) ========================

'COMM:ID3v1 Comment:XXX'                            'BETTY BOOP\r\n\r\nVoiced by\r\n \r\nMa'
'COMM:MusicMatch_Bio:eng'                           ('BETTY BOOP\r\n'
 '\r\n'
 'Voiced by\r\n'
 ' \r\n'
 'Margie Hines (1930–1932, 1938–1939)\r\n'
 ' Ann Rothschild (1931–1933)\r\n'
 ' Mae Questel (1931–1938, 1988)\r\n'
 ' Kate Wright (1932, 1938)\r\n'
 ' Bonnie Poe (1933–1934, 1938)\r\n'
 " Victoria D'orazi (1980)\r\n"
 ' Bernadette Peters (1981, 1993)\r\n'
 ' Desiree Goyette (1985)\r\n'
 ' Melissa Fahn (1989, 2004–2008)\r\n'
 ' Sue Raney (1993)\r\n'
 ' Cheryl Chase (2002)\r\n'
 ' Tara Strong (commercials)\r\n'
 ' Sandy Fox (commercials)\r\n'
 ' Cindy Robinson (official)\r\n'
 ' \r\n'
 '\r\n'
 'Betty Boop is an animated cartoon character created by Max Fleischer, with '
 'help from animators including Grim Natwick. She originally appeared in the '
 'Talkartoon and Betty Boop film series, which were produced by Fleischer '
 'Studios and released by Paramount Pictures. She has also been featured in '
 'comic strips and mass merchandising. Despite having been toned down in the '
 'mid-1930s to appear more demure, she became one of the most well-known and '
 'popular cartoon characters in the world.\r\n'
 ' \r\n'
 "Betty Boop in Betty Boop's Bamboo Isle (1932) \r\n"
 'Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy '
 "Dishes;[5] the sixth installment in Fleischer's Talkartoon series. Although "
 'Clara Bow is often given as being the model for Boop,[7] she actually began '
 'as a caricature of singer Helen Kane. The character was originally created '
 'as an anthropomorphic French poodle.[8]\r\n'
 ' \r\n'
 'Max Fleischer finalized Betty Boop as a human character in 1932, in the '
 'cartoon Any Rags. Her floppy poodle ears became hoop earrings, and her black '
 "poodle nose became a girl's button-like nose. Betty Boop appeared as a "
 'supporting character in 10 cartoons as a flapper girl with more heart than '
 'brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew" – '
 'derived from the 1930 Helen Kane film Dangerous Nan McGrew – usually serving '
 'as a girlfriend to studio star, Bimbo.\r\n'
 ' \r\n'
 "Betty's voice was first performed by Margie Hines, and was later performed "
 'by several different voice actresses, including Kate Wright, Bonnie Poe, Ann '
 'Rothschild (aka Little Ann Little), and most notably, Mae Questel. Questel, '
 'who began voicing Betty Boop in 1931, continued with the role until her '
 'death in 1998. Today, Betty is voiced by Tress MacNeille and Tara Strong in '
 'commercials.\r\n'
 ' \r\n'
 "Although it has been assumed that Betty's first name was established in the "
 '1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely '
 "different character. Even though the song may have led to Betty's eventual "
 'christening, any reference to Betty Co-ed as a Betty Boop vehicle is '
 'incorrect although the official Betty Boop website describes the titular '
 'character as a "prototype" of Betty. There are at least 12 Screen Songs '
 'cartoons that featured Betty Boop or a similar character. Betty appeared in '
 'the first "Color Classic" cartoon Poor Cinderella, her only theatrical color '
 'appearance in 1934. In the film, she was depicted with red hair as opposed '
 'to her typical black hair. Betty also made a cameo appearance in the feature '
 'film Who Framed Roger Rabbit (1988), in which she appeared in her '
 'traditional black and white and was voiced by Mae Questel.\r\n'
 ' \r\n'
 'Betty Boop was the star of the Talkartoons by 1932 and was given her own '
 'series that same year, beginning with Stopping the Show. From that point on, '
 'she was crowned "The Queen of the Animated Screen." The series was popular '
 'throughout the 1930s, lasting until 1939.\r\n'
 ' \r\n'
 '[edit] As a sex symbol\r\n'
 ' \r\n'
 'Betty Boop is regarded as one of the first and most famous sex symbols on '
 'the animated screen;[9][10] she is a symbol of the Depression era, and a '
 'reminder of the more carefree days of Jazz Age flappers. Her popularity was '
 'drawn largely from adult audiences, and the cartoons, while seemingly '
 'surreal, contained many sexual and psychological elements, particularly in '
 'the "Talkartoon," Minnie the Moocher, featuring Cab Calloway and his '
 'orchestra.\r\n'
 ' \r\n'
 "Minnie the Moocher defined Betty's character as a teenager of a modern era, "
 'at odds with the old world ways of her parents. In the cartoon, after a '
