text:
Talk:Googlewhack

Notability
I definitely think this article is notable enough to be included in Wikipedia. I'm not really sure how evident that is from the current state of the article, however. It needs to be substantially overhauled, with a cited reference or two to third-party publications talking about Googlewhacks (magazine or newspaper articles, perhaps?)

 * -Dave314159 (talk) 21:01, 29 June 2009 (UTC)

I will soon add a reference to a peer-review publication using googlewhacks, I think this should be sufficient. --128.197.81.26 (talk) 20:22, 4 August 2009 (UTC)

 * I also believe this is a notable concept. I saw this term used in a Guardian article today, and I see that the page got 6533 hits last month - a very impressive number! Walkerma (talk) 17:17, 18 November 2009 (UTC)

The Googlewhack Paradox:
Are the following relevant to this article? If so, someone should add them in. 128.197.81.26 (talk) 20:20, 4 August 2009 (UTC)

If somebody publishes a Googlewhack combination on a webpage that Google searches through, it ceases to be a Googlewhack.

Now google.com has stopped using dictionary.com, where does this leave googlewhacks? 16:31, 3 Feb 2005 (UTC)

Wikify
This article needs wikification, mainly in the areas of HTML-to-wiki conversion and substitution of Wikipedia links in place of external links in running text, whenever possible. I started to do this, but gave up when I saw how much work was involved. I might be back someday, but if someone else can do this, I'd appreciate it. - dcljr (talk) 05:53, 15 Jun 2005 (UTC)

 * Okay, the wikisource looks better now so I've removed my wikify request. Someone else can add or similar if they want... - dcljr (talk) 1 July 2005 08:30 (UTC)

Should the F-word be displayed?
Is it necessary to show the "F word" in its entirety, or would it be be more appropriate to censor some of the word? I don't see the relevence the word has to a googlewhack, and therefore it shouldn't affect the quality of the article to censor it.

 * Btw, a googlewhack where one word is the so-called "F word" or "sex" would deserve some cred, indeed. 惑乱 分からん 16:15, 10 February 2006 (UTC)

 * Wikipedia's policy is not to censor words (or really anything). Either spell it out in its entirety or don't use it at all. - furrykef (Talk at me) 03:20, 22 May 2006 (UTC)

 * WP:Profanity: "Words and images that might be considered offensive, profane, or obscene by other Wikipedia readers should be used if and only if their omission would cause the article to be less informative, relevant, or accurate, and no equally suitable alternatives are available." - I'm not sure we even need the "terms rarely used" section, though, by definition. --McGeddon 09:37, 7 July 2006 (UTC)

F word in fubawl
I've changed screwed to f***ed in this definition simply because screwed is used to define an acronym with the letter F to start - it just doesn't make sense.

Jma2133 19:00, 8 August 2006 (UTC)

Wiki-Whack
There's a definition of Wiki-Whack at the end of the article. I created a Wiki-whack article since none existed. However, I'm now beginning to doubt whether the thing exists. Is it just a made up in school one day? Peter Harriman 13:46, 11 August 2006 (UTC)

The Wiki-whack article has been deleted (quite rightly, I think). So I have removed the paragraph describing it in this article. Peter Harriman 08:33, 15 August 2006 (UTC)

TCF
If I wanted to get a Googlewhack with the letter T, C and F in it, I was thinking about how would be the best way to get one. Perhaps, it is all about using an article like this - http://www.guardian.co.uk/g2/story/0,,1875603,00.html - and trying to answer the question.

It is worth a shot.

Choco

i found this googlewhack: unicycular bottom. Is unicycular a real word? Jedi feline 10:33, 21 March 2007 (UTC)

Typo in article
The article features both the words Googlewhackblattaptomas and Googlewhackblattapotomas once each. Presumably, one of these is a mistake. Somebody want to correct whichever one is wrong? Capedia 22:52, 20 September 2007 (UTC)

Pseudogooglewhacks
Is there a suitable term for "topics which record hundreds of hits - the articles turning out to be merely clones of each other"? Jackiespeel (talk) 16:23, 9 January 2008 (UTC)

