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Rotaxane

A rotaxane is a mechanically interlocked molecular architecture consisting of a dumbbell-shaped molecule which is threaded through a macrocycle (see graphical representation). The two components of a rotaxane are kinetically trapped since the ends of the dumbbell (often called stoppers) are larger than the internal diameter of the ring and prevent dissociation (unthreading) of the components since this would require significant distortion of the covalent bonds.

Much of the research concerning rotaxanes and other mechanically interlocked molecular architectures, such as catenanes, has been focused on their efficient synthesis or their utilization as artificial molecular machines. However, examples of rotaxane substructure have been found in naturally occurring peptides, including: cystine knot peptides, cyclotides or lasso-peptides such as microcin J25.

Synthesis
The earliest reported synthesis of a rotaxane in 1967 relied on the statistical probability that if two halves of a dumbbell-shaped molecule were reacted in the presence of a macrocycle that some small percentage would connect through the ring. To obtain a reasonable quantity of rotaxane, the macrocycle was attached to a solid-phase support and treated with both halves of the dumbbell 70 times and then severed from the support to give a 6% yield. However, the synthesis of rotaxanes has advanced significantly and efficient yields can be obtained by preorganizing the components utilizing hydrogen bonding, metal coordination, hydrophobic forces, covalent bonds, or coulombic interactions. The three most common strategies to synthesize rotaxane are "capping", "clipping", and "slipping", though others do exist. Recently, Leigh and co-workers described a new pathway to mechanically interlocked architectures involving a transition-metal center that can catalyse a reaction through the cavity of a macrocycle.

Capping
Synthesis via the capping method relies strongly upon a thermodynamically driven template effect; that is, the "thread" is held within the "macrocycle" by non-covalent interactions, for example rotaxinations with cyclodextrin macrocycles involve exploitation of the hydrophobic effect. This dynamic complex or pseudorotaxane is then converted to the rotaxane by reacting the ends of the threaded guest with large groups, preventing disassociation.

Clipping
The clipping method is similar to the capping reaction except that in this case the dumbbell shaped molecule is complete and is bound to a partial macrocycle. The partial macrocycle then undergoes a ring closing reaction around the dumbbell-shaped molecule, forming the rotaxane.

Slipping
The method of slipping is one which exploits the thermodynamic stability of the rotaxane. If the end groups of the dumbbell are an appropriate size it will be able to reversibly thread through the macrocycle at higher temperatures. By cooling the dynamic complex, it becomes kinetically trapped as a rotaxane at the lower temperature.

Snapping
Snapping involves two separate parts of the thread, both containing a bulky group. one part of the thread is then threaded to the macrocycle, forming a semi rotaxane, and end is closed of by the other part of the thread forming the rotaxane.

"Active template" methodology
Leigh and co-workers recently began to explore a strategy in which template ions could also play an active role in promoting the crucial final covalent bond forming reaction that captures the interlocked structure (i.e., the metal has a dual function, acting as a template for entwining the precursors and catalyzing covalent bond formation between the reactants).

Molecular machines
Rotaxane-based molecular machines have been of initial interest for their potential use in molecular electronics as logic molecular switching elements and as molecular shuttles. These molecular machines are usually based on the movement of the macrocycle on the dumbbell. The macrocycle can rotate around the axis of the dumbbell like a wheel and axle or it can slide along its axis from one site to another. Controlling the position of the macrocycle allows the rotaxane to function as a molecular switch, with each possible location of the macrocycle corresponding to a different state. These rotaxane machines can be manipulated both by chemical and photochemical inputs. Rotaxane based systems have also been shown to function as molecular muscles. In 2009, there was a report of a "domino effect" from one extremity to the other in a Glycorotaxane Molecular Machine. In this case, the 4C1 or 1C4 chair-like conformation of the mannopyranoside stopper can be controlled, depending on the localization of the macrocycle. In 2012, unique pseudo-macrocycles consisting of double-lasso molecular machines (also called rotamacrocycles) were reported in Chem. Sci. These structures can be tightened or loosened depending on pH. A controllable jump rope movement was also observed in these new molecular machines.

Ultrastable dyes
Potential application as long-lasting dyes is based on the enhanced stability of the inner portion of the dumbbell-shaped molecule. Studies with cyclodextrin-protected rotaxane azo dyes established this characteristic. More reactive squaraine dyes have also been shown to have enhanced stability by preventing nucleophilic attack of the inner squaraine moiety. The enhanced stability of rotaxane dyes is attributed to the insulating effect of the macrocycle, which is able to block interactions with other molecules.

Nanorecording
In a nanorecording application, a certain rotaxane is deposited as a Langmuir–Blodgett film on ITO-coated glass. When a positive voltage is applied with the tip of a scanning tunneling microscope probe, the rotaxane rings in the tip area switch to a different part of the dumbbell and the resulting new conformation makes the molecules stick out 0.3 nanometer from the surface. This height difference is sufficient for a memory dot. It is not yet known how to erase such a nanorecording film.

Nomenclature
Accepted nomenclature is to designate the number of components of the rotaxane in brackets as a prefix. Therefore, the a rotaxane consisting of a single dumbbell-shaped axial molecule with a single macrocycle around its shaft is called a [2]rotaxane, and two cyanostar molecules around the central phosphate group of dialkylphosphate is a [3]rotaxane.

title: Rotaxane


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Molecular electronics

Molecular electronics is the study and application of molecular building blocks for the fabrication of electronic components. It is an interdisciplinary area that spans physics, chemistry, and materials science. The unifying feature is use of molecular building blocks to fabricate electronic components. Due to the prospect of size reduction in electronics offered by molecular-level control of properties, molecular electronics has generated much excitement. It provides a potential means to extend Moore's Law beyond the foreseen limits of small-scale conventional silicon integrated circuits.

Molecular scale electronics
Molecular scale electronics, also called single-molecule electronics, is a branch of nanotechnology that uses single molecules, or nanoscale collections of single molecules, as electronic components. Because single molecules constitute the smallest stable structures possible, this miniaturization is the ultimate goal for shrinking electrical circuits.

Conventional electronic devices are traditionally made from bulk materials. Bulk methods have inherent limits, and are growing increasingly demanding and costly. Thus, the idea was born that the components could instead be built up atom by atom in a chemistry lab (bottom up) as opposed to carving them out of bulk material (top down). In single-molecule electronics, the bulk material is replaced by single molecules. That is, instead of creating structures by removing or applying material after a pattern scaffold, the atoms are put together in a chemistry lab. The molecules used have properties that resemble traditional electronic components such as a wire, transistor, or rectifier. This concept of using a molecule as a traditional electronic component was first presented by Aviram and Ratner in 1974, when they proposed a theoretical molecular rectifier composed of donor and acceptor sites which are insulated from one another.

Single-molecule electronics is an emerging field, and entire electronic circuits consisting exclusively of molecular sized compounds are still very far from being realized. However, the continuous demand for more computing power, together with the inherent limits of the present day lithographic methods make the transition seem unavoidable. Currently, the focus is on discovering molecules with interesting properties and on finding ways to obtain reliable and reproducible contacts between the molecular components and the bulk material of the electrodes.

Molecular electronics operates at distances less than 100 nanometers. Miniaturization down to single molecules brings the scale down to a regime where quantum mechanics effects are important. In contrast to the case in conventional electronic components, where electrons can be filled in or drawn out more or less like a continuous flow of electric charge, the transfer of a single electron alters the system significantly. The significant amount of energy due to charging has to be taken into account when making calculations about the electronic properties of the setup and is highly sensitive to distances to conducting surfaces nearby.

One of the biggest problems with measuring on single molecules is to establish reproducible electrical contact with only one molecule and doing so without shortcutting the electrodes. Because the current photolithographic technology is unable to produce electrode gaps small enough to contact both ends of the molecules tested (in the order of nanometers) alternative strategies are put into use. These include molecular-sized gaps called break junctions, in which a thin electrode is stretched until it breaks. One of the way to over come the gap size issue is by trapping molecular functionalized nanoparticles (internanoparticle spacing is match able to the size of molecules) and later target molecule by place exchange reaction. Another method is to use the tip of a scanning tunneling microscope (STM) to contact molecules adhered at the other end to a metal substrate. Another popular way to anchor molecules to the electrodes is to make use of sulfur's high chemical affinity to gold; though useful, the anchoring is non-specific and thus anchors the molecules randomly to all gold surfaces, and the contact resistance is highly dependent on the precise atomic geometry around the site of anchoring and thereby inherently compromises the reproducibility of the connection. To circumvent the latter issue, experiments have shown that fullerenes could be a good candidate for use instead of sulfur because of the large conjugated π-system that can electrically contact many more atoms at once than a single atom of sulfur. The shift from metal electrodes to semiconductor electrodes allows for more tailored properties and thus for more interesting applications. There are some concepts for contacting organic molecules using semiconductor-only electrodes, for example by using indium arsenide nanowires with an embedded segment of the wider bandgap material indium phosphide used as an electronic barrier to be bridged by molecules.

One of the biggest hindrances for single-molecule electronics to be commercially exploited is the lack of means to connect a molecular sized circuit to bulk electrodes in a way that gives reproducible results. Also problematic is that some measurements on single molecules are done at cryogenic temperatures, near absolute zero, which is very energy consuming.

History
The first time in history molecular electronics are mentioned was in 1956 by the German physicist Arthur Von Hippel, who suggested a bottom-up procedure of developing electronics from atoms and molecules rather than using prefabricated materials, an idea he named molecular engineering. However the first breakthrough in the field is considered by many the article by Aviram and Ratner in 1974. In this article named Molecular Rectifiers, they presented a theoretical calculation of transport through a modified charge-transfer molecule with donor acceptor groups that would allow transport only in one direction, essentially like a semiconductor diode. This was a breakthrough that inspired many years of research in the field of molecular electronics.

Molecular materials for electronics

The biggest advantage of conductive polymers is their processability, mainly by dispersion. Conductive polymers are not plastics, i.e., they are not thermoformable, yet they are organic polymers, like (insulating) polymers. They can offer high electrical conductivity but have different mechanical properties than other commercially used polymers. The electrical properties can be fine-tuned using the methods of organic synthesis and of advanced dispersion.