 'disagreement with her parents, Betty runs away from home, accompanied by her '
 'boyfriend Bimbo, only to get lost in a haunted cave. A ghostly walrus '
 "(rotoscoped from live-action footage of Calloway), sings Calloway's famous "
 'song "Minnie the Moocher", accompanied by several other ghosts and '
 'skeletons. This haunting performance sends the frightened Betty and Bimbo '
 'back to the safety of home. "Minnie the Moocher" served as a promotion for '
 "Calloway's subsequent stage appearances and also established Betty Boop as a "
 'cartoon star. The eight Talkartoons that followed all starred Betty, leading '
 'her into her own series beginning in 1932. With the release of Stopping the '
 'Show (August 1932), the Talkartoons were replaced by the Betty Boop series, '
 'which continued for the next seven years.[11]\r\n'
 ' \r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 'Betty\'s signature "Pen and Ink" song theme (nine-second clip) \r\n'
 'Betty Boop was unique among female cartoon characters because she '
 'represented a sexualized woman. Other female cartoon characters of the same '
 'period, such as Minnie Mouse, displayed their underwear or bloomers '
 'regularly, in the style of childish or comical characters, not a fully '
 "defined woman's form. Many other female cartoons were merely clones of their "
 'male co-stars, with alterations in costume, the addition of eyelashes, and a '
 'female voice. Betty Boop wore short dresses, high heels, a garter, and her '
 'breasts were highlighted with a low, contoured bodice that showed cleavage. '
 'In her cartoons, male characters frequently try to sneak peeks at her while '
 "she's changing or simply going about her business. In Betty Boop's Bamboo "
 'Isle, she does the hula wearing nothing but a lei, strategically placed to '
 'cover her breasts, and a grass skirt. This was repeated in her first cameo '
 'appearance in Popeye the Sailor (1933). There was, however, a certain '
 'girlish quality to the character. She was drawn with a head more similar to '
 "a baby's than an adult's in proportion to her body. This suggested the "
 'combination of girlishness and maturity that many people saw in the flapper '
 'type, which Betty represented.\r\n'
 ' \r\n'
 'While the character was kept pure and girl-like onscreen, compromises to her '
 "virtue were a challenge. The studio's 1931 Christmas card featured Betty in "
 'bed with Santa Claus, winking at the viewer. Also in 1931, the Talkartoons '
 'The Bum Bandit and Dizzy Red Riding Hood were given distinctly "impure" '
 'endings. Officially, Betty was only 16 years old, according to a 1932 '
 "interview with Fleischer (although in The Bum Bandit, she's portrayed as a "
 "married woman with many children, and also has an adult woman's voice, "
 'rather than the standard "boop-boop-a-doop" voice).\r\n'
 ' \r\n'
 'Attempts to compromise her virginity were reflected in Chess-Nuts (1932) and '
 'most importantly in Boop-Oop-a-Doop (1932). In Chess-Nuts, the Black King '
 'goes into the house where Betty is and ties her up. When she rejects him, he '
 'pulls her out of the ropes, drags her off to the bedroom and says, "I will '
 'have you." The bed, however, runs away and Betty calls for help through the '
 'window. Bimbo comes to her rescue, and she is saved before anything happens. '
 'In Boop-Oop-a-Doop, Betty is a high-wire performer in a circus. The '
 'villainous ringmaster lusts for Betty as he watches her from below, singing '
 '"Do Something," a song previously performed by Helen Kane. As Betty returns '
 'to her tent, the ringmaster follows her inside and sensually massages her '
 "legs, surrounds her, and threatens her job if she doesn't submit. This is "
 'perhaps one of the earliest portrayals of sexual harassment on the animated '
 'screen, and was very daring at a time when such subject matter was '
 'considered taboo. Betty pleads with the ringmaster to cease his advances, as '
 'she sings "Don\'t Take My Boop-Oop-A-Doop Away." Koko the Clown is '
 'practicing his juggling outside the tent, and overhears the struggle inside. '
 'He leaps in to save Betty, struggling with the ringmaster, who loads him '
 'into a cannon and fires it. Koko, who remained hiding inside the cannon, '
 "knocks the ringmaster out cold with a mallet, and inquires about Betty's "
 'welfare, to which she answers in song, "No, he couldn\'t take my '
 'boop-oop-a-doop away"\r\n'
 ' \r\n'
 '[edit] Helen Kane lawsuit\r\n'
 ' \r\n'