Googlewhackblatt found!
I decided to do something related to that one in the article. Try... um... reffudmub backwards. Don't type it forwards, I want it to stay as a whackblatt... 77.101.29.242 (talk) —Preceding comment was added at 20:01, 26 January 2008 (UTC)
 * Um, it's not Googlewhackblatt. It retuns zero results. --Ye Olde Luke (talk) 20:45, 11 March 2008 (UTC)
 * I just typed in the first word I could think of, and it turned out to be a Googlewhackblatt. I can't believe my eyes. Catrambi (talk) 15:41, 18 February 2009 (UTC)
 * I have one too, kabloinjadaboom (yes, I know it is forwards). Wait a few days and that will be a Googlewhackblatt.Dalek9 (talk) 10:20, 25 September 2009 (UTC)
 * Not all GWBs are nonsense words 'Agendums', the plain Englis alternative to 'agenda' as a plural of 'agendum', an item on a list, is a googlewhackblat... at least it was. The Yowser (talk) 11:41, 26 June 2013 (UTC)

Irony
This sentence is ironic: "Due to the attention brought to these searches by the book, very few still actually work." In fact, due to the fact that those searches are listed in this article, none of them still actually work! I just found my first googlewhack by accident, but it's my secret ^.^ Gyro Copter (talk) 09:52, 25 June 2008 (UTC)

short phrases
Is there a concept/word for a phrase longer than two words, or a short sentence, which only brings up one hit? From what I see here a googlewhack is by definition only two words. Fitfatfighter (talk) 00:00, 25 August 2008 (UTC)

Huh?
The intro doesn't explain correctly. Any search of two words on Google is very very legitimate without conditions. Any search of two words that exist in a dictionary, f.ex. word 1. rafinükön (Volapük for "(to) purify") and word 2. förstärkningsresurser (Swedish for "reinforcement resources") is very legitimate by social conventions in the rural area in the district of Leiria in Portugal, when I'm pressing on the "Search" button at my computer. The intro should explain: ... said: Rursus ( m bork³ ) 13:03, 7 January 2010 (UTC)
 * 1) is it when searching "the net" or when searching for images or ...
 * 2) what does the "search for two words" mean: are they searched one by one, giving the same result, or are they entered both side by side in the text entry box and then the "Search" button pressed?
 * 3) who are actually doing the "whack" part? The google searchers (unlikely), or the web authors of a site, doing something fishy that affects the Google robots advertly?
 * 4) why are the Googlewhacks made? In order to make a site get more hits than it should, or in order to produce Google hits that has no relevance for the searcher?
 * 5) in what way is the Googlewhack legitimate or not? By culture claiming that "thou shallst not bear false witness before your neighbor" or by law?

 * No, I got it quite wrong. Googlewhack is a contest (or a kind of contest) of finding a set of exactly two words, both must be in one dictionary (or two??), that when searched for simultaneously by a google search-the-net, gives exactly one hit, no less no more. The "legitimacy" refers to which pairs are valid for the contest, and which pairs to be rejected, and possible other rules. ... said: Rursus ( m bork³ ) 13:12, 7 January 2010 (UTC)

Obsolescence
The article should be updated to reflect the fact that these queries are not possible anymore. I remember the day very well when a Google-query consisting of nothing but suppressions ("... -sex -pdf -...") suddenly returned a result instead of "nothing found". Unfortunately I didn't write down the exact date, but I've looked for a decent search engine as useful as the old Google, or AltaVista before that, ever since. --BjKa (talk) 21:10, 6 August 2017 (UTC)
 * I just tried a query with nothing but suppressions and it properly returned no results. Powers T 21:47, 4 October 2017 (UTC)

Cleaner Girl Bug
What is it? The article doesn't explain anything about it and there are no links. — Preceding unsigned comment added by 108.235.238.109 (talk) 18:36, 29 August 2020 (UTC)

Two points
1. There is no good reason to capitalize "googlewhack".

2. Regardless of the original definition, the word "googlewhack" very quickly took on the broader definition that did not require the search string to be just two words, but instead put no limitation on the search string. That is how the word came to be used, so Wikipedia should not impose its own preference on the world but rather describe the word as it is used. 2601:200:C000:1A0:805F:8A1E:6748:A708 (talk) 06:48, 8 April 2021 (UTC)

 * If a phrase turns up two hits, one of which is an exact copy of the other, is it disqualified from being a googlewhack? Does it matter if the copy was authorized? Dstar3k (talk) 03:20, 14 July 2022 (UTC)

 * I think you are mistaken. Sorry.

Needs Citation for Offline date
There is conflicting evidence as to when the website went offline. The wikiarticle says the website went offline in November 2009, but Archive.org has the website archived up until September 7, 2017 before the website went defunct. The copywrite at the bottom goes until 2009. Maybe it's best to describe these as two events: Last update to website and defunct date. Relspas (talk) 02:47, 11 January 2023 (UTC)

title: Talk:Googlewhack


text:
User talk:Hans863

Welcome to The Wikipedia Adventure!

