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Exegesis

Exegesis (from the Greek ἐξήγησις, from ἐξηγεῖσθαι, "to lead out") is a critical explanation or interpretation of a text. The term is traditionally applied to the interpretation of Biblical works. In modern usage, exegesis can involve critical interpretations of virtually any text, including not just religious texts but also philosophy, literature, or virtually any other genre of writing. The phrase Biblical exegesis can be used to distinguish studies of the Bible from other critical textual explanations.

Textual criticism investigates the history and origins of the text, but exegesis may include the study of the historical and cultural backgrounds of the author, text, and original audience. Other analyses include classification of the type of literary genres presented in the text and analysis of grammatical and syntactical features in the text itself.

Usage
One who practices exegesis is called an exegete (from Greek ἐξηγητής), the plural of exegesis is exegeses, and adjectives are exegetic or exegetical (e.g., exegetical commentaries). In biblical exegesis, the opposite of exegesis (to draw out) is eisegesis (to draw in), in the sense of an eisegetic commentator "importing" or "drawing in" their own subjective interpretations into the text, unsupported by the text itself. Eisegesis is often used as a derogatory term.

Mesopotamian commentaries
One of the early examples of exegesis, and one of the larger corpora of text commentaries from the ancient world, comes from Mesopotamia (modern day Iraq) in the first millennium BCE. Containing over 860 manuscripts, the majority of which date to 700–100 BCE, these commentaries explore numerous types of texts, including literary works (such as the Babylonian Epic of Creation), medical treatises, magical texts, ancient dictionaries, and law collections (the Code of Hammurabi). Most of them, however, comment on divination treatises, in particular treatises that predict the future from the appearance and movement of celestial bodies on the one hand (Enūma Anu Enlil), and from the appearance of a sacrificed sheep's liver on the other (Bārûtu).

As with the majority of the thousands of texts from the ancient Near East that have survived to the present day, Mesopotamian text commentaries are written on clay tablets in cuneiform script. Text commentaries are written in the East Semitic language of Akkadian, but due to the influence of lexical lists written in Sumerian language on cuneiform scholarship, they often contain Sumerian words or phrases as well.

Cuneiform commentaries are important because they provide information about Mesopotamian languages and culture that are not available elsewhere in the cuneiform record. To give but one example, the pronunciation of the cryptically written name of Gilgamesh, the hero of the Epic of Gilgamesh, was discovered in a cuneiform commentary on a medical text. However, the significance of cuneiform commentaries extends beyond the light they shed on specific details of Mesopotamian civilization. They shed light on what the concerns of the Mesopotamian literate elite were when they read some of the most widely studied texts in the Mesopotamian intellectual tradition, a perspective that is important for "seeing things their way." Finally, cuneiform commentaries are also the earliest examples of textual interpretation. It has been repeatedly argued that they influenced rabbinical exegesis.

The publication and interpretation of these texts began in the mid-19th century, with the discovery of the royal Assyrian libraries at Nineveh, from which ca. 454 text commentaries have been recovered. The study of cuneiform commentaries is, however, far from complete. It is the subject of on-going research by the small, international community of scholars who specialize in the field of Assyriology.

Commentaries on Plato
Commentaries on Plato include a large corpus of literature, especially in the ancient and medieval world, to explain and clarify the works of Plato. Many Platonist philosophers in the centuries following Plato sought to clarify and summarise his thoughts, but it was during the Roman era, that the Neoplatonists, in particular, wrote many commentaries on individual dialogues of Plato, many of which survive to the present day.

Biblical commentaries
A common published form of biblical exegesis is known as a Bible commentary and typically takes the form of a set of books, each of which is devoted to the exposition of one or two books of the Bible. Long books or those that contain much material either for theological or historical-critical speculation, such as Genesis or Psalms, may be split over two or three volumes. Some, such as the Four Gospels, may be multiple- or single-volume, while short books such as the deuterocanonical portions of Daniel, Esther, and Jeremiah (i.e. Book of Susanna, Prayer of Azariah, Bel and the Dragon, Additions to Esther, Baruch and the Epistle of Jeremiah), or the pastoral or Johannine epistles are often condensed into one volume.

The form of each book may be identical or allow for variations in methodology among the many authors who collaborate to write a full commentary. Each book's commentary generally consists of a background and introductory section, followed by detailed commentary of the book pericope-by-pericope or verse-by-verse. Before the 20th century, a commentary would be written by a sole author, but in the recent period, a publishing board will commission a team of scholars to write a commentary, with each volume being divided out among them.

A single commentary will generally attempt to give a coherent and unified view on the Bible as a whole, for example, from a Catholic or Reformed (Calvinist) perspective, or a commentary that focuses on textual criticism or historical criticism from a secular point of view. However, each volume will inevitably lean toward the personal emphasis bias of its author, and within any commentaries there may be great variety in the depth, accuracy, and critical or theological strength of each volume.

Christianity
In Christianity, biblical exegeses have relied on various doctrines.

The doctrine of four senses of Scripture is a concept used in biblical hermeneutics. In the 3rd century, the theologian Origen, a graduate of Catechetical School of Alexandria, formulated the principle of the three senses of Scripture (literal, moral and spiritual) from the Jewish method of interpretation (midrash) used by Paul of Tarsus in Epistle to the Galatians chapter 4.

The historical-grammatical method is a Christian hermeneutical method that strives to discover the Biblical author's original intended meaning in the text. It is the primary method of interpretation for many conservative Protestant exegetes who reject the historical-critical method to various degrees (from the complete rejection of historical criticism of some fundamentalist Protestants to the moderated acceptance of it in the Catholic Church since Pope Pius XII), in contrast to the overwhelming reliance on historical-critical interpretation, often to the exclusion of all other hermeneutics, in liberal Christianity.

Historical criticism, also known as the historical-critical method or higher criticism, is a branch of literary criticism that investigates the origins of ancient texts in order to understand "the world behind the text". This is done to discover the text's primitive or original meaning in its original historical context and its literal sense.

Revealed exegesis considers that the Holy Spirit inspired the authors of the scriptural texts, and so the words of those texts convey a divine revelation. In this view of exegesis, the principle of sensus plenior applies—that because of its divine authorship, the Bible has a "fuller meaning" than its human authors intended or could have foreseen.

Rational exegesis bases its operation on the idea that the authors have their own inspiration (in this sense, synonymous with artistic inspiration), so their works are completely and utterly a product of the social environment and human intelligence of their authors.

Catholic
Catholic centres of biblical exegesis include:
 * the École Biblique of Jerusalem founded in 1890 by the Dominican order's Marie-Joseph Lagrange. The school became embroiled in the modernist crisis, and had to curtail its New Testament activities until after Vatican II
 * the Pontifical Biblical Institute of Rome, a division of the Jesuit Gregorian University, has influenced Catholic exegesis through teaching and through the Pontifical Biblical Commission

Protestant
For more than a century, German universities such as Tübingen have had reputations as centers of exegesis; in the US, the Divinity Schools of Chicago, Harvard and Yale became famous.

Robert A. Traina's book Methodical Bible Study is an example of Protestant Christian exegesis.

Indian philosophy
The Mimamsa school of Indian philosophy, also known as ("prior" inquiry, also ), in contrast to   ("posterior" inquiry, also ), is strongly concerned with textual exegesis, and consequently gave rise to the study of philology and the philosophy of language. Its notion of shabda "speech" as indivisible  unity of sound and meaning (signifier and signified) is due to Bhartrhari (7th century).

Islam
Tafsīr (تفسير,, "interpretation") is the Arabic word for exegesis, commentary or explanation of the Holy Qur'an. It explains those aspects of the Holy Qur’an that cannot be known by reason and logic such as the context of the revelation or abrogation of a specific ayah ("verse"). They are explained using reliable sources: other Verses of Holy Qur'an itself as some explain the other; the hadiths of the Holy Prophet, peace and blessing be upon him, as this Holy Quran was revealed on him; the narrations of the Holy Prophet's Companions as they were the main context and reason for the revelation of a specific Verse of the Holy Qur'an; and so on and so forth. Such an author of tafsīr is a ('مُفسر,, plural: مفسرون, ). To see a glimpse of the richness of tafsīr in Islam, refer to Imam Razi's Tafsir Kabir in Arabic and Mufti Ahmad Yar Khan Naeemi's Tafsir Naeemi in Urdu.

Judaism
Traditional Jewish forms of exegesis appear throughout rabbinic literature, which includes the Mishnah, the two Talmuds, and the midrash literature. Jewish exegetes have the title (מפרשים, "commentators").

Midrash
The Midrash is a compilation of homiletic teachings or commentaries on the Tanakh (Hebrew Bible), a biblical exegesis of the Pentateuch and its paragraphs related to the Law or Torah, which also forms an object of analysis. It comprises the legal and ritual Halakha, the collective body of Jewish laws, and exegesis of the written Law; and the non-legalistic Aggadah, a compendium of Rabbinic homilies of the parts of the Pentateuch not connected with Law.

Halakha and Aggadah
In the halakhic as well as in the aggadic exegesis, the expounder endeavored not so much to seek the original meaning of the text as to find authority in a Hebrew Bible passage for established concepts and ideas, rules of conduct, and teachings, for which he wished to locate a foundation. The talmudical hermeneutics form is defined as finding hints for a given law.

Midrashic
Midrash exegesis was largely in the nature of homiletics, expounding the Bible not primarily in order to understand the documents of the past (although in some instances it is indeed the case), but to find religious edification, moral instruction, and sustenance for the thoughts and feelings of the present. The contrast between explanation of the literal sense and the Midrash, that did not follow the words, was recognized by the Tannaim and the Amoraim, although their idea of the literal meaning of a passage may not be allowed by more modern standards. The above-mentioned tanna, Ishmael b. Elisha said, rejecting an exposition of Eliezer b. Hyrcanus: "Truly, you say to Scripture, 'Be silent while I am expounding!'".

Tannaim
Tannaitic exegesis distinguishes principally between the actual deduction of a thesis from a passage as a means of proving a point, and the use of such a passage as a mere mnemonic device – a distinction that was also made in a different form later in the Babylonian schools. The Babylonian Amoraim were the first to use the expression "Peshaṭ" ("simple" or face value method) to designate the primary sense, contrasting it with the "Drash," the Midrashic exegesis. These two terms were later on destined to become important features in the history of Hebrew Bible exegesis. In Babylonia was formulated the important principle that the Midrashic exegesis could not annul the primary sense. This principle subsequently became the watchword of commonsense Bible exegesis.