 'In May 1932, Helen Kane filed a $250,000 infringement lawsuit against Max '
 'Fleischer and Paramount Publix Corporation for the "deliberate caricature" '
 'that produced "unfair competition", exploiting her personality and image. '
 'While Kane had risen to fame in the late 1920s as "The Boop-Oop-A-Doop '
 'Girl," a star of stage, recordings, and films for Paramount, her career was '
 'nearing its end by 1931. Paramount promoted the development of Betty Boop '
 "following Kane's decline. The case was brought in New York in 1934. Although "
 "Kane's claims seemed to be valid on the surface, it was proven that her "
 'appearance was not unique. Both Kane and the Betty Boop character bore '
 'resemblance to Paramount top-star Clara Bow. On April 19, Fleischer '
 'testified that Betty Boop purely was a product of the imaginations of '
 'himself and detailed by members of his staff.[12][13]\r\n'
 ' \r\n'
 "The most significant evidence against Kane's case was her claim as to the "
 'uniqueness of her singing style. Testimony revealed that Kane had witnessed '
 'an African American performer, Baby Esther, using a similar vocal style in '
 'an act at the Cotton Club nightclub in Harlem, some years earlier. An early '
 'test sound film was also discovered, which featured Baby Esther performing '
 "in this style, disproving Kane's claims. Supreme Court Judge Edward J. "
 'McGoldrick ruled: "The plaintiff has failed to sustain either cause of '
 'action by proof of sufficient probative force". In his opinion, the "baby" '
 'technique of singing did not originate with Kane.[14]\r\n'
 ' \r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 'The Hays Code–safe Betty appears with comic strip character Henry in Betty '
 'Boop with Henry, the Funniest Living American (1935) \r\n'
 '[edit] Under the Production Code\r\n'
 ' \r\n'
 "Betty Boop's best appearances are considered to be in her first three years "
 'due to her "Jazz Baby" character and innocent sexuality, which was aimed at '
 'adults. However, the content of her films was affected by the National '
 'Legion of Decency and the Production Code of 1934. The Production Code of '
 '1934 imposed guidelines on the Motion Picture Industry and placed specific '
 'restrictions on the content films could reference with sexual innuendos. '
 'This greatly affected the Betty Boop cartoons.\r\n'
 ' \r\n'
 'The transformation from pre-Code to post-Code \r\n'
 'No longer a carefree flapper, from the date the code went into effect on '
 'July 1, 1934, Betty became a husbandless housewife/career girl, who wore a '
 'fuller dress or skirt. Right from the start, Joseph Breen, the new head film '
 'censor, had numerous complaints. The Breen Office ordered the removal of the '
 "suggestive introduction, which had started the cartoons because Betty Boop's "
 'winks and shaking hips were deemed "suggestive of immorality." For a few '
 'entries, Betty was given a boyfriend, Freddie, who was introduced in She '
 'Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, '
 "beginning with Betty Boop's Little Pal (1934). The following year saw the "
 'addition of the eccentric inventor Grampy, who debuted in Betty Boop and '
 'Grampy (1935).\r\n'
 ' \r\n'
 'While these cartoons were tame compared to her earlier appearances, their '
 'self-conscious wholesomeness was aimed at a more juvenile audience, which '
 'contributed to the decline of the series. Much of the decline was due to the '
 "lessening of Betty's role in the cartoons in favor of her co-stars. This was "
 "a similar problem experienced during the same period with Walt Disney's "
 'Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars '
 "Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, "
 'Popeye.[15]\r\n'
 ' \r\n'
 'Being largely a musical novelty character, the animators attempted to keep '
 "Betty's cartoons interesting by pairing her with popular comic strip "
 'characters such as Henry, The Little King and Little Jimmy hoping to create '
 'an additional spin-off series with her pairing with Popeye in 1933. However, '
 'none of these films generated a new series. While the period that Betty '
 'represented had been replaced by the big bands of the swing era, Fleischer '
 'Studios made an attempt to develop a replacement character in this style, in '
 'the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a '
 'success.\r\n'
 ' \r\n'
 'The last Betty Boop cartoons were released in 1939, and a few made attempts '