 * Hi! We're so happy you wanted to play to learn, as a friendly and fun way to get into our community and mission.  I think these links might be helpful to you as you get started.
 * The Wikipedia Adventure Start Page
 * The Wikipedia Adventure Lounge
 * The Teahouse new editor help space
 * Wikipedia Help pages
 * -- 19:54, 2 August 2013 (UTC)

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

title: User talk:Hans863


text:
Baker House

Baker House may refer to:

In Australia

 * Baker House (Bacchus Marsh, Victoria)

In the United States
(by state then city)
 * Collums-Baker House, Bee Branch, Arkansas
 * Baker House (North Little Rock, Arkansas) in Pulaski County
 * Pearl Baker Row House, Rancho Santa Fe, California, NRHP-listed in San Diego County
 * Baker House (Sea Ranch, California)
 * Baker House (Fort Collins, Colorado), NRHP-listed in Larimer County
 * Baker House, historic home of David Hume Baker in Orange Home, Florida
 * Samuel Baker House (Elfers, Florida) in Pasco County
 * Bond-Baker-Carter House, Royston, Georgia, NRHP-listed in Franklin County
 * James V. and Sophia Baker House, Cottonwood in Idaho County
 * George Baker House, Glen Ellyn, Illinois in DuPage County
 * Bressmer-Baker House, Springfield, Illinois in Sangamon County
 * Frank J. Baker House, Wilmette, Illinois in Cook County
 * C.H. Baker Double House, Des Moines, Iowa in Polk County
 * Francis and Harriet Baker House, Atchison, Kansas in Atchison County
 * James Baker House (Burkesville, Kentucky) in Cumberland County
 * Paschal Todd Baker House, Carrollton, Kentucky, NRHP-listed in Carroll County
 * Baker-Hawkins House, Louisville, Kentucky, NRHP-listed in Portland, Louisville, Kentucky
 * Fuller-Baker Log House, Grantsville, Maryland
 * James B. Baker House, Aberdeen, Maryland
 * Hugh P. Baker House, Amherst, Massachusetts, a dormitory at the University of Massachusetts Amherst
 * Abbot-Baker House, Andover, Massachusetts
 * Benjamin Baker Jr. House, Barnstable, Massachusetts in Barnstable County
 * Capt. Seth Baker Jr. House, Barnstable, Massachusetts in Barnstable County
 * Nathaniel Baker House, Barnstable, Massachusetts in Barnstable County
 * Baker House, Cambridge, Massachusetts, a dormitory at MIT
 * Baker House (Rehoboth, Massachusetts)
 * Charles Baker House, Waltham, Massachusetts
 * Kenelum Baker House, Winchester, Massachusetts
 * Peter Baker Three-Decker, Worcester, Massachusetts in Worcester County
 * Henry W. Baker House, Plymouth, Michigan
 * Sylvester Marion and Frances Anne Stephens Baker House, Montgomery City, Missouri in Montgomery County
 * I.G. Baker House, Fort Benton, Montana, NRHP-listed in Chouteau County
 * Baker–Brearley House, Lawrenceville, New Jersey
 * J. Thompson Baker House, Wildwood City, New Jersey
 * Millhiser-Baker Farm, Roswell, New Mexico
 * Baker-Merrill House, Easton, New York
 * J. and E. Baker Cobblestone Farmstead, Macedon, New York in New York
 * George F. Baker Jr. and Sr. Houses, New York, New York, listed on the NRHP in New York
 * Sebastian Baker Stone House, Rochester, New York, listed on the NRHP in New York
 * Cullins-Baker House, Smalls Crossroads, North Carolina
 * Jennings-Baker House, Reidsville, North Carolina
 * Latham-Baker House, Greensboro, North Carolina
 * John S. Baker House, Cincinnati, Ohio
 * John C. Baker House, Mechanicsburg, Ohio, NRHP-listed in Champaign County
 * O.T. Baker House, Wellington, Ohio, NRHP-listed in Lorain County
 * W. C. Baker House, Altus, Oklahoma
 * Sophenia Ish Baker House, Medford, Oregon, NRHP-listed in Jackson County
 * Hiram Baker House, Lebanon, Oregon, NRHP-listed in Linn County
 * Horace Baker Log Cabin, Carver, Oregon in Clackamas County
 * David S. Baker Estate, North Kingstown, Rhode Island in Washington County
 * William Baker House, Gaston, South Carolina in Calhoun County
 * Baker House (Alcester, South Dakota) in Union County
 * Joseph Baker House, Hereford, South Dakota, NRHP-listed in Meade County
 * Baker Bungalow, Spearfish, South Dakota, NRHP-listed in Lawrence County
 * J. T. Baker Farmstead, Blum, Texas, NRHP-listed in Hill County, Texas
 * Charles H. and Catherine B. Baker House, Goliad, Texas, NRHP-listed in Goliad County
 * Baker-Carmichael House, Granbury, Texas, NRHP-listed in Hood County
 * Baker House (Yoakum, Texas), NRHP-listed in Lavaca County
 * George Washington Baker House, Mendon, Utah
 * Samuel Baker House (Mendon, Utah)
 * Baker-St. John House, Abingdon, Virginia in Washington County
 * Newton D. Baker House, Washington, D.C.
 * Michael Baker House, also known as Alexander W. Arbuckle I House, Lewisburg, West Virginia, NRHP-listed
 * Baker House 1885, also known as Robert H. Baker House, Lake Geneva, Wisconsin, NRHP-listed in Walworth County as "Redwood Cottage"
 * Jim Baker Cabin, Savery, Wyoming in Carbon County