The linear-backbone polymers such as polyacetylene, polypyrrole, and polyaniline are the main classes of conductive polymers. Poly(3-alkylthiophenes) are the archetypical materials for solar cells and transistors.

Conducting polymers have backbones of contiguous sp2 hybridized carbon centers. One valence electron on each center resides in a pz orbital, which is orthogonal to the other three sigma-bonds. The electrons in these delocalized orbitals have high mobility when the material is doped by oxidation, which removes some of these delocalized electrons. Thus the conjugated p-orbitals form a one-dimensional electronic band, and the electrons within this band become mobile when it is emptied partly. Despite intensive research, the relationship between morphology, chain structure, and conductivity is poorly understood yet.

Due to their poor processability, conductive polymers have few large-scale applications. They have some promise in antistatic materials and have been built into commercial displays and batteries, but have had limits due to the production costs, material inconsistencies, toxicity, poor solubility in solvents, and inability to directly melt process. Nevertheless, conducting polymers are rapidly gaining attraction in new uses with increasingly processable materials with better electrical and physical properties and lower costs. With the availability of stable and reproducible dispersions, poly(3,4-ethylenedioxythiophene) (PEDOT) and polyaniline have gained some large-scale applications. While PEDOT is mainly used in antistatic applications and as a transparent conductive layer in the form of PEDOT and polystyrene sulfonic acid (PSS, mixed form: PEDOT:PSS) dispersions, polyaniline is widely used to make printed circuit boards, in the final finish, to protect copper from corrosion and preventing its solderability. Newer nanostructured forms of conducting polymers provide fresh impetus to this field, with their higher surface area and better dispersability.

Recently supramolecular chemistry has been introduced to the field, which provide new opportunity for developing next generation of molecular electronics. For example, two orders of magnitude current intensity enhancement was achieved by inserting cationic molecules into the cavity of pillar[5]arene.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Molecular electronics


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User:AstroNomer

es:Usuario:AstroNomo

Capitalization oldwiki style of Astronomer, referring to one of the first contributors to Wikipedia.

I started, long ago, the Astronomy and astrophysics page later renamed to Astronomy, and I was responsible for its overall structure and most of its content. I have made or added to several related pages, both in physics and astronomy and other areas.

I actually created the page wikipediholic.

(P.S.: I'm mostly cured now, sadly...)

The pages to which I had contributed have changed so much that there isn't much sense in listing them.

title: User:AstroNomer


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User:Clifford Adams

Cliff is the author of the UseMod wiki clone. Wikipedia used the UseMod software from its public announcement in January 2001 until January 2002. Cliff has always loved encyclopedias, and was glad he could help the Wikipedia project.

Cliff is also a winner of the Third Annual Obfuscated Perl contest. See his former home page on Meatball for more information.

CliffordAdams is a hero to me for helping us with this project, and for his excellent software. --Jimbo Wales

title: User:Clifford Adams


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1097

Year 1097 (MXCVII) was a common year starting on Thursday (link will display the full calendar) of the Julian calendar.

First Crusade

 * Spring – The Crusaders under Godfrey of Bouillon attack the Byzantine imperial palace at Blachernae. Norman forces led by Bohemond I join the Crusaders – he is not welcome in Constantinople because his father, Robert Guiscard, has invaded Illyria (territory belonging to the Byzantine Empire), and captured the cities of Dyrrhachium and Corfu (see 1084).
 * May 14 – Siege of Nicaea: The Crusaders begin their campaign with the siege of Nicaea (the capital of the Sultanate of Rum), assigning their forces to different sections of the walls, which are well-defended with 200 towers. Towards the end, an advance party of the Seljuk Turks is defeated by troops of Raymond IV (Saint-Gilles) and Robert II.
 * June 19 – The Seljuk Turks surrender Nicaea to the Crusaders after a month siege. The Byzantines occupy the city; their commander Manuel Boutoumites is named by Emperor Alexios I (Komnenos) as doux of Nicaea. In the consternation the Crusaders are not allowed to plunder the city and are forced (again) to pledge their allegiance to Alexios.
 * July 1 – Battle of Dorylaeum: The Crusaders defeat a Seljuk army led by Kilij Arslan I, ruler of the Sultanate of Rum, who wants revenge for the capture of Nicaea. During the battle many Crusaders are killed but the Seljuk Turks are forced to flee and abandon their tents and treasure after being surprised by the arrival of a second Crusader army.
 * October 21 – Siege of Antioch: The Crusaders arrive outside the city and begin the siege. They can not impose a complete blockade on Antioch. The Seljuk garrison comes out of the city to harass Crusader siege-lines and intercept supply convoys (supported by a Genoese fleet of 12 galleys) from Saint Symeon and Alexandretta (modern Turkey).
 * December 31 – Battle of Harenc: The Crusaders under the command of Bohemond I and Robert II defeat Seljuk forces from Aleppo, which try to relieve besieged Antioch.

Europe

 * April/May – Battle of Gvozd Mountain: In an attempt to win the crown of the Kingdom of Croatia, the Hungarian army crosses the Drava River and invades Croatia. King Peter II of Croatia moves his residency at Knin Castle to defend his kingdom. The two armies meet each other near Gvozd Mountain (modern-day Mala Kapela). After a fierce battle Peter, the last Croatian king, is defeated and killed by the Hungarians.
 * Summer – Almoravid forces launch a new campaign in Al-Andalus (modern Spain). Sultan Yusuf ibn Tashfin, leader of the Almoravid Empire, is honored with the title of Amir al Muslimin ("Commander of the Muslims").
 * August 15 – Battle of Consuegra: The Castilian and Leonese army (30,000 men) of King Alfonso VI (the Brave) is defeated by Almoravid forces (10,000 men) near the Castle of Consuegra.

Scotland

 * King Donald III (the Fair) is deposed by his nephew Edgar (who is supported by King William II) after a 4-year reign. Edgar (nicknamed Probus, "the Valliant") becomes ruler of Scotland (until 1107).

England

 * William II orders the construction of Westminster Hall near Westminster Abbey in London. The hall is designed to hold banquets, ceremonies and coronations that take place in the Abbey nearby.

Religion

 * October – Anselm, archbishop of Canterbury, goes into exile. Conflicts between him and William II result in Anselm leaving England and heading for Rome. William confiscates Anselm's land.

Births

 * March 15 – Fujiwara no Tadamichi, Japanese nobleman (d. 1164)
 * November 5 – André de Montbard, French nobleman (d. 1156)
 * Abu al-Najib Suhrawardi, Persian scholar and Sufi (d. 1168)
 * Abu'l-Hasan Bayhaqi, Persian polymath and official (d. 1169)
 * Cecile of France, French princess and countess of Tripoli (d. 1145)
 * Conrad I (the Great), margrave of Meissen (approximate date) (d. 1157)
 * Muhammad Buzurg Ummid, Persian ruler of Alamut (d. 1162)
 * Zhang Jun, Chinese general and grand chancellor (d. 1164)

Deaths

 * June 6 – Agnes of Aquitaine, queen of Aragon and Navarre
 * June 16 – Wen Yanbo, Chinese grand chancellor (b. 1006)
 * August 15 – Diego Rodríguez, Castilian nobleman
 * August 20 – Albert Azzo II, margrave of Milan and Liguria
 * November 6 – Heonjong, Korean king of Goryeo (b. 1084)
 * Baldwin Chauderon, French nobleman and crusader
 * Florine of Burgundy, French noblewoman and crusader (b. 1083)
 * Herman of Hauteville, Norman nobleman and crusader
 * Marpa Lotsawa, Tibetan Buddhist teacher (b. 1012)
 * Minamoto no Tsunenobu, Japanese nobleman (b. 1016)
 * Muhya bint Al-Tayyani, Andalusian female poet
 * Odo of Bayeux, Norman nobleman and bishop
 * Peter II, king of Croatia (see Battle of Gvozd Mountain)
 * Sweyn the Crusader, Danish nobleman and crusader

title: 1097


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The Stone Roses

The Stone Roses were an English rock band formed in Manchester, England in 1983. They were one of the pioneering groups of the Madchester movement in the late 1980s and early 1990s. The band's classic and most prominent lineup consisted of vocalist Ian Brown, guitarist John Squire, bassist Mani, and drummer Reni.

The Stone Roses released their debut album, The Stone Roses, in 1989. The album was a breakthrough success for the band, receiving widespread critical acclaim, and is regarded by many as one of the greatest British albums ever recorded. Following this success, the band sought to capitalize on their newfound fame by signing with a major label. However, their record label at the time, Silvertone, would not let them out of their contract, leading to a lengthy legal battle that culminated with the band signing with Geffen Records in 1991.

The Stone Roses released their second album, Second Coming, in 1994, which received mixed reviews. The group soon disbanded after several lineup changes throughout the supporting tour, which began with Reni departing in early 1995, followed by Squire in April 1996. Brown and Mani dissolved the remains of the group in October 1996 following their appearance at the Reading Festival.

Following much media speculation, The Stone Roses announced their reunion on 18 October 2011 and embarked on a world tour in 2012, including three homecoming shows in Heaton Park, Manchester. Plans to record a third album were also floated, but only two singles were released. In June 2012, Chris Coghill, the writer of the film Spike Island, revealed that the band "have at least three or four new tracks recorded". In June 2013, a documentary about the band's reformation, directed by Shane Meadows and titled The Stone Roses: Made of Stone, was released.

In 2016, The Stone Roses released their first new material in two decades. The band continued to tour until June 2017, at which point cryptic remarks by Brown indicated that the band had split again. This was later confirmed in a 2019 interview with Squire.

The Stone Roses are celebrated for their contribution to the Madchester scene and their lasting impact on British rock music, influencing a generation of bands that followed.

Formation (1983–1984)
Ian Brown (initially the bassist) and guitarist John Squire, who knew each other from Altrincham Grammar School for Boys, formed a short-lived Clash-inspired band, The Patrol, in 1980 along with singer/guitarist Andy Couzens and drummer Simon Wolstencroft. They played several gigs in 1980 and recorded a demo tape, but towards the end of that year, they decided on a change of direction. During their last Patrol show, Brown had a taste of being a frontman, singing Sweet's "Block Buster!" to close the set. Pete Garner, a friend and roadie, stood in on bass while Couzens wanted to focus on guitar.