How little it was known or recognized may be seen from the admission of Kahana, a Babylonian amora of the fourth century, that while at 18 years of age he had already learned the whole Mishnah, he had only heard of that principle a great many years later (Shab 63a). Kahana's admission is characteristic of the centuries following the final redaction of the Talmud. The primary meaning is no longer considered, but it becomes more and more the fashion to interpret the text according to the meaning given to it in traditional literature. The ability and even the desire for original investigation of the text succumbed to the overwhelming authority of the Midrash.

It was, therefore, providential that, just at the time when the Midrash was paramount, the close study of the text of the Hebrew Bible, at least in one direction, was pursued with rare energy and perseverance by the Masorites, who set themselves to preserving and transmitting the pronunciation and correct reading of the text.

Mikra
The Mikra, the fundamental part of the national science, was the subject of the primary instruction. It was also divided into the three historic groups of the books of the Hebrew Bible: the Pentateuch, the Prophets, and the Hagiographa, called in traditional Hebrew attribution the Torah (the Law or Teaching), the Nevi'im (the Prophets) and the Kethuvim (the Writings) respectively. The intelligent reading and comprehension of the text, arrived at by a correct division of the sentences and words, formed the course of instruction in the Hebrew Bible. The scribes were also required to know the Targum, the Aramaic translation of the text. The Targum made possible an immediate comprehension of the text, but was continuously influenced by the exegesis taught in the schools.

The reading of the biblical text, which was combined with that of the Targum, served to widen the knowledge of the scholars learned in the first division of the national science. The scribes found the material for their discourses, which formed a part of the synagogue service, in the second division of the several branches of the tradition. The Aggadah, the third of these branches, was the source material for the sermon.

Jewish exegesis did not finish with the redaction of the Talmud, but continued during ancient times, the Middle Ages and the Renaissance; it remains a subject of study today. Jews have centers for exegetic studies around the world, in each community: they consider exegesis an important tool for the understanding of scripture. Associated with the rabbinic text studies, such methodology is known to adopt a wide assortment of literary tools, in conjunction with meticulous, widespread engagement with classical exegetical literature.

Zoroastrianism
Zoroastrian exegesis consists basically of the interpretation of the Avesta. However, the closest equivalent Iranian concept, zand, generally includes Pahlavi texts which were believed to derive from commentaries upon Avestan scripture, but whose extant form contains no Avestan passages. Zoroastrian exegesis differs from similar phenomena in many other religions in that it developed as part of a religious tradition which made little or no use of writing until well into the Sasanian era. This lengthy period of oral transmission has clearly helped to give the Middle Persian Zand its characteristic shape and has, in a sense, limited its scope. Although the later tradition makes a formal distinction between "Gathic" (gāhānīg), "legal" (dādīg), and perhaps "ritual" (hādag-mānsrīg) Avestan texts, there appear to be no significant differences in approach between the Pahlavi commentary on the Gathas and those on dādīg texts, such as the Vendīdād, the Hērbedestān and the Nērangestān. Since many 19th and 20th century works by Zoroastrians contain an element of exegesis, while on the other hand no exegetical literature in the strict sense of the word can be said to exist, the phenomenon of modern Zoroastrian exegesis as such will be discussed here, without detailed reference to individual texts.

In a secular context
Several universities, including the Sorbonne in Paris, Leiden University, and the Université Libre de Bruxelles (Free University of Brussels), put exegesis in a secular context, next to exegesis in a religious tradition. Secular exegesis is an element of the study of religion.

At Australian and British universities, the exegesis forms part of the required work for fine arts, including creative-writing doctorates. A scholarly text accompanies a creative work, such as a film, novel, poetry or other artistic output by the PhD candidate. Together, the two elements form the candidate's research thesis.

Straussian reading
In the late 1930s, Leo Strauss called for the first time for a reconsideration of the "distinction between exoteric (or public) and esoteric (or secret) teaching." In 1952 he published Persecution and the Art of Writing, arguing that serious writers write esoterically, that is, with multiple or layered meanings, often disguised within irony or paradox, obscure references, even deliberate self-contradiction. Esoteric writing serves several purposes: protecting the philosopher from the retribution of the regime, and protecting the regime from the corrosion of philosophy; it attracts the right kind of reader and repels the wrong kind; and ferreting out the interior message is in itself an exercise of philosophic reasoning.

Taking his bearings from his study of Maimonides and Al-Farabi, and pointing further back to Plato's discussion of writing as contained in the Phaedrus, Strauss proposed that the classical and medieval art of esoteric writing is the proper medium for philosophic learning: rather than displaying philosophers' thoughts superficially, classical and medieval philosophical texts guide their readers in thinking and learning independently of imparted knowledge. Thus, Strauss agrees with the Socrates of the Phaedrus, where the Greek indicates that, insofar as writing does not respond when questioned, good writing provokes questions in the reader—questions that orient the reader towards an understanding of problems the author thought about with utmost seriousness. Strauss thus, in Persecution and the Art of Writing, presents Maimonides "as a closet nonbeliever obfuscating his message for political reasons".

Strauss's hermeneutical argument —rearticulated throughout his subsequent writings (most notably in The City and Man [1964])—is that, before the 19th century, Western scholars commonly understood that philosophical writing is not at home in any polity, no matter how liberal. Insofar as it questions conventional wisdom at its roots, philosophy must guard itself especially against those readers who believe themselves authoritative, wise, and liberal defenders of the status quo. In questioning established opinions, or in investigating the principles of morality, philosophers of old found it necessary to convey their messages in an oblique manner. Their "art of writing" was the art of esoteric communication. This was especially apparent in medieval times when heterodox political thinkers wrote under the threat of the Inquisition or comparably obtuse tribunals.

Strauss's argument is not that the medieval writers he studies reserved one exoteric meaning for the many (hoi polloi) and an esoteric, hidden one for the few (hoi oligoi), but that, through rhetorical stratagems including self-contradiction and hyperboles, these writers succeeded in conveying their proper meaning at the tacit heart of their writings—a heart or message irreducible to "the letter" or historical dimension of texts.

Explicitly following Gotthold Ephraim Lessing's lead, Strauss indicates that medieval political philosophers, no less than their ancient counterparts, carefully adapted their wording to the dominant moral views of their time, lest their writings be condemned as heretical or unjust, not by "the many" (who did not read), but by those "few" whom the many regarded as the most righteous guardians of morality. It was precisely these righteous personalities who would be most inclined to persecute/ostracize anyone who was in the business of exposing the noble or great lie upon which the authority of the few over the many stands or falls.

title: Exegesis


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Garbage (band)

Garbage is a Scottish and American rock band formed in 1993 in Madison, Wisconsin. The band's line-up consisting of Scottish singer Shirley Manson (vocals) and American musicians Duke Erikson (guitar, bass, keyboards), Steve Marker (guitar, keyboards), and Butch Vig (drums, production) has remained unchanged since its inception. All four members are involved in the songwriting and production process. Garbage has sold over 17 million albums worldwide.

The band's eponymous debut album was critically acclaimed upon its release, selling over four million copies and achieving double platinum certification in the United Kingdom, the United States and Australia. It was accompanied by a string of increasingly successful singles from 1995 to 1996, including "Stupid Girl" and "Only Happy When It Rains". Follow-up Version 2.0, released in 1998 after a year in production, was equally successful, topping the UK Albums Chart and receiving two Grammy Award nominations. Garbage followed this by performing and co-producing the theme song to the 19th James Bond film The World Is Not Enough (1999).

Garbage's third album Beautiful Garbage was also critically acclaimed, but failed to match the commercial success of its predecessors, despite selling over a million copies in its opening three months. Garbage quietly disbanded amidst the troubled production of their fourth album Bleed Like Me, but regrouped to complete the album, which was released in 2005 and peaked at a career-high number four in the U.S. The band cut short their Bleed Like Me concert tour and announced an indefinite hiatus, emphasizing that they had not broken up but rather wished to pursue separate interests. The hiatus was briefly interrupted in 2007, when the band recorded new tracks for their greatest hits album Absolute Garbage. The band reunited in 2011, and self-released their 2012 album Not Your Kind of People on their own label Stunvolume to positive reviews. Their next album, Strange Little Birds, followed in 2016. Their seventh studio album, No Gods No Masters, was released in 2021.

Formation and early years (1993–1994)

Duke Erikson and Butch Vig had been in several bands together, including Spooner and Fire Town (with Steve Marker as a sound engineer). In 1983, Vig and Marker founded Smart Studios in Madison and Vig's production work brought him to the attention of Sub Pop. Spooner reunited in 1990 and released another record, but disbanded in 1993 as Vig and Marker's career as producers took over. In 1994, as Vig had become "kind of burned out on doing really long records". He collaborated with Erikson and Marker by doing remixes for acts such as U2, Depeche Mode, Nine Inch Nails, and House of Pain. The remixes featured different instrumentation, and often highlighting new guitar hooks and bass grooves. This experience inspired the three men to form a band, where they "wanted to take that remix sensibility and somehow translate it into all of the possibilities of a band setup."

According to Vig, the team drew inspiration for its name from a hostile early comment, when a friend of the band heard recording material said, "This shit sounds like garbage!" However, according to This Is The Noise That Keeps Me Awake, an autobiography of the band, Vig wrote in his 1993 studio journal about the creative process; of working for long periods of time, "without coming up with anything cool... and when you least expect it, it all falls into place." The name derives from the last line of this entry: "I hope that all this garbage will become something beautiful!".

Initial sessions with Vig on vocals, along with the members' past work with all-male groups, led to the band's desire for a woman on lead. Vig declared that they wanted to find a female vocalist like "Debbie Harry, Patti Smith, Chrissie Hynde and Siouxsie Sioux—all really strong, unique personalities". Marker and Vig desired someone "who didn't have a high, chirpy, girly quality to her voice" and who could sing in an understated way, in contrast to "these alterna-rock singers [that] have a tendency to scream". Marker was watching 120 Minutes when he saw the music video for Angelfish's "Suffocate Me". He showed the video to Erikson and Vig while their manager Shannon O'Shea tracked down the band's singer, Shirley Manson. When Manson was contacted, she did not know who Vig was and was urged to check the credits on Nevermind, the Nirvana album which Vig had produced.