 'to bring Betty into the swing era. In her last appearance, Rhythm on the '
 'Reservation, (1939). Betty drives an open convertible labeled, "Betty '
 'Boop\'s Swing Band," through a Native American reservation, where she '
 'introduces the people to swing music and creates a "Swinging Sioux Band." '
 'The Betty Boop cartoon series officially ended with one more 1939 entry, Yip '
 'Yip Yippy, which was actually a Boop-less one shot cartoon.\r\n'
 ' \r\n'
 '[edit] TV and DVD\r\n'
 ' \r\n'
 "In 1955, Betty's 110 cartoon appearances were sold to television syndicator "
 'UM&M TV Corporation, which was acquired by National Telefilm Associates '
 '(NTA) in 1956. NTA was reorganized in the 1980s as Republic Pictures, which '
 'is presently a subsidiary of Viacom, the parent company of Paramount. '
 "Paramount, Boop's original home studio (via sister company Republic), now "
 'acts as a theatrical distributor for the Boop cartoons that they originally '
 'released. Television rights are now handled by Trifecta Entertainment & '
 'Media, which in 2009 took over from CBS Television Distribution, successor '
 'to various related companies, including Worldvision Enterprises, Republic, '
 'and NTA.\r\n'
 ' \r\n'
 'Betty Boop appeared in two television specials, The Romance of Betty Boop in '
 '1985,[16] which was produced by Lee Mendelson and Bill Melendez, the same '
 "creative team behind the Peanuts specials; and 1989's The Betty Boop Movie "
 'Mystery[17] and both specials are available on DVD as part of the Advantage '
 'Cartoon Mega Pack. She has made cameo appearances in television commercials '
 'and the 1988 feature film Who Framed Roger Rabbit. While television revivals '
 'were conceived, nothing has materialized from the plans.\r\n'
 ' \r\n'
 'While the animated cartoons of Betty Boop have enjoyed a remarkable '
 'rediscovery over the last 30 years, official home video releases have been '
 "limited to the VHS and LaserDisc collector's sets in the 1990s. In spite of "
 'continued interest, no official DVD releases have occurred to date. '
 '(Lionsgate Home Entertainment, under license from Republic, owns the video '
 'rights to the Boop cartoons). The only DVDs of the series are ones '
 'distributed by budget distributors containing episodes that have fallen into '
 'public domain. Ironically, the image of Betty Boop has gained more '
 'recognition through the massive merchandising license launched by the heirs '
 "of Max Fleischer, with audiences today unaware of Betty's place in cinema "
 'and animation history.\r\n'
 ' \r\n'
 'On March 23, 2012 Olive Films announced plans to release in DVD and Blu-ray '
 'formats the 66 Betty Boop cartoons which are not in the public domain, under '
 'exclusive license from Paramount/Republic.[citation needed]\r\n'
 ' \r\n'
 '[edit] Comic strips\r\n'
 ' \r\n'
 'The Betty Boop comic strip by Bud Counihan (assisted by Fleischer staffer '
 'Hal Seeger) was distributed by King Features Syndicate from 1934 to 1937. '
 'From 1984 to 1988, a revival strip with Felix the Cat, Betty Boop and Felix, '
 "was produced by Mort Walker's sons Brian, Neal, Greg, and Morgan.[18]\r\n"
 ' \r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 "Bud Counihan's Betty Boop (October 23, 1934) \r\n"
 '[edit] Current status\r\n'
 ' \r\n'
 "Betty Boop's films found a new audience when Paramount sold them for "
 'syndication in 1955. U.M.&M. and National Telefilm Associates were required '
 'to remove the original Paramount logo from the opening and closing as well '
 'as any references to Paramount in the copyright line on the main titles. '
 'However, the mountain motif remains on some television prints, usually with '
 'a U.M.&M. copyright line, while recent versions have circulated with the '
 'Paramount-Publix reference in cartoons from 1931.\r\n'
 ' \r\n'
 'The original "Betty Boop" cartoons were in black and white. As newer product '
 'made for television began to appear, her cartoons were soon retired, '
 'particularly with the general proliferation of color television in the '
 '1960s. Betty\'s film career saw a major revival in the release of "The Betty '
 'Boop Scandals of 1974," and became a part of the post 1960s counterculture '
 'movement. NTA attempted to capitalize on this with a new syndication '
 'package, but there was no market for cartoons in black and white. As an '
 'answer, they had them cheaply remade in Korea, but were unable to sell them '
 'due largely to sloppy production that belied the quality of the originals. '