In 1981, the band members lost enthusiasm. Brown sold his bass guitar to buy a scooter, and Wolstencroft joined Johnny Marr and Andy Rourke's pre-The Smiths band Freak Party. Squire continued to practice guitar while working as an animator for Cosgrove Hall during the day, while Brown ran a Northern soul night in a Salford club.

Squire and Couzens started a new band, the Fireside Chaps, with bassist Gary "Mani" Mounfield, later recruiting a singer named David "Kaiser" Carty and drummer Chris Goodwin. They changed their name to the Waterfront (UK band) (after the film On the Waterfront), their sound influenced by 1960s groups and contemporary bands such as Orange Juice. Goodwin left before the band recorded their first demo and, shortly after it, Squire asked Brown to join as singer. A meeting with Geno Washington at a party at Brown's flat in Hulme, in which Washington told Brown that he would be a star and should be a singer, convinced Brown to take Squire up on his offer. Brown joined the Waterfront in late 1983, for a time sharing vocals with Kaiser (Dave Carty).

Like the earlier attempts at bands, the Waterfront fizzled out. In late 1983, Couzens decided to try again by starting a band and approached Brown. They decided on Wolstencroft (who had turned down the job of drummer in The Smiths) as drummer and Pete Garner as bassist (despite his admission that he could not play anything but "Block Buster!"). They also decided that they needed Squire in the band, and when he agreed the band's lineup was cemented. Leaving their previous bands behind, they worked solely on new material. Brown's vocal limitations prompted him to take singing lessons for three weeks. After rehearsing for some time without a band name, Squire came up with "The Stone Roses". Several stories later emerged suggesting that the band had initially been called "English Rose" or that the name was somehow linked to The Rolling Stones. These stories were untrue, Brown explaining: "No, I don't know where that English Rose story came from. John thought up the name 'Stone Roses' - something with a contrast, two words that went against each other". The band rehearsed for six months, during which time Wolstencroft had been auditioning for other bands, and he left to join Terry Hall's band The Colourfield. They got Goodwin to rejoin, but he lasted for only one rehearsal, so they advertised for a replacement and began auditioning, eventually recruiting Alan "Reni" Wren in May 1984.

After rehearsing and writing songs over the summer, they recorded their first demo in late August, making 100 cassettes with artwork by Squire, and set about trying to get gigs. They played their first gig as the Stone Roses on 23 October 1984, supporting Pete Townshend at an anti-heroin concert at the Moonlight Club in London. Brown had sent a demo with an accompanying letter: "I'm surrounded by skagheads, I wanna smash 'em. Can you give us a show?". The show was seen by journalists including Sounds' Garry Johnson, who arranged to interview the band a few weeks later. The band received management offers and more gigs soon followed.

Howard (Ginger) Jones, who had recently left his job as director and general manager of the Haçienda, producer Martin Hannett and Tim Chambers agreed to work with the band on an album, setting up Thin Line Records to release it. Jones took on management of the band, although they had already made a similar agreement with Caroline Reed in London. The band got their first positive press in late December, with Johnson tipping them for success in 1985 in Sounds Magazine. A feature on the band followed in January.

Early Tour and Releases (1985–1988)
The band played their first headlining gig on 4 January 1985, supported by Last Party, after original headliners Mercenary Skank had pulled out. They had their first recording session with Martin Hannett in January 1985 at Strawberry Studios in Stockport, aiming to record tracks for a debut single and an album. Further sessions followed in March, during which they recorded their debut single, the double A-side "So Young"/"Tell Me". The band were invited to play a live session on Piccadilly Radio in March, premiering a new song, "I Wanna Be Adored". Tony Michaelides (aka Tony the Greek) from the station arranged for five local bands to play at Dingwalls in London on 8 February: Glee Company, Communal Drop, Fictitious Names, Laugh, and the Stone Roses. Mark Radcliffe, another Piccadilly DJ, was compère for the night. By this time, the Stone Roses had started to build a sizeable following in Manchester. Their first gig in the North of England, at Clouds in Preston, attracted a large audience and descended into a riot after technical problems and friction between the bands on the bill.

The Roses embarked on a tour of Sweden in April, with their first gig in Manchester following their return, at International 1, a venue run by future Stone Roses managers Matthew Cummins and Gareth Evans. A performance at a warehouse party on 20 July helped to build interest in the band, and in August they returned to the studio to record their debut album. Unhappy with the results and with the band's sound changing, it was shelved (later released as Garage Flower). The "So Young"/"Tell Me" single, however, was released on Thin Line Records in September.

Frustrated with the lack of attention they were getting locally, they engaged in a graffiti campaign, with Ian Brown and Reni spraying the band's name on walls from West Didsbury to the city center. This brought them negative publicity but added to their increasing notoriety. In 1986, they began working on new material, including "Sally Cinnamon", and the planned follow-up singles to "So Young" ("I Wanna Be Adored" and "This Is the One") were shelved. They parted company with Howard Jones and took on Gareth Evans as manager, using Evans' International 1 venue as their new rehearsal space. Around this time, the band played several UK tour dates, including 11 August 1986 at the Mardi Gras club in Liverpool with local promoter and record label owner Ken Kelly and his band Innervision, at which several record company executives would be in attendance.

As Brown and John Squire began collaborating more closely on songwriting, they decided to take a larger slice of the money than the other band members. Andy Couzens and Reni left the band in protest, although they soon returned. Couzens played an ill-fated gig with the band at the end of May before being pushed out of the band by Evans after flying home alone while the rest of the band returned in their van. Although they failed to achieve further success in 1986, their repertoire expanded to include songs such as "Sugar Spun Sister", influenced by bands like The Jesus & Mary Chain and the indie-pop era Primal Scream ("Velocity Girl" being a major influence on "Made of Stone"), and they stopped playing the older songs.

In December 1986, they recorded their first demo as a four-piece, including the first studio recordings of "Sugar Spun Sister" and "Elephant Stone". In early 1987, Evans negotiated a deal with Black/FM Revolver for a one-off release on the specially created Black Records label. By the time of the release of the single "Sally Cinnamon", the group's sound had changed considerably, with chiming guitar hooks and a strong melody, alienating some of their old fans but attracting many new ones. "Sally Cinnamon" sold out its 1,000-copy run but failed to make the desired impact.

In June, Pete Garner announced that he had decided to leave the band, although he stayed until they found a replacement. He played his final gig with the band at the 'Larks in the Park' festival in Liverpool. Rob Hampson was Garner's replacement, with Garner teaching him the bass parts before leaving, although Hampson lasted only a week. A more permanent replacement was found in the form of former Waterfront bassist Mani, who played his first gig with the band in November 1987. Brown recalled, "When Mani joined it almost changed overnight. It became a totally different groove ... Straight away, everything just fell into place".

In early 1988, the band played at Dingwalls in London, a show attended by representatives of Zomba and Rough Trade's Geoff Travis, and both subsequently wanted to sign the band. Rough Trade even funded studio time to record a single, "Elephant Stone", with Peter Hook producing. Hook was considered to produce an album for the band but was unavailable due to commitments with New Order, so Travis suggested John Leckie. In May, the band played a high-profile concert at Manchester's International II with James, organized by Dave Haslam to raise funds for a campaign against Clause 28. The band attempted to usurp James by putting up posters around town listing the Stone Roses as headliners and delaying their start time to get the headline slot themselves and limit the time that James could play for. In the audience was a sixteen-year-old Liam Gallagher, who was inspired to form a band himself. Noel Gallagher also stated that he was inspired to do the same by attending one of their gigs. Also in the audience was Glaswegian Roddy McKenna, A&R executive with Zomba, who later signed the band to the label. He asked if they could be transferred internally to Andrew Lauder's newly created guitar-based Silvertone Records subsidiary. The band signed an eight-album deal, buying the "Elephant Stone" tapes from Rough Trade and releasing them as a single in October 1988.

The band were co-managed by Matthew Cummins, who died in 2007 following an accident. DJ Dave Booth was also influential in the band's early days, supporting their live performances at warehouse parties.

Debut album and breakthrough success (1989–1991)
In 1988 and early 1989 the Stone Roses recorded their debut album at Battery Studios and Konk Studios in London and Rockfield Studios in Wales, produced by Leckie. The first single for Silvertone, "Elephant Stone", made little impact, and in early 1989 the band's performances outside the north-west were still attracting small audiences. "Made of Stone" received more press attention and was picked up for airplay by DJ Richard Skinner on his late night Radio One show, but peaked at number ninety on the UK Singles Chart. The Stone Roses was released in April  / May 1989,  initially to mostly positive reviews, and entered the UK Albums Chart at number 32 in mid-May, the highest position it would reach that year. This was followed with the single "She Bangs the Drums", which gave them a top forty UK hit, and a number one on the UK Independent Chart, and by that point they were receiving much greater press attention and were selling out shows across the country. The band gained widespread notoriety when, one minute into a live 1989 TV performance on the BBC's The Late Show, the power failed, prompting Ian Brown to repeatedly squeal "Amateurs!" at Tracey MacLeod. Later in 1989 the band released a double A-side single, "Fools Gold/What the World Is Waiting For", which reached number eight on the UK Singles Chart in November. Originally intended as a B-side, "Fools Gold" quickly became the Roses' most famous song and a performance of it on Top of the Pops cemented their national fame. It gave them their first top ten hit and the album rose to number nineteen in the chart early the following year.

Their biggest headline gigs in 1989 were to 4,000 people at Blackpool's Empress Ballroom on Saturday 12 August and to 7,000 people at London's Alexandra Palace on Saturday 18 November. The former of these was released as a live video in 1991 and later on YouTube.

The group won four NME Readers poll awards that year; Band of the Year, Best New Band, Single of the Year (for "Fools Gold") and Album of the Year (for their debut album). The Stone Roses is now considered one of the greatest British albums, although the band themselves were unhappy with the sound on the album, Squire describing it as "twee" and not "fat or hard enough". Ian Brown was quoted in NME in December 1989 as saying "We're the most important group in the world, because we've got the best songs and we haven't even begun to show our potential yet."

The Stone Roses' outdoor concert at Spike Island in Widnes on 27 May 1990 was attended by some 27,000 people, the support acts included; DJs Dave Haslam, Paul Oakenfold, Frankie Bones, Dave Booth, a Zimbabwean drum orchestra, and the reggae artist Gary Clail. The event, considered a failure at the time due to sound problems and bad organisation, has become legendary over the years as a "Woodstock for the baggy generation". In mid-2010 footage of the concert was published on YouTube.