On April 8, 1994, Manson met Erikson, Marker, and Vig for the first time in London. Later that evening Vig was informed of Nirvana frontman Kurt Cobain's suicide. Garbage was put on hold until Angelfish was finished touring North America in support of Live. Erikson, Marker, and Vig attended the Metro Chicago date, and Manson was invited to Madison to audition for the band. The audition did not go well, but Manson socialized with the men while there and they found they had a similar taste in music. Angelfish disbanded at the end of the Live tour. Manson called O'Shea and asked to audition again, feeling that "it could work out".

Manson described her first session with the band as "a disaster", as she had no experience as a session player, and she and the band were "two parties totally uncomfortable with the situation", but the "mutual disdain" from that meeting managed to pull the band together. The first songs were skeletal versions of the songs "Stupid Girl", "Queer" and "Vow", which led to some ad-libbed lyrics by Manson. Manson had never written a song prior to this session; nevertheless, this time she was invited to join the band. Lyrics were penned at a cabin in the north woods of Wisconsin while the songs were recorded at Smart Studios. Conscious of the grunge genre that had made their names, particularly Vig's, the band made every effort to avoid sounding similar, deliberately striving to make a pop record.

Garbage sent out demo tapes with no bio, to avoid a bidding war over Vig's production history. Garbage signed with Mushroom UK worldwide (excluding North America) and secured the band a Volume magazine compilation inclusion. The only potential candidate for release was "Vow", as it was the only song for which the band had completed production. When released in December, "Vow" began to receive radio airplay on XFM and from Radio 1 DJs Steve Lamacq, John Peel, and Johnnie Walker. Word-of-mouth on "Vow" took the track back to the US. On December 21, Garbage signed to Jerry Moss's label Almo Sounds for North America. Manson was licensed to both Mushroom and Almo by Radioactive Records for a single album, with no compensation from any of Garbage's labels.

Garbage had not considered "Vow" for inclusion on the album or even as a single. Because the exclusive licensing of Volume prevented a full commercial single release, on March 20, 1995, Mushroom issued "Vow" in a limited 7-inch vinyl format through Discordant, a label set up just to launch Garbage. By May, commercial alternative radio in the US had picked up on the track, and it began to receive heavy rotation nationwide. "Vow" debuted on Hot Modern Rock Tracks at No. 39. It climbed gradually over the following weeks, peaking at No. 26 in July. "Vow" bubbled under for two weeks before it spent two weeks on the Billboard Hot 100 staying at No. 97 both weeks.

Garbage and international breakthrough (1995–1997)

On August 15, 1995, Garbage debuted on the Billboard 200 at No. 193. In the United Kingdom, its release was preceded by non-album track "Subhuman" and "Only Happy When It Rains" as singles to promote the album instead of "Queer". The album debuted on the UK album chart at No. 12. In Australia, the album debuted at No. 5. "Queer" was quickly released in the United Kingdom and Europe, while Garbage began their first tour. Garbage was nominated for Brit Awards for Best New Band and Best International Newcomer.

Garbage toured for the self-titled Garbage throughout 1996. "Only Happy When It Rains" was released as a single in North America; "Stupid Girl" was released to promote European dates. MTV announced that "Only Happy When It Rains" was certified a "Buzz clip", guaranteeing heavy rotation on its network from February 13. "Only Happy" peaked at No. 55 on the Hot 100. "Stupid Girl" received frequent video and radio airplay in the UK and peaked at No. 4, becoming the band's first top 10 hit on the UK Singles Chart and elevated the album to No. 6.

In May, Garbage reworked "Milk" with Tricky in a Chicago recording studio before supporting Smashing Pumpkins on their arena tour until the overdose of Pumpkins keyboardist Jonathan Melvoin. "Stupid Girl" peaked at No. 24 on the Hot 100. Its Top 40 radio remix by Todd Terry received massive airplay.

Garbage Video, a compilation of the album's promotional videos, was released in November 1996. Garbage was nominated for the Grammy Award for Best New Artist, while "Stupid Girl" received two nominations for Best Rock Song and Best Rock Performance By A Duo Or Group.

Worldwide, the final single release from the album was the reworked version of "Milk", which became the band's second UK top 10 hit. The band performed the song live at the MTV Europe Music Awards in London on November 14; Garbage won the Breakthrough award at the event. In North America, Almo Sounds released album track "Supervixen" to Modern Rock radio, while Mushroom Records released a remix of "#1 Crush" in March 1997 as a single from the soundtrack to Romeo + Juliet, which topped the Modern Rock Tracks chart for four weeks from the start of the year; the remix was also featured as the theme for the TV show Hex. "#1 Crush" was later nominated for Best Song From a Movie at the 1997 MTV Movie Awards.

Version 2.0 and continued popularity (1997–2000)

Garbage relocated to Friday Harbor, Washington on March 1, 1997 to write songs for their second album. Returning to Smart Studios a short while later, the band found themselves under intense pressure to repeat the success of Garbage. The band decided not to change their formula, but progress musically by pushing their sound as far as it could go—hence the album's eventual title Version 2.0, which was completed by February 15, 1998. In March, the first single "Push It" became the No. 1 most added record at the UK Alternative Radio. It became their third consecutive UK top ten hit at No. 9.

In May 1998, Version 2.0 debuted at No. 1 in the UK and at No. 13 in the Billboard 200. Garbage began touring Version 2.0 that month, a tour which lasted until the end of 1999. "I Think I'm Paranoid" was released worldwide in July, while the music video for "Push It" received eight nominations at the 1998 MTV Video Music Awards. By October 12, "Special" was released and Garbage was nominated for three MTV Europe Music Awards: "Best Group", "Best Rock Act" and "Best Video" for "Push It".

In early 1999, Version 2.0 received two Grammy Award nominations for Album of the Year and Best Rock Album "Special" was No. 1 most added single at the Top 40 radio. In Europe, Garbage began their biggest headline tour, releasing singles for "When I Grow Up" and "The Trick Is to Keep Breathing". In April, "When I Grow Up" was released to Modern Rock radio. "When I Grow Up" was then featured on the movie Big Daddy. Version 2.0 was awarded the European Platinum Award by the International Federation of the Phonographic Industry for one million sales across Europe and the United States. "You Look So Fine" was released as the final single from Version 2.0 worldwide, as Garbage toured Europe, including headlining in Edinburgh to mark the opening of the Scottish Parliament.

On August 4, Garbage was contracted to perform the theme for the James Bond film The World Is Not Enough and worked with composer David Arnold in London and Vancouver. Garbage co-headlined an Australian tour with Alanis Morissette, while "When I Grow Up" spent three months in the Australian chart, becoming the band's most successful single there. "The World Is Not Enough" reached the top 10s in Italy, Latvia, Lithuania, Norway and Finland, as well as the top 40 in Germany, Austria, Switzerland and the United Kingdom. "Special" received Grammy nominations for Best Rock Song and for Best Rock Performance by a Duo or Group, while "When I Grow Up" was re-issued in Europe.

Beautiful Garbage (2001–2002)

Garbage regrouped on April 10, 2001. The group began work on their third record, and put aside plans for a B-sides album due to the sale of Almo Sounds to the UMG. Manson ran an online blog throughout the recording of the album named Beautiful Garbage. During the recording of the album, Garbage invoked a provision of its contract to leave Almo, and sued UMG when it refused to terminate the contract. UMG threatened to use Manson's 1993 solo contract to tie Garbage to the label. The suit was settled on July 29, 2001, and Garbage moved to Interscope. Lead single "Androgyny" was released to radio by the end of August, and its video was released on September 10. The following day, due to the September 11 attacks in New York City and Washington D.C., the promotion schedule for the album was put on hold.

Released three weeks after the September 11 attacks, the album suffered from lack of promotion, mixed reaction from critics and fans alike, and the failure of its lead single "Androgyny" to achieve high chart positions. Despite faltering in major markets, Beautiful Garbage debuted at number one on Billboard Top Electronic Albums chart where it stayed for eight weeks, topped the album charts in Australia, and was named one of Rolling Stone's "Top 10 Albums of the Year".

In October, Beautiful Garbage achieved a No. 13 debut on the Billboard 200, reached number six on the Top Internet Albums chart, and topped the Electronic Albums chart for seven weeks. In its first three months on sale, Beautiful Garbage sold 1.2 million copies. Garbage supported U2 on the third leg of their Elevation Tour. After the last show, Vig contracted Hepatitis A and was replaced by Matt Chamberlain for European dates. In December "Breaking Up the Girl" was released as a single. On December 27, Rolling Stone's United States and Australian editions named Beautiful Garbage as one of their critics "Top 10 Albums of the Year".

"Cherry Lips" was released at the end of 2001, becoming a massive hit in Australia, peaking at number seven on the ARIA Charts, and number eleven in the highly influential Triple J Hottest 100, 2001. Sony Music Japan released an exclusive E.P. of rare tracks titled Special Collection. Following the release of Beautiful Garbage, the band were dropped by their record label, Interscope, with Manson feeling as if the band "was finished". Manson claimed that the band had been told by Interscope that there "was no room for the record company to promote more than one female rock band" and ultimately they decided to progress with No Doubt fronted by Gwen Stefani rather than Garbage. Manson worried that her career was over following the band being dropped by the label, claiming that "I was 40 at the time, and I was thinking ‘no woman in alt rock has got out of this situation with her career intact'. I really believed my career was over". Manson and the band ultimately felt that Interscope had been trying to turn the band into a pop–style oriented band, something which Garbage were ultimately against.

Bleed Like Me, hiatus and Absolute Garbage (2003–2007)

Garbage started proper work on their fourth record in March 2003, writing "Right Between the Eyes" in 30 minutes. It was a false start. Recording was halted during the summer when Manson underwent surgery on her right vocal cord and was not given the okay to sing again until August. By October, due to rising tension within the band and a breakdown in communication, Vig relocated to Los Angeles while Manson returned to Scotland. During the Christmas period, Vig decided to give the band another chance, having met excited fans eager to hear how the album was going.

In January 2004 Garbage reconvened in Los Angeles with Dust Brothers' John King, drummer Matt Chamberlain, bassist Justin Meldal-Johnsen, and on February 6, Dave Grohl performed drums on "Bad Boyfriend". His performance was regarded by the band as "raising the bar" for the record. Following the John King sessions, the band formally relocated to Los Angeles and wrote "Metal Heart" and "Boys Wanna Fight", both more energetic than they had been writing and lyrically more "overtly political"; both songs referenced the United States and the United Kingdom-led 2003 invasion of Iraq.