 'Unable to sell them to television, they assembled a number of the color '
 'cartoons in compilation feature titled Betty Boop for President to '
 'capitalize on the 1976 election, but it saw no major theatrical release. It '
 'resurfaced in 1981 on HBO under the title Hurray for Betty Boop.\r\n'
 ' \r\n'
 'It was the advent of home video that created an appreciation for films in '
 'their original versions, and Betty was rediscovered again in Beta and VHS '
 'versions. The ever expanding cable television industry saw the creation of '
 'American Movie Classics, which showcased a selection of the original black '
 'and white "Betty Boop" cartoons in the 1990s, which led to an eight volume '
 'VHS and LV set, "Betty Boop, the Definitive Collection." To date, no '
 'official DVD releases have been made in spite of the tremendous interest. In '
 'spite of this, the Internet Archive currently hosts 22 Betty Boop cartoons '
 'that are public domain.\r\n'
 ' \r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 '\r\n'
 'A display of Betty Boop collectibles \r\n'
 'Marketers rediscovered Betty Boop in the 1980s, and "Betty Boop" merchandise '
 'has far outdistanced her exposure in films, with many not aware of her as a '
 'cinematic creation. Much of this current merchandise features the character '
 'in her popular, sexier form, and has become popular worldwide once again. '
 'The 1980s, rapper, Betty Boo (whose voice, image and name were influenced by '
 'the cartoon character) rose to popularity in the UK largely due to the '
 '"Betty Boop" revival.\r\n'
 ' \r\n'
 'There were brief returns to the theatrical screen. In 1988, Betty appeared '
 'after a 50 year absence with a cameo in the Academy Award-winning film Who '
 'Framed Roger Rabbit. In 1993, producers Steven Paul Leiva ("Space Jam") and '
 'Jerry Rees, best known for writing and directing The Brave Little Toaster, '
 'began production on a new Betty Boop feature film for The Zanuck Company and '
 "Metro-Goldwyn-Mayer. The script by Rees detailed Betty's rise in Hollywood "
 'in the Golden Age of Hollywood. It was to be a musical with music and lyrics '
 'by jazzman Bennie Wallace. Wallace had completed several songs and '
 'seventy-five percent of the film had been storyboarded, when, two weeks '
 'before voice recording was to begin with Bernadette Peters as Betty, the '
 'head of MGM, Alan Ladd, Jr., was replaced by Frank Mancuso, and the project '
 'was abandoned.\r\n'
 ' \r\n'
 'Ownership of the Boop cartoons has changed hands over the intervening '
 'decades due to a series of corporate mergers, acquisitions and divestitures '
 '(mainly involving Republic Pictures and the 2006 corporate split of parent '
 'company Viacom into two separate companies). As of 2008, Lions Gate Home '
 'Entertainment (under license from Paramount) holds home video rights and '
 'Trifecta retains television rights. The "Betty Boop" character and trademark '
 'is currently owned by Fleischer Studios, with the merchandising rights '
 'licensed to King Features Syndicate.\r\n'
 ' \r\n'
 'The Betty Boop series continues to be a favorite of many critics, and the '
 "1933 Betty Boop cartoon Snow White (not to be confused with Disney's 1937 "
 'film Snow White and the Seven Dwarfs) was selected for preservation by the '
 "U.S. Library of Congress in the National Film Registry in 1994. Betty Boop's "
 'popularity continues well into present day culture, with references '
 "appearing in the comic strip Doonesbury, where the character B.D.'s busty "
 'girlfriend/wife is named "Boopsie" and the animated reality TV spoof Drawn '
 'Together, where Betty is the inspiration for Toot Braunstein. A Betty Boop '
 'musical is in development for Broadway, with music by David Foster.\r\n'
 ' \r\n'
 'Betty was parodied on Animaniacs in "Girl With The Googily Goop", with the '
 'Boop character called "Googy". The episode, which was made predominantly in '
 'black-and-white and has not been released on DVD, is also a parody of Red '
 "Riding Hood, with the girl having to go to her grandma's house and ending up "
 'being kidnapped.\r\n'
 ' \r\n'
 'In 2010, Betty Boop became the official fantasy cheerleader for the upstart '
 'United Football League. She will also be featured in merchandise targeted '
 "towards the league's female demographic.[19]\r\n"
 ' \r\n'
 'According to Playbill.com, a musical based on Betty Boop is "in the works", '
 'with music by David Foster and book by Oscar Williams and Sally Robinson. No '