By July the band had released their final single for Silvertone, "One Love", which reached number four in the UK Singles Chart, their highest placing yet. It was to be the Roses' last original release for four years as they entered a protracted legal battle to terminate their five-year contract with Silvertone, unhappy with how they had been paid by the label. Silvertone owners Zomba Records took out an injunction against the band in September 1990 to prevent them from recording with any other label, but in May 1991 the court sided with the group, which was then released from its contract. The Stone Roses subsequently signed with Geffen Records (garnering a million-pound advance for their next record) and began work on their second album. However, Silvertone appealed against the ruling, delaying the record for another year.

Second Coming and breakup (1992–1996)
Following the court case the Stone Roses separated themselves from Manchester's club culture and spent much of 1992 and 1993 travelling in Europe before starting work on their second album in mid-1993. Progress was slow, hampered by Brown's and Squire's new fatherhood and the death of several people close to the band. John Leckie ultimately left the project as the band would not sign a production contract. Afterwards the Stone Roses assumed production duties with engineer Simon Dawson at Rockfield Studios in Wales, where they spent 347 ten-hour days working on the album.

The Stone Roses finally released the album, Second Coming, on 5 December 1994. Mostly written by John Squire, the music now had a shady, heavy blues rock sound, dominated by Squire's guitar riffs and solos. "Love Spreads" reached number two on the UK Singles Chart. Second Coming received a mixed reception from the British press, which music journalist Simon Reynolds attributed to "the resentment that the Roses, divorced from the cultural moment that gave them meaning, were now just another band".

In March 1995, just two weeks before a tour in support of Second Coming was due to begin, Reni exited the band, following a disagreement with Ian Brown. A replacement drummer was found in Robbie Maddix, who had previously worked with Rebel MC. Also recruited around this time for the live shows was session-keyboardist/programmer Nigel Ippinson, who had previously played with the band on the "Chic Remix" re-working of "Begging You" for its release as a single. A secret "come-back" tour of the UK was planned for April 1995 but cancelled after the music press announced the dates. A major blow was the cancellation of their engagement at the Glastonbury Festival in June 1995. John Squire had suffered a mountain-biking accident in northern California weeks before the show, breaking his collarbone. The band finally organised a full UK tour for November and December 1995 and all dates sold out in a day.

John Squire announced his departure on 1 April 1996, releasing a statement saying it was: "the inevitable conclusion to the gradual social and musical separation that we have undergone in the past few years". Simply Red's 1987/88 tour guitarist Aziz Ibrahim, a former classmate of Pete Garner's at Burnage High School, was recruited as a replacement. The band continued for another six months, but there was a noticeable deterioration in the quality of its public performances after Squire's loss, and at Benicassim Festival and the Reading Festival Brown's voice was described as "so off-key it was excruciating to have to listen". The music press was united in its criticism, the NME describing "I Am the Resurrection" as "more like the eternal crucifixion". Brown and Mani dissolved the group in October 1996.

Post-Roses (1997–2010)
Ian Brown, John Squire and Mani have all had successful careers since the Roses' breakup. Squire formed the Seahorses, who released one album before breaking up, as well as releasing two solo albums. In 2007 he told a reporter that he was giving up music for good to focus on his career as a painter. Brown has released seven solo albums, a remixes and a greatest hits collection all but one of which have charted in the top 5 of the UK Albums Chart. Mani joined Primal Scream as bassist in 1996 and remained in the band until the Stone Roses reunited.

Reni remained inactive for the most part after the Roses' breakup. He started a new band, The Rub, in 1999, and played several gigs but nothing has been heard of The Rub since. In an interview in 2005 he said he was writing new songs to perform with Mani.

Rumours of a reunion surfaced and were dismissed repeatedly in the time between the break-up and the eventual reunion.

The 20th-anniversary edition of the band's debut album was released in August 2009, remastered by John Leckie and Ian Brown, including a collectors' box-set edition and the previously unreleased song "Pearl Bastard".

Reunion, new material and second disbandment (2011–2017)
After the newspaper The Sun published a story on 14 October 2011 citing that the Roses had signed for a series of gigs across the UK, rumours again began to circulate. The NME reported that Alan 'Reni' Wren had responded to these rumours, contacting them with a cryptic message that read: "Not before 9T will I wear the hat 4 the Roses again". On 17 October, Dynamo told The Sun that Brown had confirmed the reunion by saying that the band were "ready to take the world by storm", and that Brown had sent him a text message with the words "It's happening". On 18 October 2011, the Stone Roses announced at a press conference the end of a fifteen-year split. An "extensive" Reunion Tour of the world, starting in Warrington, for a low-key warm-up show, was scheduled. However, the main attractions of the tour were three homecoming shows at Heaton Park, Manchester, on 29–30 June and 1 July 2012 plus one show in Dublin's Phoenix Park on 5 July 2012. In a press conference interview, the members of the Stone Roses said they had plans to record a third album. 150,000 tickets for the two Heaton Park shows sold out in 14 minutes, with the band then announcing a third show at the venue to be held on 1 July 2012. They then announced a show would take place in Ireland, with Ian Brown saying "After Manchester, Ireland is always next on our list". The first leg of the tour would consist of two warm-up gigs in Barcelona in early June and then shows in the Netherlands, Sweden, Denmark, Hungary, Germany and France.

On 2 December 2011, Ian Brown and John Squire performed together live for the first time since 1995. They joined Mick Jones from the Clash, the Farm and Pete Wylie at the Manchester Ritz in aid of the Justice for Hillsborough campaign. They performed on versions of the Clash's "Bankrobber" and "Armagideon Time" as well as the Stone Roses' "Elizabeth My Dear". On 23 May 2012, the Stone Roses held their first public concert since their reunion, playing an 11-song set before 1000 fans at Parr Hall in Warrington. The show, which was only announced that afternoon, was free to attend for those who brought a Stone Roses CD, LP or shirt with them.

On 26 November 2012, it was announced via the event's Facebook page that the band would play the Isle of Wight Festival in June 2013. The Stone Roses played at the Coachella Valley Music and Arts Festival on 12 and 19 April 2013. The Stone Roses also played at Finsbury Park, London on 7 and 8 June 2013 and Glasgow Green, Glasgow on 15 June 2013.

A documentary was planned for the Stone Roses' reunion, with film director Shane Meadows chosen to film it. The documentary, titled The Stone Roses: Made of Stone, received its world premiere at Trafford Park in Manchester on 30 May 2013 and was simultaneously broadcast live in many cinemas across the United Kingdom. It had its general release on 5 June 2013.

On 2 November 2015, the band announced two gigs at Manchester's City of Manchester Stadium on 17 and 18 June 2016 (a further two shows being added on 15 and 19 after these sold out), and a headline slot at the T in the Park 2016 festival on 8 July 2016 at Strathallan Castle, Scotland.

On 12 May 2016, the band released "All for One", their first new release in more than 20 years. A second single, titled "Beautiful Thing", was released on 9 June.

On 26 September 2016, the band announced three stadium gigs in the UK for 2017 - The SSE Arena in Belfast (Odyssey Complex) on 13 June, Wembley Stadium in London on 17 June and Hampden Park in Glasgow on 24 June. In December 2016, two more dates were added at the Leeds First Direct Arena on 20 and 21 June 2017.

On 24 June 2017, the Stone Roses played at Hampden Park in Glasgow. During the performance Ian Brown addressed the crowd with the statement: "Don't be sad that it's over, be happy that it happened," leading many to speculate that the performance would be their final concert. This would turn out to be true, as on 16 September 2019, Squire confirmed in an interview with The Guardian that the band had disbanded.

Musical style and influences
The Stone Roses' influences included garage rock, electronic dance music, krautrock, northern soul, punk rock, reggae, soul and artists such as The Beatles, The Rolling Stones, Simon and Garfunkel, The Smiths, The Byrds, Jimi Hendrix, Led Zeppelin, The Jesus and Mary Chain, Sex Pistols and The Clash.

The band were part of the Madchester music scene, a music scene that mixed alternative rock, psychedelic rock and electronic dance music.

The band went on to influence other artists, most notably Oasis and The Verve, of which Noel Gallagher was quoted in an interview saying "when I heard 'Sally Cinnamon' for the first time, I knew what my destiny was". Gallagher's brother and Oasis' lead singer Liam stated that they were the first band he saw live and that seeing them perform influenced him to become a singer. Kevin Cummins, photographer of the 18 November 1989 NME cover displaying The Stone Roses in blue paint, was reportedly told it was "the greatest NME cover of all time" by Liam Gallagher and Richard Ashcroft.

The band's single "This is the One" has been played before Manchester United home matches at Old Trafford since the early 2000s.

Relationship with the media
As John Robb commented: "The Stone Roses would stonewall the journalist[s]. With shy guffaws, muttered asides, dispassionate staring, foot-shuffling silences and complete mind-numbing gaps, punctuated by the odd piece of incisive home-spun philosophy from Brown, who occasionally hinted at a well-read mind. There would be complete silence from John Squire, witty banter from Reni, and Mani spouting off if he let his guard drop." However, Robb clarified they "were no fools when it came to the media". He concluded: "One feature of the band's career had been their ability to stay on the news pages of the rock press almost permanently for years on end, including the years when they did fuck all. And they did this by hardly saying anything at all."