In 2005, lead single "Why Do You Love Me" debuted on the Modern Rock Tracks chart at No. 39. as well as No. 97 and No. 81 on the Billboard Hot 100 and Pop 100 charts respectively, becoming the band's most successful single for six years. Their fourth album, Bleed Like Me, entered Top 10 in the US.

On August 25, 2005 Garbage cancelled their scheduled October tour dates in France, Belgium and the United Kingdom. They released a statement that the band had "somewhat overextended themselves" and decided to conclude their tour in Australia on October 1. Ahead of the Australian tour, "Sex Is Not The Enemy" was released to Australian radio. The end of the tour marked the end of active promotion for Bleed Like Me. The band confirmed that they were going "on indefinite hiatus" to dispel reports of a split. "We were barely even speaking," Manson later admitted. "We didn't want to talk to anyone outside of the band about the problems we were having with our career, so of course it turned into this whole passive-aggressive thing between us. I just wanted to get the fuck out of there and go home."

Garbage ended their 18-month hiatus on January 31, 2007, at a benefit show in Glendale, California, organised by Vig to help pay musician Wally Ingram's medical care following treatment for throat cancer. Prior to this, Garbage had been sharing song ideas via the internet and were keen on getting into the recording studio to complete them. Garbage began work on the new songs in earnest during February and March at Vig's home studio, completing four tracks including "Tell Me Where It Hurts", which was released as the album's lead single.

Absolute Garbage was released in July, remastered and including a special edition bonus remix package. A DVD format rounded out the package; among the fifteen Garbage music videos included was a documentary film titled "Thanks For Your, Uhhh Support" featuring backstage and behind-the-scenes footage, live performances and interviews. A Garbage track called "Witness to Your Love" was released on a charity, "limited availability", compilation in the US. The release was available from Urban Outfitters from Wednesday, October 15, 2008, to Thursday, January 31, 2009, and went on radio in the US on October 17.

Not Your Kind of People (2010–2012)

On February 1, 2010, it was confirmed through Shirley Manson's official Facebook profile that she spent a week in the studio with her bandmates. In the post, Manson wrote "Guess who I just spent a week in the studio with? Would you be pleased if I said one of them was called Steve and one of them was called Duke and another was a Grammy-winning producer?" In October 2010, it was officially confirmed that Garbage were recording their fifth studio album. In an interview with Jason Tanamor, Duke stated in regard to the band reuniting after seven years, "It's kind of amazing we all happen to be in the right place at the same time. I don't know. The stars were aligned or something. It was quite coincidental we were all on the same page and ready to give it another go."

On September 17, 2011, the band clarified that their forthcoming 11-track LP would be mixed by October 17, while another 12 songs would be finalized by the end of the year and see release as "b-sides, extra tracks and maybe one might even come your way simply as a Christmas present from Garbage as a thank you to you all for sticking around," though this did not materialize.

The band announced to Billboard that their fifth studio album would be released independently of any major label support. On January 6, 2012, the band announced that they had entered Red Razor Studios in Glendale, California to record bonus material for their forthcoming album, later confirming on Twitter that a further five tracks were being worked on, including the new title "What Girls Are Made Of". Not Your Kind of People was released on May 14, 2012, to generally positive reviews. The album reached number 13 on the Billboard 200, and number 10 on the UK Albums Chart. The band supported the album with the year-long Not Your Kind of People World Tour. The song Not Your Kind of People was used in a trailer for the video game, Metal Gear Solid V: The Phantom Pain.

Record Store Day releases (2013–2015)
Garbage and Screaming Females recorded a cover of "Because the Night" for Record Store Day 2013. They released a video directed by Sophie Muller. The band released their first live DVD, One Mile High... Live, in May 2013. Shirley Manson confirmed that they would release two new songs for Record Store Day on April 19, 2014. "Girls Talk", an out-take from the Absolute Garbage sessions, was re-recorded to include vocals from Brody Dalle, and was backed by an out-take from the Not Your Kind of People sessions, "Time Will Destroy Everything".

In 2014, Manson confirmed that the band is working on a book, and noted that the next record would be her "romance novel". On January 23, 2015, Garbage confirmed on their Facebook page that they completed two new songs for Record Store Day 2015; "The Chemicals", which features vocals from Brian Aubert of Silversun Pickups, was released on April 18, 2015. The band played the Pa'l Norte Rock Festival in Monterrey, Mexico, on April 25, 2015.

On October 2, 2015, the band released the Deluxe Edition of their debut album, in commemoration of the 20th anniversary of the album. The album was remastered from the original tapes, and all b-sides (called G-sides on the album), were included. During the 20 Years Queer tour, Vig announced that mixing of the new album would be finished by February 1, 2016, and that it would be promoted by a world tour beginning in the summer.

Strange Little Birds and Version 2.0: 20th Anniversary (2016–2021)

On February 6, 2016 Garbage stated on their Facebook page that mixing was almost done: "Our new record is an inch away, just an inch away from being done. And I do mean an inch away from being completely done. Recorded. Mixed. And soon to be mastered." Vig also confirmed the title of a new song, "Even Though Our Love is Doomed". Three days later, Garbage announced that they had completed the album. Strange Little Birds, the band's sixth studio album, was released on June 10, 2016.

Writing and recording for Strange Little Birds took over two years, starting in early 2013. Garbage recorded over twenty tracks during the sessions. The band recorded the album in Vig's basement and at engineer Billy Bush's Red Razor Sounds studio in Los Angeles. Vig stated, "we mixed it so it's kind of confessional, almost confrontational. On a lot of songs, Shirley's voice sounds really loud, in your face, and really dry. There are not a lot of effects. There are some moments on the record that get really huge, but a lot of it is really intimate." Two of the songs written during the sessions, "The Chemicals" and "On Fire", were given a vinyl release on Record Store Day the previous year.

In 2017, Garbage recorded and released a standalone digital single titled "No Horses", which the band hinted could be the direction their new material would sound. Writing for Garbage's seventh album began in April 2018, following some preliminary work at Butch Vig's home studio, the band set up space in Palm Springs to write demos. The quartet sketched out the skeleton of the album over two weeks, jamming, experimenting and feeling the songs out. Work was paused in the latter half of 2018, as Garbage marked the twentieth anniversary of their second album Version 2.0 (1998) with the two-month 20 Years Paranoid tour, before reconvening in Los Angeles to finish the project.

The band announced that in May 2018 the band would release a 20th anniversary edition of their second album Version 2.0 in a similar fashion to the 20th anniversary edition of their self-titled debut album. The anniversary edition would also see Garbage commit to touring for this celebration which took place towards the end of 2018. As of March 2018, Garbage had also been working on a new studio album which, according to Shirley Manson, was due for a 2020 release.

No Gods No Masters and Beautiful Garbage: 20th Anniversary (2021–2022)

On March 30, 2021, Garbage released the song "The Men Who Rule the World", the lead single from their seventh studio album, No Gods No Masters, which was released on June 11, 2021. On April 28, the album's title track "No Gods No Masters" was released as the second single, followed by "Wolves" on May 19. No Gods No Masters was supported in summer 2021 with an arena concert tour with Garbage as guests of Alanis Morissette. The tour went on to become the most successful female-fronted tour of the year, selling more than 500,000 tickets.

In August 2021, Garbage announced that they would release a 20th anniversary edition of their third studio album, Beautiful Garbage, which was originally released in 2001. This follows previous reissued anniversary editions of Garbage (1995, reissued in 2015) and Version 2.0 (1998, reissued in 2018). The reissue features a previously unheard version of the album's lead single "Androgyny", with Manson explaining, "We wanted to celebrate the release of our third album in the same manner as we have celebrated the 20th anniversaries of our previous two records, as we cherish this third child of ours just as much as its predecessors". The reissued version of Beautiful Garbage was released on November 5, 2021.

On October 20, a 10-date UK Tour by Blondie featuring Garbage as special guest was announced for November. However, the tour was later postponed to spring 2022, featuring Johnny Marr instead of Garbage as special guest due to scheduling conflicts. In May 2022, Garbage joined Tears for Fears for the 21-date United States wing of The Tipping Point World Tour as special guest. In summer, Garbage toured the United States and Canada with Alanis Morissette for 10 dates of her Jagged Little Pill 25th anniversary tour. On April 14, Garbage announced a 7-date United States headline tour at the end of June supported by Glass Battles. However, the last four dates of the tour were cancelled due to illness in the band.

Anthology (2022–2024)
On September 7, 2022, Garbage announced their third greatest hits album Anthology, released on October 28. The compilation features 35 newly remastered tracks celebrating three decades of career, including "Witness To Your Love", which was released as single.

On October 4, Garbage performed "The World Is Not Enough" at the Royal Albert Hall in London with the Royal Philharmonic Orchestra as part of The Sound of 007: Live at the Royal Albert Hall curated by David Arnold, marking the 60th anniversary of the Bond franchise. The event was made available for streaming on Prime Video on October 5. A documentary by Matt Whitecross titled The Sound of 007 featuring an interview with Garbage premiered on Prime Video the same day. Prior to the event, the 2022 remaster of "The World Is Not Enough" was released as digital single. On October 22, Garbage performed at Audacy's 9th annual We Can Survive at the Hollywood Bowl in Los Angeles.

Early in 2022, Garbage started writing for their upcoming eighth studio album. In October, after fulfilling their touring obligations, Garbage resumed writing for the album. In February 2023, Garbage announced their Summer 2023 co-headline North American tour with Noel Gallagher's High Flying Birds featuring Metric as special guests. On April 22, 2023 Garbage released the four-song 12" Witness to Your Love EP as a vinyl exclusive Record Store Day release featuring "Witness to Your Love" backed by an unreleased cover of "Cities in Dust", originally by Siouxsie and the Banshees, and two outtakes from the No Gods No Masters sessions, "Blue Betty" and "Adam and Eve".

In May 2023, longtime touring and recording bass guitarist Eric Avery left the band to rejoin Jane's Addiction. Regarding his departure, Manson posted: "We are all genuinely happy for Eric as this course of action, this band of his, is where his heart lies and always has. Unfortunately for us it is an enormous, immeasurable loss. He has always been such a joy to work with. We will all miss him more than I have the words to express." Avery was replaced by a returning Daniel Shulman, marking his first time playing with the band since 2005.

Touring and new album (2024–present)

On 4 March 2024, Garbage announced a European tour, marking their first tour in five years in continental Europe. The headlining tour includes dates in Germany, Italy, France, Denmark, as well as a date at the Wembley Arena in England. Two dates were confirmed in Manson's native Scotland – a main stage slot at the TRNSMT festival in Glasgow, and a date at the Usher Hall in Edinburgh. The band was joined by Ginger Pooley on bass and backing vocals, marking the first time that another female musician would perform with the band on tour and also that someone would sing backing vocals.