 'dates, theatre or cast are listed.[20]\r\n')
'COMM:MusicMatch_Mood:\x00\x00\x00'                 'Mellow'
'COMM:MusicMatch_Preference:\x00\x00\x00'           'Very Good'
'COMM:MusicMatch_Situation:\x00\x00\x00'            'None'
'COMM:MusicMatch_Tempo:\x00\x00\x00'                'Moderate'
'TALB' (Album/Movie/Show title)                     'Film Clip'
'TBPM' (BPM (beats per minute))                     '115.326'
'TCON' (Content type, a.k.a. Genre)                 'prerock-jb-jazz-unsorted'
'TDRC' (Recording time)                             '1930'
'TIT2' (Title/songname/content description)         'I Love Myself'
'TKEY' (Initial key)                                '9A'
'TLEN' (Length)                                     '206000'
'TPE1' (Lead performer(s)/Soloist(s))               'Betty Boop (Helen Kane)'
'TRCK' (Track number/Position in set)               '00'
'TXXX:Q-HAP'                                        '3'
'TXXX:Q-HHRNBTT'                                    '1'
'TXXX:Q-JZFKS'                                      '2'
'TXXX:Q-LOCALNESS'                                  '2'
'TXXX:Q-OLDST'                                      '1'
'TXXX:Q-UNU'                                        '1'
'TXXX:q-bass'                                       '1'
'TXXX:q-busy'                                       '2'
'TXXX:q-chart'                                      '2'
'TXXX:q-drums'                                      '1'
'TXXX:q-grit'                                       '1'
'TXXX:q-mixbeat'                                    '1'
'TXXX:q-other'                                      '3'
'TXXX:q-piano'                                      '1'
'TXXX:q-play'                                       '2'
'TXXX:q-syn'                                        '1'
'TXXX:q-vocals'                                     '4'
'TXXX:replaygain_track_gain'                        '+1.45 dB'
'TXXX:replaygain_track_peak'                        '0.518101'

========================== row from database ==========================
                                              'id'  978337
                                            'path'  /data/Music/Bulk/00blues-jazz-exotica-oldies-country/Helen Kane - misc/Helen Kane - I Love Myself.mp3
                                         'working'  None
                                         'bitrate'  128
                                    'duration_sec'  206
                                           'genre'  prerock-jb-jazz-unsorted
                                        'filesize'  3344146
                                           'mtime'  1620529959
                                   'redo_metaread'  0
                                        'rest_str'   00blues jazz exotica oldies country misc prerock jb jazz unsorted
                                      'tag_artist'  Betty Boop (Helen Kane)
                                     'tag_release'  Film Clip
                                       'tag_title'  I Love Myself
                                             'bpm'  115.326
                                    'search_title'  'i':1 'love':2 'myself':3
                                   'search_artist'  'betty':1 'boop':2 'helen':3,4 'kane':5,6
                                  'search_release'  'clip':2 'film':1
                                     'search_rest'  'country':4 'exotica':2 'jazz':1 'jb':7 'misc':5 'oldies':3 'prerock':6 'unsorted':8
                                    'search_combo'  'betty':4B 'boop':5B 'clip':11C 'country':15 'exotica':13 'film':10C 'helen':6B,7B 'i':1A 'jazz':12 'jb':18 'kane':8B,9B 'love':2A 'misc':16 'myself':3A 'oldies':14 'prerock':17 'unsorted':19
                                    'tag_tracknum'  None
                                      'num_images'  0
                                             'key'  9A
                                           'quals'  ['Q-HHRNBTT-1', 'q-vocals-4', 'Q-LOCALNESS-2', 'q-piano-1', 'q-mixbeat-1', 'q-play-2', 'Q-OLDST-1', 'Q-UNU-1', 'Q-JZFKS-2', 'q-busy-2', 'q-drums-1', 'q-syn-1', 'q-chart-2', 'q-other-3', 'Q-HAP-3', 'q-bass-1', 'q-grit-1']
                                      'lastfmtags'  []
                                        'tag_date'  1930
                                     'discogstags'  []

============================== file details ==============================
                                           'mtime'  1620529958.6817963  (2021-05-09 05:12:38)
                             'size'  3344146