Final members

 * Ian Brown – lead vocals, percussion (1983–1996, 2011–2017)
 * John Squire – lead guitar, backing vocals (1983–1996, 2011–2017)
 * Reni (Alan Wren) – drums, percussion, backing vocals (1984–1995, 2011–2017)
 * Mani (Gary Mounfield) – bass guitar (1987–1996, 2011–2017)

Former members

 * Pete Garner – bass (1983–1987; died 2023)
 * Andy Couzens – rhythm guitar, backing vocals (1983–1986)
 * Simon Wolstencroft – drums (1983–1984)
 * Rob Hampson – bass (1987)
 * Cressa (Stephen Cresser) – dancing (1989)
 * Robbie Maddix – drums, backing vocals (1995–1996)
 * Nigel Ipinson – keyboards, backing vocals (1995–1996)
 * Aziz Ibrahim – lead guitar (1996)

Discography

 * The Stone Roses (1989)
 * Second Coming (1994)

title: The Stone Roses


text:
Fatboy Slim

Norman Quentin Cook (born Quentin Leo Cook, 31 July 1963), better known as Fatboy Slim, is an English musician, DJ, and record producer who helped to popularise the big beat genre in the 1990s. In the 1980s, Cook was the bassist for the Hull-based indie rock band the Housemartins, who achieved a UK number-one single with their a cappella cover of "Caravan of Love". After the Housemartins split up, Cook formed the electronic band Beats International in Brighton, who produced the number-one single "Dub Be Good to Me". He then played in Freak Power, Pizzaman, and the Mighty Dub Katz with moderate success.

In 1996, Cook adopted the name Fatboy Slim and released Better Living Through Chemistry to critical acclaim. Follow-up albums You've Come a Long Way, Baby, Halfway Between the Gutter and the Stars, and Palookaville, as well as singles such as "The Rockafeller Skank", "Praise You", "Right Here, Right Now", "Weapon of Choice", and "Wonderful Night", achieved commercial and critical success. In 2008, Cook formed the Brighton Port Authority, a collaborative effort with a number of other established artists including David Byrne. He has been responsible for successful remixes for Cornershop, the Beastie Boys, A Tribe Called Quest, Groove Armada, and Wildchild.

It was reported in 2008 that Cook held the Guinness World Record for most top-40 hits under different names. As a solo act, he has won a Grammy Award, nine MTV Video Music Awards and two Brit Awards, and was nominated for the Tony Award for Best Original Score in 2024.

1963–1984: Early life and career beginnings
Cook was born in Bromley, Kent. He was raised in Reigate, Surrey, and educated at Reigate Grammar School, where he took violin lessons alongside future Prime Minister Keir Starmer.

He grew up with a love of music. When he was 14, his brother brought home the first album from the punk band The Damned, which turned him onto that genre; he started attending gigs at the Greyhound pub      in Park Lane, Croydon and playing in punk bands. He played drums in Disque Attack, a British new wave-influenced rock band. When frontman Charlie Alcock was told by his parents that he had to give up the band to concentrate on his O levels, Cook took over as lead vocalist. At The Railway Tavern in Reigate, Cook met Paul Heaton, with whom he formed the Stomping Pondfrogs.

At 18, Cook went to Brighton Polytechnic to read a B.A. in English, politics, and sociology, where he achieved a 2:1 in British Studies. He had begun DJing some years before, but it was at this time that he began to develop his skills in the thriving Brighton club scene, regularly appearing at the Brighton Belle and student favourite The Basement, where (then known as DJ Quentox) he began laying the base for Brighton's hip-hop scene.

1985–1995: The Housemartins to The Mighty Dub Katz
In 1985, Heaton formed a guitar band called the Housemartins. Their bassist left on the eve of their first national tour, so Cook agreed to move to Hull to join them. The band soon had a hit single, "Happy Hour", and their two albums, London 0 Hull 4 and The People Who Grinned Themselves to Death, peaked in the Top 10 of the UK Albums Chart. They also reached number one just before Christmas 1986 with a version of "Caravan of Love", originally a hit the year before for Isley-Jasper-Isley. By 1988 they split up. Heaton and the band's drummer Dave Hemingway went on to form The Beautiful South, while Cook moved back to Brighton to pursue his interest in the style of music he preferred. He started working with young studio engineer Simon Thornton, with whom he continues to make records. All of Cook's records since have involved both of them to varying degrees (Thornton is credited in 2004 as "Executive Producer", for example).

Cook achieved his first solo hit in 1989, "Blame It on the Bassline", featuring future Beats International member MC Wildski. Credited to "Norman Cook feat. MC Wildski", the song followed the basic template of what would become Beats International's style. It was a modest hit on the UK Singles Chart, reaching number 29.

Cook formed Beats International, a loose confederation of studio musicians including vocalists Lindy Layton and Lester Noel, rappers D.J. Baptiste and MC Wildski, and keyboardist Andy Boucher. Their first album, Let Them Eat Bingo, included the number one single "Dub Be Good to Me", which caused a legal dispute over allegations of copyright infringement through the liberal use of unauthorised samples: the bassline was lifted note for note from The Clash's "The Guns of Brixton" and the lyrics borrowed heavily from The S.O.S. Band's "Just Be Good to Me". Cook lost the case and was ordered to pay back twice the royalties made on the record, bankrupting him. The 1991 follow-up album Excursion on the Version, an exploration of dub and reggae music, failed to duplicate its predecessor's success as it did not chart.

Cook then formed Freak Power with horn player Ashley Slater and singer Jesse Graham. They released their debut album Drive-Thru Booty in 1994, which contained the single "Turn On, Tune In, Cop Out". Levi's used the song in a multimillion-dollar advertising campaign. In 1996, Cook rejoined Freak Power for their second album, More of Everything for Everybody.

Cook enlisted help from producer friends Tim Jeffery and JC Reid to create a house music album as Pizzaman. The 1995 Pizzamania album spawned three UK Top 40 hits: "Trippin' on Sunshine", "Sex on the Streets", and "Happiness". Del Monte Foods corporation used "Happiness" in a UK fruit juice ad. The videos for the three singles were directed by Michael Dominic.

Cook also formed the group The Mighty Dub Katz with Gareth Hansome (aka GMoney), his former flatmate. Together they started the Boutique Nightclub in Brighton, formerly known as the Big Beat Boutique. Their biggest song together was "Magic Carpet Ride".

1996–2008: Fatboy Slim

 * "We just got really, really drunk and wrote down a whole lot of names and then looked at them the next day and went, "that's the one." I really love old blues records. Really old, like pre-war blues. I love blues singers and a lot of them have really stupid names. There was like... Peetie Wheatstraw and Snooks Eaglin, Arthur Big Boy Crudup..."

Cook adopted a quasi-blues-style pseudonym Fatboy Slim in 1996. Cook said of the name: "It doesn't mean anything. I've told so many different lies over the years about it I can't actually remember the truth. It's just an oxymoron—a word that can't exist. It kind of suits me—it's kind of goofy and ironic."

The Fatboy Slim album and Cook's second solo album, Better Living Through Chemistry (released on Skint Records in the UK and Astralwerks in the US), contained the Top 40 UK hit "Everybody Needs a 303".

Fatboy Slim's next work was the single "The Rockafeller Skank", using a keyboard, a Roland TB-303, an Akai S-950 and an Atari ST, "the first computer to come with MIDI “In” and “Out/Thru” ports built into the casing", with C-Lab Creator ("later Notator Logic, which had been developed in Hamburg by a team led by former Steinberg programmer Gerhard Lengeling" sequencer and released before the album You've Come a Long Way, Baby, both of which were released in 1998. "Praise You", also from this album, was Cook's first UK solo number one. Its music video, starring Spike Jonze, won numerous awards. On 9 September 1999, he performed "Praise You" at the 1999 MTV Video Music Awards in New York City, and won three awards, including the award for Breakthrough Video.

In 2000, Fatboy Slim released his third studio album Halfway Between the Gutter and the Stars and featured two collaborations with Macy Gray and the track "Weapon of Choice", which also was made into an award-winning music video starring Christopher Walken. The album also included "Sunset (Bird of Prey)," whose socially significant video sampled the 1964 "Daisy Girl" campaign ad. At the 2001 MTV Video Music Awards in New York, Fatboy Slim won six awards for "Weapon of Choice", the most awards at the ceremony.

In 2003, he produced "Crazy Beat" and "Gene by Gene" from the Blur album Think Tank and in 2004, Palookaville was Cook's first studio album for four years.

Fatboy Slim's greatest hits album Why Try Harder was released on 19 June 2006. It consists of 18 tracks, including ten Top 40 singles, a couple of Number Ones, and two new tracks, "Champion Sound" and "That Old Pair of Jeans".

In 2006, Cook travelled to Cuba and wrote and produced two original Cuban crossover tracks for the album The Revolution Presents: Revolution, which was released by Studio ! K7 and Rapster Records in 2009. The tracks are "Shelter" (which featured longtime collaborator Lateef) and "Siente Mi Ritmo", featuring Cuba's female vocal group Sexto Sentido. The recordings took place at Cuba's EGREM Studios, home of the Buena Vista Social Club, and featured a band of young Cuban musicians, including Harold Lopez Nussa. Another track recorded during these sessions, "Guaguanco", was released separately under the Mighty Dub Katz moniker in 2006.

2008–2012: The Brighton Port Authority
The Brighton Port Authority debuted in 2008 with a collaboration with David Byrne and Dizzee Rascal titled "Toe Jam", along with a video featuring nude dancers with censor bars on them, making pictures and words with them.

The soundtrack album for the TV series Heroes also includes the Brighton Port Authority's track "He's Frank (Slight Return)" (a cover of a song by The Monochrome Set), with Iggy Pop as vocalist. The video for this track features a near life-size puppet of Iggy Pop. An alternative club version was released under the title "He's Frank (Washing Up)", with the video featuring some footage of Iggy Pop acting and saying lyrics.

The band's debut album, I Think We're Gonna Need a Bigger Boat, is the first to be co-produced by Cook's longtime engineer Simon Thornton, who also sings on one track. The album was released 6 January 2009 exclusively at Amazon.com on CD, with downloadable format and other stores scheduled for a month later on 3 February 2009.

In 2010 Cook released a mix album titled The Legend Returns as a covermount album in the June 2010 issue of Mixmag. He returned as Fatboy Slim when performing at Ultra Music Festival in Miami in March 2012.

On 12 August 2012 he performed “Rockefeller Skank” and “Right Here, Right Now” at the 2012 Summer Olympics Closing Ceremony, and on 1 September 2012 Cook performed at Brighton Pride.

2013–present: Return of Fatboy Slim
On 20 June 2013, Cook released his first charting Fatboy Slim single in seven years; "Eat, Sleep, Rave, Repeat" with Riva Starr and Beardyman. Supported by a remix from Scottish DJ Calvin Harris, the song topped the UK Dance Chart that year.