In April 2024, the band re-released their 2005 album Bleed Like Me. For the release, the album was remastered and packaged in formats including a 2 CD release with a selection of B-sides, remixes and demos from the recording sessions for Bleed Like Me featured on the second disc, a 2 LP red vinyl edition which includes ten B-sides and bonus tracks on LP number two, and a silver single vinyl LP with just the remastered album available. This marks the first time that Bleed Like Me was issued on vinyl, as it was not pressed on vinyl for its original release in 2005. On April 22, the four-track Lie to Me EP was released. It contains two outtakes from the Bleed Like Me sessions, a cover of "Song to the Siren" and a remix of "Bad Boyfriend".

In June, the band announced they had finished recording their upcoming eighth studio album slated for a release in 2025. Speaking ahead of the TRNSMT Festival at Glasgow Green in Scotland, on 12 July 2024 during an interview with BBC Scotland, Manson claimed that she "didn't know how long Garbage has left", claiming "the older I get the more I enjoy life". She also referred to the future of Garbage, stating "I am the youngest member of the band and I’m turning 58 in a couple of weeks. So we are just enjoying every moment right now".

Musical style
Garbage's musical style has been described as alternative rock, electronic rock,  electropop,  trip hop, post-grunge,  industrial rock, dance-rock, and hard rock. Garbage's intention is to make pop-like songs which mix a variety of genres, with Steve Marker saying that the band wanted to "take pop music and make it as horrible sounding as we can." These genres include trip hop, grunge, 1980s rock music, techno, power pop, and shoegaze. Shirley Manson has stated that the band itself "used to describe [their sound] as sci-fi pop, because we felt it was taking a futuristic approach." Vig has said the crossover-heavy sound was inspired by the band's background with remixes, where songs would be rearranged to every musical style to which they held interest, and also that he "grew up listening to everything from pop radio and opera to country music and polka, so I really thought that Garbage would be an interesting and eclectic thing to do." Lindsay Zoladz of Pitchfork notes Garbage prevailed in the glory days of alternative-rock "probably because their sound was a hectic amalgamation of almost everything that mingled on the format's airwaves: electronica, punk, industrial rock, grunge, and the occasional trip-hop". Likewise, Vice wrote that from their singular concoctions of styles like trip hop, grunge, rock, techno, and shoegaze, Garbage "has forged a kind of queasy originality" in the search of "a kind of perverse beauty".

Garbage has been inspired by The Velvet Underground, Iggy & The Stooges, T. Rex, Roxy Music, The Pretenders, Siouxsie and the Banshees, Blondie, Cocteau Twins,  Patti Smith, The Smashing Pumpkins and David Bowie.

Members

 * Shirley Manson – vocals, guitar, keyboards
 * Duke Erikson – guitar, bass, keyboards
 * Steve Marker – guitar, bass, keyboards
 * Butch Vig – drums, percussion, keyboards

Current touring musicians

 * Ginger Pooley - bass (2024–present)

Former touring musicians

 * Matt Chamberlain – drums (2002; substitute for Butch Vig)
 * Matthew Walker – drums (2002, 2017, 2019; substitute for Butch Vig)
 * Eric Avery – bass, guitar, keyboards (2005–2023)
 * Daniel Shulman – bass (1995–2005, 2023)

Awards and nominations
Garbage have received 57 nominations, winning seventeen awards. Major awards which Garbage have been nominated for include the Grammy Awards and the BRIT Awards.

Concert tours
Headlining tours
 * Garbage tour (1995–1996)
 * Version 2.0 tour (1998–1999)
 * Beautiful Garbage tour (2001–2002)
 * Bleed Like Me tour (2005)
 * Not Your Kind of People tour (2012–2013)
 * 20 Years Queer tour (2015)
 * Strange Little Birds tour (2016)
 * Rage and Rapture tour (with Blondie) (2017)
 * 20 Years Paranoid (2018)
 * Summer Tour (2019)
 * Garbage & Noel Gallagher's High Flying Birds: Live in Concert (2023)
 * Garbage 2024 (2024)

Supporting tours

 * 2020 World Tour: Celebrating 25 Years of Jagged Little Pill - tour supporting Alanis Morissette (postponed to 2021)
 * 2022 The Tipping Point World tour supporting Tears for Fears
 * 2022 North American Tour: Celebrating 25 Years of Jagged Little Pill - tour supporting Alanis Morissette

Discography
Studio albums
 * Garbage (1995)
 * Version 2.0 (1998)
 * Beautiful Garbage (2001)
 * Bleed Like Me (2005)
 * Not Your Kind of People (2012)
 * Strange Little Birds (2016)
 * No Gods No Masters (2021)

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

title: Garbage (band)


text:
Alopex

Alopex may refer to:

 * Alopex lagopus, a taxonomic synonym for the Arctic fox, Vulpes lagopus
 * ALOPEX a correlation-based machine learning algorithm
 * Alopex (Teenage Mutant Ninja Turtles), a character in the Teenage Mutant Ninja Turtles franchise
 * Alopex (ἀλώπηξ) ancient Greek for fox

title: Alopex


text:
Viduidae

The indigobirds and whydahs, together with the cuckoo-finch, make up the family Viduidae; they are small passerine birds native to Africa.

These are finch-like species which usually have black or indigo predominating in their plumage. The birds named "whydahs" have long or very long tails in the breeding male.

All are obligate brood parasites, which lay their eggs in the nests of estrildid finch species; most indigobirds use firefinches as hosts, whereas the paradise whydahs choose pytilias. Unlike the cuckoos and honeyguides, the indigobirds and whydahs do not destroy the host's eggs. Typically, they lay 2–4 eggs in with those already present. The eggs of both the host and the victim are white, although the indigobird's are slightly larger. Many of the indigo-plumaged species named "indigobirds" are very similar in appearance, with the males difficult to separate in the field, and the young and females near impossible. The best guide is often the estrildid finch with which they are associating, since each indigobird parasitises a different host species. For example, the village indigobird is usually found with red-billed firefinches. Indigobirds and whydahs imitate their host's song, which the males learn in the nest. Although females do not sing, they also learn to recognise the song, and choose males with the same song, thus perpetuating the link between each species of indigobird and firefinch. The nestling indigobirds mimic the unique gape pattern of the fledglings of the host species.

The matching with the host is the driving force behind speciation in this family, but the close genetic and morphological similarities among species suggest that they are of recent origin.

The family contains two genera:

title: Viduidae


text:
Pat Smear

Georg Albert Ruthenberg (born August 5, 1959), better known by his stage name Pat Smear, is an American musician. He is best known for being the lead guitarist and co-founder of Los Angeles–based punk band The Germs and for being a rhythm guitarist for grunge band Nirvana (which he joined as a touring guitarist in 1993), and Foo Fighters (with whom he has recorded six studio albums). After Nirvana disbanded following the suicide of frontman Kurt Cobain, drummer Dave Grohl went on to form Foo Fighters, with Smear joining on guitar. Smear left Foo Fighters in 1997 before rejoining as a touring guitarist in 2005 and being promoted back to a full-time member in 2010.

Early life
Smear was born and raised in West Los Angeles, California, to a mother of African-American and Native American descent and a German Jewish immigrant father. His parents enrolled him in piano lessons at a young age, and a few years later he began teaching himself to play the guitar. Before becoming a musician, he was a very religious child.

At age 13, he left home to join a commune. Later, he attended Innovative Program School (IPS), an alternative school within University High School in Los Angeles. It was there he met vocalist Darby Crash, alongside whom he would play in the Germs in the late 1970s. Smear and Crash were both expelled from IPS due to concerns they were inciting unruly behavior among the students.

The Germs (1976–1980)
Smear lists his influences as Joan Jett, Brian James, Brian May, and Steve Jones. He also stated that "all the guitar playing" of John McKay on Siouxsie and the Banshees's first album "really inspired me" and that Yes guitarist Steve Howe is "the best guitarist ever". As a teenager in 1976, Smear and Darby Crash formed the Germs with bassist Lorna Doom and drummer Dottie Danger (the pseudonym of Belinda Carlisle, who would go on to front The Go-Go's). Smear was the only band member who had any musical knowledge or proficiency at the time. For most of his time in the Germs, Smear reported that he didn't own a guitar but rather "just borrowed from whoever we were playing with".

Carlisle was soon replaced by Don Bolles and, in 1979, the band released their first album, (GI), produced by Joan Jett. The record is now regarded as a milestone in the history of punk rock, with Smear earning praise for his guitar work: "Smear has an equal claim to being the album's star [alongside Darby], though, and for good reason – not only did he co-write everything, his clipped, catchy monster riffing was as pure punk in the late-'70s sense as anything, wasting no time on anything extraneous."

The Germs, along with Smear, appeared in the punk documentary The Decline of Western Civilization (1981), directed by Penelope Spheeris. Darby Crash died before the film was released, leading to the band breaking up.

Twisted Roots / The Adolescents / 45 Grave (1981)
Following the demise of the Germs, Smear played in 1981 with the ex-Screamers keyboardist Paul Roessler and his sister Kira Roessler in Twisted Roots. Although short-lived, the band was the toast of the Hollywood punk scene. He also had a brief stint as a member of punk band the Adolescents in 1981.

Smear was briefly in deathrock band 45 Grave with Don Bolles (the former drummer for the Germs). During this stint, they recorded a 7" titled Black Cross and other tracks that would later appear on 45 Grave's 1987 compilation album, Autopsy.

Film career (1981-1986)
During this time, he also worked as an actor in bit parts, appearing in the television shows Quincy, M.E. and CHiPs, and in the films Blade Runner, Breakin' and Howard the Duck. While working on Breakin', Smear became friends with Courtney Love. He also appeared as an extra in the music video for Prince and the Revolution's single "Raspberry Beret," sitting in front of Lisa Coleman's piano

Solo career (1987-1992)
Smear would go on to make two solo albums of his own, Ruthensmear, released in 1987 and recorded with Paul Roessler, and So You Fell in Love with a Musician..., released in 1992.

Hole (1992)
Smear recorded and mixed a cover of "Circle One" in December 1992 with Courtney Love on vocals and bass, Smear and Eric Erlandson on guitar, and Patty Schemel on drums. A 7-inch vinyl was released under the name The Holez in 1993. The cover later appeared on the compilation album A Small Circle of Friends in 1996.

Nirvana (1993–1994)
In 1993, he received a call from Nirvana's frontman Kurt Cobain, asking him to join the band as a second guitarist for an upcoming tour. At first, Smear thought his friend, Carlos "Cake" Nunez, was pranking him; however, Courtney Love had told Smear a few days prior that Cobain was going to call him. Smear accepted immediately and played his first show with Nirvana on Saturday Night Live on September 25, 1993. He toured with Nirvana for about six months. Smear appeared on their live albums MTV Unplugged in New York, From the Muddy Banks of the Wishkah, as well as on material for the compilations Nirvana and With the Lights Out and the concert DVD Live and Loud.

Foo Fighters (1994–1997)
Following Cobain's death, Nirvana drummer Dave Grohl formed a band to support his self-titled album, which would ultimately become known as Foo Fighters. Smear joined the group from its inception in late October 1994, but because their first album was a collection of demos recorded solely by Grohl, Smear did not appear on a Foo Fighters album until The Colour and the Shape (1997).

Shortly after the release of The Colour and the Shape, Smear quit the band. As Smear later explained, he quit mainly due to exhaustion from the band's relentless touring schedule. Smear's departure was also related to inner-band tensions that sprung up around Grohl's divorce from his first wife, Jennifer Youngblood, who was a close friend of Smear. Grohl explained that he "begged" Smear to stay and Smear agreed to remain in Foo Fighters temporarily due to scheduled touring obligations, but only until a replacement guitarist could be recruited. Grohl eventually invited Franz Stahl, his former bandmate from Scream, to fill the lead guitarist slot.

Smear announced his departure from Foo Fighters during a live performance at the 1997 MTV Video Music Awards; he played partway through the set, then introduced Stahl who completed the gig.

Hiatus from Foo Fighters and Germs Reunion (1997–2008)
Smear kept a fairly low profile during his absence from Foo Fighters. He produced the debut album for the band Harlow and made scattered television appearances. He was employed as a creative consultant in a motion picture about the Germs and Darby Crash, entitled What We Do Is Secret, named after one of the band's best-known songs. The film was released at the Los Angeles Film Festival on June 23, 2007, and had a limited theatrical release in 2008 and now available on DVD. In the film, Smear is depicted by actor Rick Gonzalez. In 2005, he began performing reunion shows with the Germs, including actor Shane West, who portrays Darby Crash in the film, filling in as lead vocalist.

Rejoining Foo Fighters (2005–present)
In late 2005, Smear began performing select shows with Foo Fighters again. He continued to play intermittently with the group, often not for the entirety of a concert, as a touring musician for the next five years. Smear appeared with the Foo Fighters as an additional musician on their live acoustic album, Skin and Bones (2006), contributing acoustic and electric guitar. He was also featured as a guest musician on the group's sixth studio album, Echoes, Silence, Patience & Grace (2007), playing rhythm guitar on the track "Let It Die." Smear described his participation as "the oddest recording experience I had with Foo Fighters", given he had no input in composition and was "going in and playing on a song that was already written".

In August 2010, Foo Fighters began recording their seventh studio album, Wasting Light, with producer Butch Vig. The recording sessions were documented on the band's website and Twitter, with Smear being present in many of the photos that were posted. A December press release confirmed that Smear was part of the project and was considered a core member of the band once again, becoming the band's third guitarist alongside Grohl and Chris Shiflett. The album was released on April 12, 2011, marking the group's first studio release with Smear as an official member since The Colour and the Shape in 1997. Wasting Light debuted at number one in twelve countries and was the first Foo Fighters album to top the United States' Billboard 200 chart. The album and its songs were nominated for five Grammy Awards, including Album of the Year. The record won the Best Rock Album award, while "White Limo" was chosen as the Best Hard Rock/Metal Performance and "Walk" won both Best Rock Performance and Best Rock Song.

Smear continued his work with the band on their follow-up album Sonic Highways (2014). Every song on the album was written and recorded in a different city across the United States and features guest musicians with ties to that city's musical history. The process was filmed for a companion television series, Foo Fighters: Sonic Highways, which was broadcast on HBO in the months surrounding the album's release. Sonic Highways was released on November 10, 2014 and debuted at number two on the Billboard 200.

In 2017, the Foo Fighters released their ninth studio album, Concrete and Gold. Smear once again performed guitar on all tracks, as well as contributed percussion on the songs Run and Happy Ever After (Zero Hour). The group's tenth studio album, Medicine at Midnight, was released on February 5, 2021 and went on to win three Grammy Awards, including Best Rock Album. Five days after the release of the album, Foo Fighters were announced as one of the 2021 Rock and Roll Hall of Fame nominees in their first year of eligibility. They were officially selected as part of the 2021 induction class on May 12, 2021.

On October 30, 2021, Smear was inducted into the Rock and Roll Hall of Fame as a member of the Foo Fighters. His former bandmate from The Germs, Belinda Carlisle, was inducted the same year as a member of The Go-Go's.

Smear appeared alongside his bandmates in the comedy horror film, Studio 666, directed by BJ McDonnell. The film was released on February 25, 2022 and received mixed reviews.

Nirvana reunions
During the Foo Fighters' Friday night performance at Bumbershoot Festival on August 29, 1997, Nirvana bassist Krist Novoselic joined his former bandmates Dave Grohl and Pat Smear on stage for the Foo's encore to salute the late Kurt Cobain. Grohl took his position on drums, Novoselic played bass, and Smear accompanied on guitar. A spotlight encompassed the microphone stand to honor Cobain, who died by suicide on April 5, 1994. They performed a cover of Prince's "Purple Rain", after which a roadie for the Foo Fighters joined them on stage and sang a version of Led Zeppelin's "Communication Breakdown".

On December 22, 2010, the remaining members of Nirvana played together during a Foo Fighters show at Paladino's in Tarzana, California, which was recorded for a documentary.

On December 12, 2012, Smear, Novoselic and Grohl reunited again for a televised Live Aid Hurricane Sandy benefit. This time, they were fronted by Paul McCartney. They performed "Cut Me Some Slack", the first track from the film soundtrack for Sound City.

On December 15, 2012, they performed "Cut Me Some Slack" on Saturday Night Live, once again fronted by McCartney.

On July 19, 2013, Smear, Novoselic and Grohl reunited on-stage, again with Paul McCartney, during both the first and second encores of McCartney's "Out There" tour stop at Safeco Field, Seattle. They performed "Cut Me Some Slack", as well as numerous Beatles' songs.

On April 11, 2014, Nirvana was inducted into the Rock and Roll Hall of Fame. Though Smear was not inducted, he joined Dave Grohl and Krist Novoselic on stage for performances of Nirvana songs along with Joan Jett, Lorde, St. Vincent and Kim Gordon.

The surviving Nirvana members reunited yet again with Joan Jett, Deer Tick's John McCauley, as well as The Distillers' Brody Dalle for a six-song encore set to close out Cal Jam 18 on Saturday, October 6, 2018, at Glen Helen Amphitheater in San Bernardino, California.

Gear
Smear for a long span of his career almost exclusively used Hagström guitars, after buying one toward the end of his time in the Germs, and went on to collaborate on a signature guitar with the company. Smear now primarily uses Gibson guitars. He can be seen with classic models such as a White SG Custom or a Les Paul but mostly custom shop variations on the rare Johnny A model. Smear also uses a Gibson Barney Kessel model guitar while playing with the Foo Fighters.

For the MTV Unplugged in New York performance, Smear used a Buck Owens American acoustic guitar, which belonged to Krist Novoselic.

Personal life
According to the 2011 documentary Foo Fighters: Back and Forth, Smear was married at the time and has at least one child.

Discography
With the Germs
 * Forming/Sexboy (1977)
 * Lexicon Devil (1978)
 * (GI) (1979)
 * The Decline of Western Civilization Soundtrack (1980)
 * What We Do Is Secret (1981)
 * Live at the Whisky, First Show Ever (1981)
 * Germicide (1985)
 * (MIA) The Complete Anthology (1993)

With The Martyrs
 * Pig Pen Victim / Social Sacrifice (7") (1979)

With 45 Grave
 * Black Cross/Wax (1981)

With Twisted Roots
 * Pretentiawhat (1981)
 * Twisted Roots (Comp.) (2004)

With Vagina Dentata
 * "Work Till Your Dead" – Flipside Video Fanzine Number Five (Comp.) (VHS) (1984)
 * "Golden Boys" – Flipside Vinyl Fanzine Vol. 2 (Comp.) (1985)
 * "Creep Street" – Chaotic Reasoning Vol. 2 (Comp.) (2012)

With Tater Totz
 * Alien Sleestacks From Brazil (Unfinished Music Volume 3) (1988)
 * Mono! Stereo: Sgt. Shonen's Exploding Plastic Eastman Band Request (1989)
 * Tater Comes Alive! (Tot Live! If You Want It!) (1992)

With Gary Celebrity
 * Diary Of A Monster (1992)

Solo
 * Ruthensmear (1987)
 * "Lazybones" – Every Band Has A Shonen Knife Who Loves Them (Various Artists Shonen Knife Tribute Comp.) (1989)
 * So You Fell in Love with a Musician... (1992)

With Deathfolk
 * Deathfolk (1989)
 * Deathfolk II (1992)

With Belinda Carlisle
 * Real (1993)

With Hole

 * Circle 1 (1993)

With Nirvana
 * MTV Unplugged in New York (1994)
 * From the Muddy Banks of the Wishkah (1996)
 * Nirvana (2002)
 * With the Lights Out (2004)
 * In Utero 20th Anniversary Deluxe Edition (2013)

With Skull Control
 * "Electric Church" – Radio Danger (1994)

With Mike Watt
 * Ball-Hog or Tugboat? (1995)
 * "Ring Spiel" Tour '95 (2016)

With Foo Fighters
 * The Colour and the Shape (1997)
 * Skin and Bones (2006; additional player)
 * Echoes, Silence, Patience & Grace (2007; guest player on track 2)
 * Live at Wembley Stadium (2008; additional)
 * Wasting Light (2011)
 * Sonic Highways (2014)
 * Saint Cecilia (2015)
 * Concrete and Gold (2017)
 * Medicine at Midnight (2021)
 * But Here We Are (2023)

With Paul McCartney
 * "Cut Me Some Slack" (2012)

With theHell
 * Southern Medicine (2013)

title: Pat Smear


text:
Time spent listening

Time spent listening (TSL) is one of the measurements surveyed by Nielsen Audio in determining ratings for radio stations in the United States. It is the equivalent of Average Time Exposed (ATE), Daily or Weekly.