In 2015, Cook released a 15th anniversary edition of Halfway Between the Gutter and the Stars. This was supported with the release of miscellaneous remixes. In May 2015, Cook compiled The Fatboy Slim Collection, an album of songs used throughout his sets over the years.

In 2017, Fatboy Slim returned with his single "Where U Iz", released on 3 March. Later that year, he released another collaboration with Beardyman titled "Boom F**king Boom".

In 2018, a remix album from Australian artists of Cook's previous works was released, titled Fatboy Slim vs. Australia.

In June 2023, Cook played at Glastonbury Festival. He performed the song "Insomnia" by Faithless as a tribute to Maxi Jazz.

In June 2024, Fatboy Slim released a new single featuring vocalist Dan Diamond called "Role Model." It comes with a music video, his first in nearly 20 years, and it features many celebrities using deepfake technology such as David Bowie, Bill Murray, Muhammad Ali, and many others. ~

On 28th June 2024, Cook appeared at Glastonbury with Paul Heaton on the Pyramid Stage

Other works
Cook produced the single "Mama Do the Hump" by fellow Brighton band Rizzle Kicks released in December 2011 which peaked at number 2 in the charts.

Cook has been responsible for successful remixes for Cornershop, Beastie Boys, A Tribe Called Quest, and Wildchild. In 2008, he did a remix of the track "Amazonas" for the charity Bottletop.

Performances
On Saturday, 13 July 2002, Fatboy Slim played at the second of his free open-air concerts on Brighton Beach, the Big Beach Boutique II. Although organisers expected a crowd of around 60,000 people, the event instead attracted an estimated 250,000 who crammed the promenade and beach between Brighton's piers. Local police forced the event to end early amid safety concerns due to overcrowding. Shortly after the event there were two deaths, one due to a fall from the Upper Esplanade and one from a heart attack. After the show finished, major traffic congestion ensued throughout the Brighton area, with many caught in traffic jams until the morning.

In June 2005, Fatboy Slim filled the Friday night headline slot on the "Other Stage" at the Glastonbury Festival. In 2006, Fatboy Slim filled the Saturday headline slot at the Global Gathering festival at Long Marston Airfield in the English Midlands. He played a two-hour set, appearing in front of a visual stage set comprising video screens and 3D lighting. A fireworks display rounded off the show. Having been banned by police from playing in Brighton since 2002, Fatboy Slim was given permission in 2006 to play again in his home town. On 1 January 2007, he played to an audience of more than 20,000 fans along Brighton's seafront. Tickets to the event, titled "Fatboy Slim's Big Beach Boutique 3", were made available only to individuals with a BN postcode. The concert was deemed a "stunning success" by Sussex police, Fatboy Slim, and the crowd. The Cuban Brothers and David Guetta opened the concert. The next similar event, 'Big Beach Boutique 4', was held on 27 September 2008.

In 2008, Fatboy Slim played at the Glastonbury Festival again and headlined the O2 Wireless Festival and Rockness Festival. According to an NME interview, this may have been one of the last times he performed as Fatboy Slim, as he may now be focusing on his new band The Brighton Port Authority (BPA). Also in 2008, Fatboy Slim closed out the famed "Sahara" tent on Friday of the Coachella Valley Music Festival. His introduction included a Charlie and the Chocolate Factory opening that has been called of the most memorable Sahara performances ever.

In 2009, he toured Australia in the Good Vibrations Festival. Also in 2009, he played in Marlay Park, Dublin alongside David Guetta, Dizzee Rascal, and Calvin Harris, as well as one huge performance at the Sziget Festival in Budapest. He also performed at V Festival 2009.

At Glastonbury 2009, he played an unadvertised concert in the "pinball-machine" stage at trash city.

In 2010, Fatboy Slim headlined the east dance at Glastonbury Festival. On 18 June 2010, he performed in Cape Town, South Africa as part of the Cool Britannia FIFA World Cup music festival at the Cape Town International Convention Centre. He also performed in Naples on 15 July at the Neapolis Festival. On 30 May 2011, he performed as the headliner for Detroit's Movement Electronic Music Festival in Detroit, Michigan. On 25 September 2011, Fatboy Slim headlined the Terrace at Ibiza's famed Space Nightclub's We Love Sundays closing party. On 29 October 2011, Fatboy Slim opened at the San Francisco Bill Graham Civic Auditorium, following up on the 30th, closing out the Red Bulletin/Le PLUR Stage at the Voodoo Music Experience in New Orleans, Louisiana. On Saturday, 24 March 2012, Fatboy Slim performed a live DJ set on the main stage at Ultra Music Festival in Miami, Florida. In addition to his other 2011 performances, Fatboy Slim also played a headline gig at the Bestival on the Isle of Wight on 11 September.

In March 2012, Cook hosted a one-hour radio programme, titled On The Road To Big Beach Bootique 5, on XFM. It consisted of 10 shows.

He performed his famous "The Rockafeller Skank" (dubbed the 'Funk Soul Brother') at the closing ceremony for the 2012 Summer Olympics on top of a giant inflatable octopus, which emerged from the top of a party bus.

In 2013, Fatboy Slim played at Ultra Music Festival, Wavefront Music Festival, Exit Festival, Bestival, and Glastonbury Festival (as a special guest on the Wow! and Arcadia stages).

On 6 March 2013, Fatboy Slim played at the House of Commons in Westminster, London. This was the first time a DJ ever performed there, and the performance was in aid of the Last Night A DJ Saved My Life Foundation, which is aimed at "encouraging 16- to 25-year-olds to get more involved in their communities through grassroot initiatives and to raise awareness for community music projects".

In May 2014, Fatboy Slim played Coachella for a second time, again on the Sahara stage.

In December 2014, Fatboy Slim played three sold-out shows including The Warehouse Project in Manchester & O2 Brixton Academy, with supporting acts such as VAS LEON with Arthur Baker for Slam Dunk'd, and DJ Fresh.

On 15 May 2016, he played a private two-hour set "Baby Loves Disco" for preschool children and their parents during the festival Brighton Fringe holding.

At Glastonbury 2016, he played the John Peel stage for the first time.

In October 2019, Cook performed a mashup of his track "Right Here, Right Now" and Greta Thunberg's United Nations speech during a concert in Gateshead, England.

In May 2021, Cook performed at one of the first UK events in Liverpool, England as part of the government's trials to restart mass audience events.

In July 2022, Cook returned to Brighton beach for the 20th anniversary of Big Beach Boutique. He was joined by Carl Cox, Eats Everything, and others.

Legacy
Known as DJ Quentox (The OX that Rocks), Cook and DJ Baptiste started putting on youth club hip hop jams in Brighton, sowing the seeds of the city's flourishing hip hop scene today. These primitive 1980s block parties are recalled in the music documentary South Coast, which documents Brighton's cult hip hop scene from its grass roots to the present day. Cook was awarded a star on the city of Brighton's Walk of Fame, next to that of Winston Churchill. Q magazine named Fatboy Slim part of their "50 Bands to See Before You Die" list.

Personal life
Cook married TV personality Zoe Ball in 1999 at Babington House in Somerset. In January 2003, the couple separated, but three months later they reconciled. Their daughter Nelly May Lois premiered a DJ set as Fat Girl Slim with Camp Bestival during the COVID-19 pandemic to raise money for the Ellen MacArthur Cancer Trust and The Trussell Trust. They lived in Western Esplanade, Portslade, Hove. On 24 September 2016, Cook and Ball announced their separation after 18 years.

On 4 March 2009, Cook checked into a rehabilitation centre in Bournemouth to fight alcoholism. Due to an extended stay in the rehabilitation centre, his performance at Snowbombing, a week-long winter sports and music festival held in the Austrian ski resort of Mayrhofen, was cancelled, with the slot being filled by 2ManyDJs. Cook left the clinic at the end of March. As of 4 March 2019 he had not used drugs or alcohol for 10 years.

Cook has supported Brighton & Hove Albion since moving to Brighton in the late 1980s.

Collaborations
Bands
 * The Housemartins (Bassist; 1985–1988)
 * Rockaway Three (1988)
 * Double Trouble (1988–1990)
 * Beats International (1989–1992)
 * Pizzaman (1993–1997)
 * Freak Power (1993–1996)
 * Fried Funk Food (1995)
 * Mighty Dub Katz ("Magic Carpet Ride" dance song [1995] and "Work it, Work it")
 * The Brighton Port Authority (2008–present)

Discography
Studio albums
 * Better Living Through Chemistry (1996)
 * You've Come a Long Way, Baby (1998)
 * Halfway Between the Gutter and the Stars (2000)
 * Palookaville (2004)

Filmography
Cook appears in the documentary Tripping (1999) directed by Vikram Jayanti and written by Jeff Taupler about Ken Kesey and the Merry Pranksters. He appears as himself in the 2019 satire film Greed.

title: Fatboy Slim


text:
Talk:Minimal pair

Asian

Old talk
This article seems inconsistant about when to use [brackets] and when to use /slashes/. My psycholinguistics book says to use brackets for phones and and slashes for phonemes. Is there any reason not to follow this convention? --Ryguasu 22:09 Feb 28, 2003 (UTC)

 * English "let" + "lit" proves that phones /e/ and /i/ do in fact represent distinct phonemes [e] and [i].

I don't think these are the right symbols, at least if we're using IPA. The vowel in "let" should be /ε/, and that in "lit" should be /I/, no? Josh Cherry 00:55, 20 Oct 2003 (UTC)

 * That should be small capital I; otherwise you are correct. /e/ and /i/ distinguish "late" and "leet". -phma

 * Depends on what set of symbols you've chosen. Some sources for English choose "e", some choose "ɛ". Some choose "i" and "ɪ", some choose "iː" and "i", some choose "iː" and "ɪ". There's no universal agreement for how to use IPA for English. Hippietrail 07:13, 9 Mar 2004 (UTC)

 * but Wikipedia articles should be consistent with the International Phonetic Alphabet for English article (though that should mention such disagreement). Joestynes 12:20, 8 May 2005 (UTC)

mûre sounds like it comes from Latin morus, morula "mulberry". The mulberry and the blackberry look similar, but are unrelated. The blackberry is an aggregate of drupelets in the rose family; the mulberry is a cluster of individual fruits in the mulberry family, which also includes the fig. The blackberry and raspberry are in the same genus. -phma

cire and wax is not a minimal pair. Someone made I joke, I guess. --129.11.157.69 13:24, 21 Jun 2005 (UTC)
 * I suspect you're meant to read it vertically, so that cire and sûre are minimal pairs. Could someone add the IPAs? (I don't read French.) Felix the Cassowary 08:40, 22 Jun 2005 (UTC)

 * Sorry for the mess in history list (pressed some unknown buttton inadvertently). I have added the IPA transcriptions for the French examples. Since IPA is not a fixed pitch font, the layout became quite ugly. So I put the examples in tables instead. Could somebody convert the Hebrew examples to IPA? −Woodstone 20:28, 2005 Jun 22 (UTC)

I used on purpose the colon ":" instead of the true IPA "" lengthening symbol because the latter ruins alignment and no confusion is possible. The box containing the symbol is both higher and wider than is normal for the font size, leading to ugly wide horizontal spacing and lifting the line slightly up. −Woodstone 17:42, 2005 Jun 23 (UTC)

 * Woodstone, not everybody has an identical setup to yours in regards to fonts, OS, rendering system, and browser. We use the correct symbols here to help convince font makers etc of the need for them. In the meantime, the colon is the wrong symbol for people using cut & paste or search. Some solutions would be to fix the fonts used by the IPA template, or set a special font you know works for you for .IPA in your Monobook.css file or equivalent if you are using a different skin. — Hippietrail 05:50, 24 Jun 2005 (UTC)

Tonal distinction
I deleted the reference to Norwegian and Serbo-Croatian as Tonal_languages to de-emphasize the prominence. Indeed the page on Norwegian mentions tone but mainly prosodic as in other European languages, whereas the article on Serbo-Croatian doesn't mention it at all. On the other side most African languages use tone to a significant extent. Hirzel 14:52, 24 Jun 2005 (UTC)

IPA for all transcriptions
The transcription of Hebrew and one of the tables for Thai is orthographic rather than in IPA. Please apply IPA to all transcriptions, or it will be hard for those who aren't familiar with the language to understand the differences between the pronunciation. With IPA one will at least have a chance of getting it right.

Peter Isotalo 20:12, 9 July 2005 (UTC)

Done for Thai and Dutch. Who can do Hebrew? −Woodstone 13:20, July 10, 2005 (UTC)

Done. Aheppenh 19:05, 16 February 2006 (UTC)

Note on Spanish
The comment

In Spanish, [z] and [s] are both allophones of /s/ and [z] appears only before voiced consonants as in mismo /mizmo/.

is unclear for most Spanish speakers from Spain. Although [z] and [s] are allophones in Latin America and Andalucía, they are not in the rest of Spain.

Or am I getting it all wrong? Somebody please, an example in English of [z] and [s] if you think I am getting it wrong.

Nacho --Nachovaca 01:49, 17 August 2005 (UTC)

 * It's not saying that the sounds spelt z and s (and, for that matter, c before e/i) are the same sound: It's saying that Spanish doesn't distinguish between voiced and unvoiced alveolar fricatives, which are denoted in the IPA as [z] and [s]. A Spanish z (so I'm told) sounds like an English th, written in the IPA as [θ] (if s and z are distinguished). IPA [z] sounds like English S in advise or the Z in English size, zeal. IPA [s] sounds like English C in cell or the S in English size, seal. IPA [c] is a different sound again, but doesn't occur in English or to my knowledge Spanish. IPA sounds in square brackets basically always sound the same, no matter the language they're being used for (at least, they're meant to).

 * Is that clear? I can be bad at explaining things...

 * — Felix the Cassowary 04:46, 17 August 2005 (UTC)

 * Indeed z in most of Spain's spanish sounds like [&theta] but in Latin America and in Andalucia it is an allophone to s. IPA sound should do the trick. The point is the phrase in the beginning of this comment is imprecise.
 * Nachovaca 19:49, 26 September 2006 (UTC)nachovaca

Additions on limitations
Many of the recent additions on limitations of minimal pairs seem to be based on a misunderstanding of minimial pairs (e.g. the bit about other information is not relevant to determining the phonemes of a language; if it is regarded as a problem, it must go in Phoneme, because it is a problem of that concept not a tool used to determine the number). Perhaps I merely misunderstand the objection, in which case a reply and an expansion will make me happy.

More significantly, I think they need to be cited. I'm adding an Unreferencedsect template to it.

—Felix the Cassowary ( ɑe hɪː jɐ ) 14:29, 30 September 2005 (UTC)

Limitations and flaws of the minimal pair concept and method
The use of minimal pairs to determine phonemes does have its issues. Such a method has the profound weakness of circular logic: phonemes are used to delimit the semantic realm of language (lexical or higher level meaning), but semantic means (minimal pairs of words, such as 'light' vs. 'right' or 'pay' vs. 'bay') are then used to define the phonological realm.

Moreover, if phonemes and minimal pairs were such a precise tool, why would they result in such large variations of the sound inventories of languages (such as anywhere from 40-48 phonemes for counts of English)? Also, it is the case that most words (regardless of homophones like 'right' and 'write', or minimal pairs like 'right' and 'light')differentiate meaning on much more information than a contrast between two sounds.

Still yet another weakness is the very notion of 'minimal'. Minimal pairs of words often, upon closer phonetic analysis, contrast through more than one difference (so the term 'minimal pair' is itself a misnomer). For example, if we break phonemes down further into features, we can differentiate words that are supposed to contrast by one phoneme pair by more than one distinctive feature; however, features have proven even more difficult to delimit than phonemes but some demonstrably spread beyond one segment (which again confounds the very commonly held concept of the phoneme modelling and capturing phonology as a unified sound).

A final possibly fatal flaw of the minimal pair concept is that it is predicated on a psychological phenomemon called 'categorical perception', but categorical perception has been demonstrated as existing as an auditory phenomenon not exclusive to language, which problematizes it as a concept to use in determing a basic phonological unit for language processing and language acquisition.

 * The above may well be true, but should be formulated in an encyclopedic style, not as a retoric complaint. Perhaps it should also be moved to the Phoneme article. −Woodstone 21:23, 30 September 2005 (UTC)

You are free to re-write it in encyclopedic style yourself Woodstone. Imagine your philosophy of knowledge: it's knowledge so long as it is written in some ill-defined 'encyclopedic style'. And arguments like this at wiki are like a cancer. —Preceding unsigned comment added by 220.213.110.232 (talk) 08:37, 20 August 2008 (UTC)

Introduction
I've been told that minimal pairs can be made not only between words with distinct meaning, but between one word with a meaning, and a word without meaning. For example, if "abc" has one meaning, and "xbc" has no meaning, then "abc" and "xbc" are minimal pairs, and consequently "a" and "x" are phonemes, even if there are no minimal pairs of "a" and "x" where both words have meaning. Is that correct? Should the introduction of the article be changed to reflect that? Nikola 13:36, 11 November 2005 (UTC)

 * By definition for something to be a word it has to have a meaning (no matter how vague). There can be a sequence of letters, that is not a word, but there is no meaningful way of establishing its pronunciation, except by following to analogies to words that do exist. So using those non-words to define phonemes would lead to a circular reasoning, which does not lead to valid linguistic results. &minusWoodstone 09:50, 14 November 2005 (UTC)

 * Would you come to Talk:Montenegrin language and leave your comments, because there is dispute about that? Nikola 19:15, 15 November 2005 (UTC)

Well, then consider the same question asking about [abc] vs [xbc]? Where a,b,c and x are phones used by native speakers. Why do we actually need meaningful utterances? If you insist on meaning i can easily come up with some neologisms to give them meaning. If a native can distinguish the two utterances (no matter the meaning) we have a valid minimal pair, don't we? —Preceding unsigned comment added by 78.130.135.225 (talk) 23:38, 9 June 2008 (UTC)

Russian language
The Russian language example in 'Differentiating stress' section is bad or even invalid: the vowel 'u' is almost irreducible in normal speech. I would suggest an example with stressed/unstressed 'o', which perfectly and notably reduces to schwa and even to 'a', kind of doroga or some other, simpler word I cannot think of right now. mikka (t) 21:31, 22 November 2005 (UTC)

Hebrew language
The Hebrew examples in 'Differentiating consonants' are erroneous. These examples are from a reconstructed stage of medieval Hebrew, for which many of the details of pronunciation are uncertain, so they're not a very good choice for illustrating phonetic and phonological ideas. (Sure, they clarify the ideas, even if the facts are dubious, but why not clarify the ideas and at the same time use facts that are reliably accurate?!)

As for the details, */qɔːrɔːʔ/ never existed. This is so for two reasons: First, because at a time when the /ʔ/ was still pronounced (before /ʔ/ in syllable codas was dropped) the vowel /a/ in general had probably not lengthened to /aː/ and /aː/ had not yet shifted to /ɔː/, so this word was /qaraʔ/ or /qaːraʔ/, and second, if the /ʔ/ was still pronounced as a consonant in such a word the vowel before it would be /a/, just as in the other examples, and not /ɔː/. So /qaraʔ/ surely existed at an early stage, and later on /qaːraʔ/, and possibly /qɔːraʔ/, but surely */qɔːrɔːʔ/ never existed. Also, 'to see' was probably /lirʔoːθ/ with a short /i/, so there were two differences in the pronunciation of 'to see' and 'to shoot'. —The preceding unsigned comment was added by 129.49.217.85 (talk) 16:59, 14 December 2006 (UTC).

What minimal pairs can do, and what they can't

 * English "let" + "lit" proves that phones and  do in fact represent distinct phonemes  and.

No, it doesn't. It simply proves that the two do not have the same underlying representation. They could still be allophones of some other phonemes (maybe is the realization of  before ?), or a sequence of phonemes (maybe  is a coalescence of ?).