TSL is defined as the amount of time the average listener surveyed spent listening to each radio station at one time, before changing the station or turning it off. Alternately, it is an estimate of how long the average panelist (listener) was exposed to a particular station or stations for a specific time period.

TSL trends are used in conjunction with AQH share ("AQH") to evaluate listenership to a station. In some radio formats, a station with low AQH (number of listeners) but high TSL is considered more attractive to advertisers than a high AQH / low TSL station, because the station's listeners are more likely to stick with the station through commercial breaks and hear the paid advertisements.

title: Time spent listening


text:
De Plancy

de Plancy is a French toponym, relating to Plancy-l'Abbaye
 * Miles de Plancy (d.1174) crusader

There is no aristocratic family "de Plancy," but "de Plancy" was added to the commoner surname Collin by
 * Jacques Collin de Plancy:

Also borne by his son:
 * Victor Collin de Plancy

title: De Plancy


text:
Talk:Student Life (university ministry)

Request for further information
What does this organisation actually do? Run church services? Provide spiritual counselling for students? Provide pastoral care for students struggling with various issues? Organise social gatherings for Christian students where DJ's play the latest from Evanescence? Protest abortions? Run political candidates under the Students For Christ ticket?

All cynicism aside, if you could clarify this in the article it would be much appreciated.

Additionally, how many members does the organisation have (if indeed it is a membership organisation), how is it funded, and is it affiliated in any way with any other campus Christian organisations (is there some kind of umbrella grouping?)--Robert Merkel 06:07 25 Jul 2003 (UTC)

Merge
Frankly I think even this article should be going in the AFD direction, but merging the smaller, even less notable article Student Life New Zealand into this would be a good start. Unless of course someone can find some external sources besides the groups own website. Richard001 (talk) 08:23, 15 May 2008 (UTC)

 * Merged and plan to do the same with Student Life Australia soon, then AFD the whole thing. "Student Life" is not the easiest term to search for given its more general meaning, but there doesn't seem much (anything) around in the way of external sources. Richard001 (talk) 08:00, 23 May 2008 (UTC)

title: Talk:Student Life (university ministry)


text:
Sexual identity

Sexual identity refers to one's self-perception in terms of romantic or sexual attraction towards others, though not mutually exclusive, and can be different from romantic identity ''. Sexual identity'' may also refer to sexual orientation identity, which is when people identify or dis-identify with a sexual orientation or choose not to identify with a sexual orientation. Sexual identity and sexual behavior are closely related to sexual orientation, but they are distinguished, with identity referring to an individual's conception of themselves, behavior referring to actual sexual acts performed by the individual, and sexual orientation referring to romantic or sexual attractions toward persons of the opposite sex or gender, the same sex or gender, to both sexes or more than one gender, or to no one.

Historical models of sexual identity have tended to view its formation as a process undergone only by sexual minorities, while more contemporary models view the process as far more universal and attempt to present sexual identity within the larger scope of other major identity theories and processes.

Definitions and identity
Sexual identity has been described as a component of an individual's identity that reflects their sexual self-concept. The integration of the respective identity components (e.g. moral, religious, ethnic, occupational) into a greater overall identity is essential to the process of developing the multi-dimensional construct of identity.

Sexual identity can change throughout an individual's life, and may or may not align with biological sex, sexual behavior or actual sexual orientation. In a 1990 study by the Social Organization of Sexuality, only 15.7% of women and 34.9% of men who reported some level of same-sex attraction had a homosexual or bisexual identity.

Sexual identity is more closely related to sexual behavior than sexual orientation is. The same survey found that 96% of women and 87% of men with a homosexual or bisexual identity had engaged in sexual activity with someone of the same sex, contrasted with 32% of women and 43% of men who had same-sex attractions. Upon reviewing the results, the organization commented: "Development of self-identification as homosexual or gay is a psychological and socially complex state, something which, in this society, is achieved only over time, often with considerable personal struggle and self-doubt, not to mention social discomfort."

Identities

 * Asexuality is the lack of sexual attraction to others, or low or absent interest in or desire for sexual activity. It may also be categorized more widely to include a broad spectrum of asexual sub-identities. Asexuality is distinct from abstention from sexual activity and from celibacy.
 * Aromanticism is defined as "having little or no romantic feeling towards others: experiencing little or no romantic desire or attraction.
 * Bisexuality describes a pattern of attraction toward both males and females, or to more than one sex or gender. A bisexual identity does not necessarily equate to equal sexual attraction to both sexes; commonly, people who have a distinct but not exclusive sexual preference for one sex over the other also identify themselves as bisexual.
 * Heterosexuality describes a pattern of attraction to persons of the opposite sex. The term straight is commonly used to refer to heterosexuals. Heterosexuals are by far the largest sexual identity group.
 * Homosexuality describes a pattern of attraction to other persons of the same sex. The term lesbian is commonly used to refer to homosexual women, and the term gay is commonly used to refer to homosexual men, although gay is sometimes used to refer to women as well.
 * Pansexuality describes attraction towards people regardless of their sex or gender identity. Pansexual people may refer to themselves as gender-blind, asserting that gender and sex are not determining factors in their romantic or sexual attraction to others.  Pansexuality is sometimes considered a type of bisexuality.
 * Polysexuality has been defined as "encompassing or characterized by many different kinds of sexuality", and as sexual attraction to many, but not all, genders. Those who use the term may be doing so as a replacement for the term bisexual, believing bisexual reifies dichotomies. Major monotheistic religions generally prohibit polysexual activity, but some religions incorporate it into their practices. Polysexuality is also considered to be another word for bisexuality however unlike bisexuals, polysexuals are not necessarily attracted to people of the same gender.
 * Sapiosexuality describes attraction to the intelligence of another person.  The prefix sapio- comes from the Latin for "I [have] taste" or "I [have] wisdom" and refers to a person's preferences, proclivities, and common sense. Sapiosexual-identifying individuals can also be gay, straight, or bisexual. It is not a sexual orientation.  It first gained mainstream attention in 2014 when dating website OkCupid added it as one of several new sexual orientation and gender identity options. About 0.5% of OkCupid users identify as sapiosexual, and it was most common among those ages 31–40. Women are more likely to identify as sapiosexual than men. Critics responded that sapiosexuality is "elitist", "discriminatory", and "pretentious". OkCupid removed the identity on February 11, 2019 following what it described as "considerable negative feedback".
 * Relationship anarchy applies anarchist principles to intimate relationships. Its practice has no norms but tends towards criticism of western relationship norms, absence of demands and expectations on partners, and lack of distinction between friendships and romantic relationships.

Unlabeled sexuality
Unlabeled sexuality is when an individual chooses not to label their sexual identity. This identification could stem from one's uncertainty about their sexuality or their unwillingness to conform to a sexuality because they do not necessarily like labels, or they wish to feel free in their attractions instead of feeling forced into same, other, both, or all attractions because of their sexual identity. Identifying as unlabeled could also be because of one's "unwillingness to accept their sexual minority status." Because being unlabeled is the purposeful decision of no sexual identity, it is different from bisexuality or any other sexual identity. Those who are unlabeled are more likely to view sexuality as less stable and more fluid and tend to focus more on the "person, not the gender." It is reported that some women who identify as unlabeled did so because they are unable or uncertain about the types of relationships they will have in the future. As such, this divergence from sexual labels could provide for a person to be able to more fully realize their "true" sexuality because it frees them from the pressure of liking and being attracted to who their sexual identification dictates they should like. Pham, Q.T. (2022) conducted an empirical qualitative research on the sexual identity management strategies of working women who experience sexual fluidity. The results show that female employees first consider or choose (non)identity that matches their new sexual attractions. These (non)identity choices include identity change, fluid identity, non-identity, and resisting identity. Next, strategies are utilized for managing that (non)identity at work—pass, cover, implicitly out, explicitly out, inform/educate. These strategies can be used independently or multiply (mixed/change), in which mixed strategy takes account of communication object and situation, while change strategy relies on time. The term pomosexual is also similar to unlabeled in the sense that it defines the rejection of preexisting or mainstream labels.

General
Most of the research on sexual orientation identity development focuses on the development of people who are attracted to the same sex. Many people who feel attracted to members of their own sex come out at some point in their lives. Coming out is described in three phases. The first phase is the phase of "knowing oneself," and the realization emerges that one is sexually and emotionally attracted to members of one's own sex. This is often described as an internal coming out and can occur in childhood or at puberty, but sometimes as late as age 40 or older. The second phase involves a decision to come out to others, e.g. family, friends, and/or colleagues, while the third phase involves living openly as an LGBT person. In the United States today, people often come out during high school or college age. At this age, they may not trust or ask for help from others, especially when their orientation is not accepted in society. Sometimes they do not inform their own families. Various studies have shown that gender identity can be affected by family conditions, educational environment, society and media. In other words, in conservative societies, people face different challenges to express their gender identity if they have a gender identity different from the norm of the society.

According to Rosario, Schrimshaw, Hunter, Braun (2006), "the development of a lesbian, gay, or bisexual (LGB) sexual identity is a complex and often difficult process. Unlike members of other minority groups (e.g., ethnic and racial minorities), most LGB individuals are not raised in a community of similar others from whom they learn about their identity and who reinforce and support that identity" and "[r]ather, LGB individuals are often raised in communities that are either ignorant of or openly hostile toward homosexuality."

Some individuals with unwanted sexual attractions may choose to actively dis-identify with a sexual minority identity, which creates a different sexual orientation identity from their actual sexual orientation. Sexual orientation identity, but not sexual orientation, can change through psychotherapy, support groups, and life events. A person who has homosexual feelings can self-identify in various ways. An individual may come to accept an LGB identity, to develop a heterosexual identity, to reject an LGB identity while choosing to identify as ex-gay, or to refrain from specifying a sexual identity.

Models of sexual identity development
Several models have been created to describe coming out as a process for gay and lesbian identity development (e.g. Dank, 1971; Cass, 1984; Coleman, 1989; Troiden, 1989). These historical models have taken a view of sexual identity formation as a sexual-minority process only. However, not every LGBT person follows such a model. For example, some LGBT youth become aware of and accept their same-sex desires or gender identity at puberty in a way similar to which heterosexual teens become aware of their sexuality, i.e. free of any notion of difference, stigma or shame in terms of the gender of the people to whom they are attracted. More contemporary models take the stance that it is a more universal process. Current models for the development of sexual identity attempt to incorporate other models of identity development, such as Marcia's ego-identity statuses.