If this was true, the IPA chart for English would be missing (since "hue" vs. "who" proves it's a phoneme!). --Ptcamn 04:35, 16 January 2006 (UTC)
 * Same with in "a nice cold shower" vs. "an ice cold shower".  As I write this, I just had the former. ;) --  Denelson83  04:49, 22 July 2006 (UTC)
 * The ʔ would only appear if you emphasize "ice", and there are more differences. Better ecxample is: "Some mice" or "Some ice", wich is practically the same unless you stress the difference with an unnatural break. Qvasi 10:49, 3 November 2006 (UTC)

I agree completely that lit vs. let does not prove there is a vowel-based phoneme difference. There is proof that the two words contrast, but the location of that contrast in the words is not proved, but is an analytical construct, and what phonologists and phoneticians do is argue about the systm. In this case, they agree on the vowel distinction because it makes for a nice system. "minimal" is the big, big problem in the concept of minimal pair - it is impossible to provide a first minimal pair for an unanalysed language. The issue of "hue" vs. "who" is a case in point. The former word could either starts /hj/ or // - both of which are minimally different from "who" - but in the case of /hj/, where the use of the consonant symbol /j/ implies that the minimality is between /h/ in "who" and /hj/ in "hue", I could analyse the word as containing the diphthong /iu/, in which case the minimal difference is between the vowel /u/ and the vowel /iu/. In addition, some differences are only ever apparently minimal because of the abstract segmental transcription which is used, which hides the many phonetic differences between two words in favour of a single differnece. "Minimal" pair means a single difference in a an analytic description language, not a single difference in sound or articulation, so it must be made quite clear that this is an abstract, theory-led, phonological concept.

Minimal indistinguishables
What about minimal phone pairs that are indistinguishable by the target language speakers. They prove that the phones in question are part of the repertoire of one and the same phoneme, right? Thus, it's a way of determining the phone repertoire of phonemes. Do you think it's worth including this more explicit wording about determining phoneme constituent phones, in the article? —Preceding unsigned comment added by 78.130.135.225 (talk) 00:01, 10 June 2008 (UTC)

stress minimal pairs
For example, English record (noun) and record (verb) (and similar pairs) appear superficially not to be minimal pairs for stress because they differ in vowel quality as well.

What of insight and incite. The vowels are pretty much the same, just the stress is different. 22:26, 31 January 2009 (UTC) —Preceding unsigned comment added by 86.77.186.41 (talk)

Spanish, Portuguese, Romanian and Italian have many minimal pairs differing only in stress.

I disagree with Romanian having many of those. It certainly has some (the most commonly quoted is included in this article), but they're not very common. Stress isn't even marked when writing Romanian. Greek would be a much better example with many stress minimal pairs. —Preceding unsigned comment added by 129.177.44.101 (talk) 23:34, 6 November 2009 (UTC)

Sufficient not necessary?
Should some mention be made that since the existence of minimal pairs depends on vocabulary, there may happen not to be a minimal pair for a given pair of phone[me]s, and so its existence may be sufficient (barring any other caveats) but not necessary? — Preceding unsigned comment added by 163.1.19.175 (talk) 12:34, 6 December 2011 (UTC)

/qaraʔ/
Is there any currently-used traditional pronunciation of Hebrew in which this occurs? It seems quite unlikely to me, since glottal stops disappeared in this position historically rather early. AnonMoos (talk) 09:52, 4 December 2012 (UTC)
 * No, there isn't. I've just fixed it. 87.68.43.229 (talk) 10:40, 4 December 2012 (UTC)

Minimal Pair
I'm sorry to say that this article contains a lot of misunderstandings and confusions. The most important point is that if 'Minimal Pair' refers to anything at all, it is to a pair of words that differ in just one phonological item. In this article, we get a section called "Differentiations in English" that neatly sets out in a table some English minimal pairs with the two words set side by side. It seems to me that this table says all that needs to be said for English (though I would take issue with the discussion of the phonetic characteristics of /p/ and /b/, which I think are irrelevant here). However, lower down we get "Differentiating Vowels" and "Differentiating Consonants" with French examples. Here we no longer get minimal pairs, but sets of phonemic contrasts, including the opposition of the presence vs. absence of a consonant. There is in the phonological literature plenty of discussion of multiple oppositions and of oppositions with zero (this is mainly found in works of the Prague School and their later followers), but the examples given here, though interesting, do not show minimal pairs and should not be here. In the discussion of vowels we are told that the French front rounded vowels may sound alike to Anglophones - this is a non sequitur and should be removed. The fact that a language doesn't have this or that phonemic opposition doesn't mean that its speakers can't hear a difference between the members of that opposition when heard in another language. Almost all the rest of the article is about phonological oppositions and not about minimal pairs. I suggest the article on Minimal Pairs should be much shorter (but perhaps contain some historical material about why it was such an important concept in the early days of phoneme theory and in the development of discovery procedures, and why it is seen as much less important today), while the useful but irrelevant stuff should be moved out to other articles on phonology. I'll leave everything as it is while waiting to see if anyone disagrees. RoachPeter (talk) 16:47, 31 December 2012 (UTC)

 * I do not so strongly object to sets of oppositions being included in this article on minimal pairs, because they are a natural logical extension of the idea of minimal pairs. When one merges multiple minimal pairs, one gets a set of oppositions. It should, of course, be clarified that these sets are not minimal pairs: a pair is by definition a set of two members. That the article doesn't explain that is, I agree, a problem.

 * But I do not strongly object to the sets of oppositions being moved to a different article — if, at least, there is an article to move them to. I do not think there is one at the moment. At least, I can't think of a commonly used term whose article would likely be able to include sets of oppositions. Unless there is such an article or someone starts one, we may as well keep them here, since they're very nice and worth keeping somewhere.

 * I suppose we could move them to their respective language's phonology articles, but I don't think that would be appropriate, since they are better suited to illustrating techniques used in phonology than demonstrating the phonology of a particular language.

 * I am not particularly interested in making the changes to this article that I have suggested, but if you do not want to, then I suppose I should maybe do them, since it was me that suggested them. But tell me what you think of my comments first. — Eru·tuon 21:21, 31 December 2012 (UTC)

 * The technical linguistic term is probably "distinctive opposition" or "distinctive contrast", but I'm not too sure that it's suitable for a separate article. AnonMoos (talk) 00:18, 1 January 2013 (UTC)
 * I've been looking again at the Minimal Pair article, and though I really don't want to be negative about it, I do have the following main worries: (1) most of the article isn't about minimal pairs, (2) apart from some useful examples of phonemic contrast, it really adds practically nothing in terms of theory that isn't already in the articles on (a) Phoneme and (b) Phonology, (3) there is no citation of published work at all in the article and (4) there are some errors of fact and theory throughout the article. Concerning (1), I think that if the article was called something like "Phonemic Contrasts", or "Phonological Oppositions", the title would more accurately reflect the contents. As far as (2) is concerned, it seems to me that the article stops being about minimal pairs at the start of 'Differentiating consonants with same location and manner of articulation' and becomes a general exposition of phonemic contrasts. I would cut the article short at this point if it were up to me, but I don't want to go deleting big chunks of someone else's work. Regarding (3), there is plenty of literature on minimal pairs, particularly from pioneering articles and books of the mid-20th century, but the groundwork of this topic is already covered in other articles. On (4), here are some of the things I would like to raise:
 * in the opening paragraph, 'phone' is classed as a phonological element, whereas I thought the point of a phone was that is was not a phonological element.
 * in the next paragraph there is discussion of what (phonetically) distinguishes English /p/ from /b/. There is a lot of published discussion of the suggested distinction between /p/ and /b/ on the basis of 'fortis' and 'lenis' articulation. Duration of the plosive would be a pretty shaky basis for distinguishing the two phonemes, given the many contextual effects. It's not necessary to go into phonetic detail here, anyway.
 * In the table with the green blobs (Differentiating consonants with same location and manner of articulation), there is no explanation of why differently-sized blobs are used in the English example. In the third category (French and Portuguese) it is claimed that "In Romance languages and other European languages only phones (and phonemes) [p] and [b] occur". If this means that only English, of all European languages, has an aspirated allophone of [p], I find the claim difficult to believe.
 * In "Differentiating vowels", I have already pointed out that is not necessarily the case that if a speaker of one language hears sounds which contrast in another language but not in her own, she will be unable to hear the difference. In the table of this section, the examples 'sieur' and 'sueur' are not examples of vowel contrasts, but show a contrast between two prevocalic approximants.
 * In "Differentiating consonants", an example is given of a supposed minimal contrast of a "present" consonant with an "absent" one (i.e. a contrast between a consonant and zero). You can make an argument for this being a minimal pair, but it's a very special case and needs a thoughtful introduction.

 * If any senior WP editor with expertise in this area reads this, I think it would be very helpful if they could suggest a way out of the problem. One criterion I often use in judging a WP article is asking myself what one of my students would have made of the article if they had been asked to produce a paper on the subject. I can't imagine getting a very good essay on Minimal Pairs from a student who had studied this article, though they would certainly have learned some useful facts about phonemic contrasts. 90.28.71.149 (talk) 20:47, 3 January 2013 (UTC)
 * Sorry, my signature to the above didn't get attached. RoachPeter (talk) 21:01, 3 January 2013 (UTC)

I'm responding to the Request for Comment. I agree that after the first list of minimal pairs in English the article just gets confusing. I suppose it is useful to show that the concept of minimal pair applies to all languages, not just English. Only a few examples would be necessary to show that, and they should be genuine pairs. Two syllables that differ only by tone in Mandarin might be appropriate. Itsmejudith (talk) 23:52, 11 January 2013 (UTC)
 * Thanks for the response. I have now rewritten the article quite extensively and put in citations where needed. It's in my sandbox, and I would be pleased if you could give it a quick look over. I'll leave it there for a few days, then if I don't hear any objection I'll put it in place of the present article. RoachPeter (talk) 16:21, 13 January 2013 (UTC)

Dialect in or near Palmi
The section Quantity has the sentence: "An example is the cŭ/cū minimal pair in the Italian dialect that is spoken near Palmi (Calabria, Italy)" and the table heading: "Dialect spoken in Palmi"

I have added the clarify template.

 * Please replace "that is spoken near Palmi (Calabria, Italy)" and "Dialect spoken in Palmi" with the name of the dialect.
 * It's fine to mention Palmi (Calabria, Italy), just don't stop with that.
 * If feasible, Wikilink the dialect name in the sentence.
 * If the wording is kept as is, is it "in" or "near" Palmi? Which is it?

As an accessibility note, people using screen readers will, depending on their settings, potentially hear table headings over and over as they read through a table. Very long table headings can get tedious, so just the dialect name is best.

Thisisnotatest (talk) 21:22, 29 May 2023 (UTC)

title: Talk:Minimal pair