The Cass identity model, established by Vivienne Cass, outlines six discrete stages transited by individuals who successfully come out: (1) identity confusion, (2) identity comparison, (3) identity tolerance, (4) identity acceptance, (5) identity pride, and (6) identity synthesis. Fassinger's model of gay and lesbian identity development contains four stages at the individual and group level: (1) awareness, (2) exploration, (3) deepening/commitment, and (4) internalization/synthesis.

Some models of sexual identity development do not use discrete, ordered stages, but instead conceptualize identity development as consisting of independent identity processes. For example, D'Augelli's model describes six unordered independent identity processes: (1) exiting heterosexual identity, (2) developing personal LGB identity status, (3) developing an LGB social identity, (4) becoming an LGB offspring, (5) developing an LGB intimacy status, and (6) entering an LGB community.

The Unifying Model of Sexual Identity Development is currently the only model that incorporates heterosexual identity development within its statuses to include compulsory heterosexuality, active exploration, diffusion, deepening and commitment to status, and synthesis.

Contemporary models view sexual identity formation as a universal process, rather than a sexual minority one, in that it is not only sexual minorities that undergo sexual identity development, but heterosexual populations as well. More recent research has supported these theories, having demonstrated that heterosexual populations display all of Marcia's statuses within the domain of sexual identity.

title: Sexual identity


text:
Studio transmitter link

A studio transmitter link (STL) sends a radio station's or television station's audio and video from the broadcast studio or origination facility to a radio transmitter, television transmitter or uplink facility in another location. This is accomplished through the use of terrestrial microwave links or by using fiber optic or other telecommunication connections to the transmitter site.

Link
This is often necessary because the best locations for an antenna are on top of a mountain, where a much shorter radio tower is required, but where locating a studio may be impractical. Even in flat regions, the center of the station's allowed coverage area may not be near the studio location or may lie within a populated area where a transmitter would be frowned upon by the community, so the antenna must be placed at a distance from the studio.

Depending on the locations that must be connected, a station may choose either a point to point (PTP) link on another special radio frequency, or a newer all-digital wired link via a dedicated data transmission circuit. Radio links can also be digital, or the older analog type, or a hybrid of the two. Even on older all-analog systems, multiple audio and data channels can be sent using subcarriers.

Stations that employ an STL usually also have a transmitter/studio link (TSL) to return telemetry information. Both the STL and TSL are considered broadcast auxiliary services (BAS).

Transmitter/studio link
The transmitter/studio link (or TSL) of a radio station or television station is a return link which sends telemetry data from the remotely located radio transmitter or television transmitter back to the studio for monitoring purposes. The TSL may return the same way as the STL, or it can be embedded in the station's regular broadcast signal as a subcarrier (for analog stations) or a separate data channel (for digital stations).

Analog or digital data such as transmitter power, temperature, VSWR, voltage, modulation level, and other status information are returned so that broadcast engineering staff can correct any problems as soon as possible. These data may be attended to by an automated transmission system.

title: Studio transmitter link


text:
Talk:List of Fourier-related transforms

"frequency transform"

 * Note: this discussion pertains to the old name of this page, frequency transform, before it was moved

I've never seen this terminology used outside of Wikipedia; e.g. Oppenheim and Schafer doesn't use it, Google turns up no usages of frequency transform as a generic descriptor, etcetera. (I do find several references, both online and in the literature, to the phrase time-frequency transform; perhaps a simple renaming is in order.) Steven G. Johnson

 * Maybe you should email the original author User:Rade Kutil and ask. He's a postdoc who's written some papers on video encoding with wavelets, so it's quite possible he knows what he's talking about. -- Tim Starling 06:34 25 Jul 2003 (UTC)

 * Hi. You're right. It's not standard terminology. I chose this term for the following reasons:
 * There should be a term describing it (since the article makes sense, doesn't it).
 * I didn't come across a better term.
 * The term seems to be a natural combination of existing terms, just as needle cutter would be the natural term for something that cuts needles ...
 * Since time-frequency transform is used, it shouldn't be too made up.
 * Note that time-frequency transform is not a proper name for it because it excludes Fourier and cosine transforms and others lacking time locality of basis functions. If someone finds a better term, I'd be glad. If not, I'd be sorry if we decide to delete the article - as I find it an important category. Another solution might be an article function transform or so, which lists frequency transforms, time-frequency transforms and all the others. --Rade

 * I sympathize; it's nice to have a page that lists a bunch of related transformations, but the idea of inventing new terminology in an encyclopedia makes me uneasy. We should be descriptive, not prescriptive.  I think it would be better to make a page that is clearly just a Wikipedia organizational page, like the many List of pages that we already have.  How about List of Fourier-related transforms or List of topics related to Fourier analysis for DFT, DCT, DHT, MDCT, FFT, harmonic analysis, etcetera?  (There could be a sentence pointing to wavelets, time-frequency transforms, and other related topics at the bottom.)  (A page just listing invertible function transforms, i.e. "all" invertible linear operators on Hilbert spaces, seems too unfocused to be useful.)  Steven G. Johnson

 * I've moved the page to "List of Fourier-related transforms" and changed the linking articles. Wikipedia should not attempt to coin new technical terms, and this coinage was spreading through more and more articles.  Steven G. Johnson 00:44, 12 Feb 2004 (UTC)

Hilbert transform question
Hello. I think that the list of Fourier-related transforms is lacking of the Hilbert transformation. Please tell me why this transformation for analytic signals isn't here. Andrés Páez

 * If the domain of a function is time (t), the Fourier transform produces a function of ordinary frequency. The Hilbert transform produces another function of time.
 * --Bob K (talk) 14:01, 3 December 2010 (UTC)

Laplace transforms
I deleted an assertion that the Fourier transform is a special case of the allegedly more general Laplace transform. That would mean every Fourier transform is a Laplace transform but not every Laplace transform is a Fourier transform. If we define the Fourier transform by

 * $$(\mathcal{F} f)(t) = \int_{-\infty}^\infty e^{-itx} f(x)\,dx$$

and the Laplace transform by

 * $$(\mathcal{L} f)(t) = \int_{-\infty}^\infty e^{-tx} f(x)\,dx$$

then, proceeding formally ("formally" means, in effect, not worrying about convergence, integrability, etc.), we have

 * $$(\mathcal{F} f)(t)=(\mathcal{L} f)(it)$$

and

 * $$(\mathcal{L} f)(t)=(\mathcal{F} f)(-it).$$

This might make them appear equally general. But if f is Lebesgue-integrable (i.e., the integral from −∞ to ∞ of the absolute value of f is finite) then the Fourier transform of f clearly exists, whereas the Laplace transform may blow up—either diverge to ∞ or be only conditionally integrable. This might make the Fourier transform appear more general, not less.

But then we get complications from the fact that there are ways to define Fourier transforms for quadratically integrable functions that are not Lebesgue integrable, and also for tempered distributions, etc.

Could the person who asserted that the Laplace transform is strictly more general please clarify? Michael Hardy 22:33, 18 May 2004 (UTC)

 * I didn't write that assertion, but note that anything you say about the Laplace transform here probably also applies to the z Transform, which is mentioned similarly in the discrete case. (I suspect that the thinking of the person who wrote it was that normally with Fourier transforms you don't even raise the case of arbitrary complex ω.) —Steven G. Johnson 23:18, May 18, 2004 (UTC)

The statement is (too) naive; but perhaps some remarks could be added. For example, the simplest functions one might ask about are polynomials; their FTs don't exist in the simple-minded sense, but LTs are a different matter. Charles Matthews 08:19, 19 May 2004 (UTC)

Discrete-time Fourier transform (DTFT)
By the way, Wikipedia needs an entry for the DTFT:

 * $$F(\omega) = \sum_{k=-\infty}^\infty e^{-i\omega k} f_k$$
 * $$f_k = \frac{1}{2\pi} \int_{-\pi}^\pi e^{i\omega k} F(\omega) d\omega$$

when someone gets around to it. (This is also a closer analogue to the z transform than the DFT.) (Of course, this is just the dual of the Fourier series representation, but it is important enough to deserve a page in its own right.)

 * Done. Discrete-time Fourier transform.

title: Talk:List of Fourier-related transforms


text:
SWR

SWR may refer to:

Radio and television

 * Standing wave ratio, in radio-engineering a measure of impedance matching of loads

Broadcasters

 * Scandinavian Weekend Radio, Virrat, Finland
 * South West Radio, former broadcaster, England
 * Südwestrundfunk, German radio and television broadcaster
 * SWR Symphonieorchester, a radio orchestra affiliated with Südwestrundfunk
 * SWR Vokalensemble, the vocal ensemble of Südwestrundfunk
 * SWR FM, former name of the SWR Triple 9 FM radio broadcaster, Sydney, Australia
 * SWR Fernsehen, a German regional television channel

People

 * Simeon Woods Richardson, American baseball player

Railway

 * South Wales Railway, UK
 * South Western Railway, a UK train operating company
 * South Western Railway zone, India

Airlines

 * Swiss International Air Lines (ICAO code), national airline of Switzerland
 * Swissair (ICAO code), former national airline of Switzerland

Other uses

 * SWR Sound Corporation, guitar amplifier manufacturer
 * Saweru language (ISO 639:swr), closely related to Yawa of central Yapen Island, Indonesia
 * Scarlet Weather Rhapsody, a game from Touhou Project
 * Scotch Whisky Regulations 2009, a UK law
 * She Wants Revenge, American rock band

title: SWR


text:
SKU (disambiguation)

SKU is a common abbreviation for stock keeping unit.

SKU may also refer to:

Places

 * Skiu-Kaya, two adjoining villages in Ladakh, India
 * Skyros Island National Airport (IATA: SKU), Greece

Businesses and organizations

 * SKU Amstetten, Austrian football club
 * Sky Airline (ICAO: SKU), Santiago, Chile
 * Sri Krishnadevaraya University, Andhra Pradesh, India
 * SKU College of Engineering and Technology
 * Church of Sweden Youth (Svenska Kyrkans Unga), the youth wing of the Church of Sweden
 * Young Communist League of Sweden (disambiguation) (Sveriges Kommunistiska Ungdomsförbund)
 * Skadron Udara (SkU), an air squadron of the Indonesian Air Force

title: SKU (disambiguation)