Arts, entertainment and media

 * Baker House (Resident Evil), a fictional Louisiana mansion

title: Baker House


text:
Desert Solitaire

Desert Solitaire: A Season in the Wilderness is an autobiographical work by American writer Edward Abbey, originally published in 1968. It is his fourth book and his first book-length non-fiction work. The book follows three fiction books: Jonathan Troy (1954), The Brave Cowboy (1956), and Fire on the Mountain (1962). Although it initially garnered little attention, Desert Solitaire was eventually recognized as an iconic work of nature writing and a staple of early environmentalist writing, bringing Abbey critical acclaim and popularity as a writer of environmental, political, and philosophical issues.

Based on Abbey's activities as a park ranger at Arches National Monument (now Arches National Park) in the late 1950s, the book is often compared to Henry David Thoreau's Walden and Aldo Leopold's A Sand County Almanac. It is written as a series of vignettes about Abbey's experiences in the Colorado Plateau region of the desert Southwestern United States, ranging from vivid descriptions of the fauna, flora, geology, and human inhabitants of the area, to firsthand accounts of wilderness exploration and river running, to a polemic against development and excessive tourism in the national parks, to stories of the author's work with a search and rescue team to pull a human corpse out of the desert. The book is interspersed with observations and discussions about the various tensions – physical, social, and existential – between humans and the desert environment. Many of the chapters also engage in lengthy critiques of modern Western civilization, United States politics, and the decline of America's natural environment.

Background
In 1956 and 1957, Edward Abbey worked as a seasonal ranger for the United States National Park Service at Arches National Monument, near the town of Moab, Utah. Abbey held the position from April to September each year, during which time he maintained trails, greeted visitors, and collected campground fees. He lived in a house trailer provided to him by the Park Service, as well as in a ramada that he built himself. The area around Moab in that period was still a wilderness habitat and largely undeveloped, with only small numbers of park visitors and limited access to most areas of the monument.

During his stay at Arches, Abbey accumulated a large volume of notes and sketches which later formed the basis of his first non-fiction work, Desert Solitaire. These notes remained unpublished for almost a decade while Abbey pursued other jobs and attempted with only moderate success to pursue other writing projects, including three novels which proved to be commercial and critical failures. Eventually Abbey revisited the Arches notes and diaries in 1967, and after some editing and revising had them published as a book in 1968.

Although Abbey rejected the label of nature writing to describe his work, Desert Solitaire was one of a number of influential works which contributed to the popularity and interest in the nature writing genre in the 1960s and 1970s. Abbey cited as inspiration and referred to other earlier writers of the genre, particularly Mary Hunter Austin, Henry David Thoreau, and Walt Whitman, whose style Abbey echoed in the structure of his work. However, Abbey's writing in this period was also significantly more confrontational and politically charged than in earlier works, and like contemporary Rachel Carson in Silent Spring, he sought to contribute to the wider political movement of environmentalism which was emerging at the time. Abbey went on to admire the nature writing and environmentalist contemporaries of that period, particularly Annie Dillard.

Contents

Desert Solitaire is a collection of treatises and autobiographical excerpts describing Abbey's experiences as a park ranger and wilderness enthusiast in 1956 and 1957. The opening chapters, First Morning and Solitaire, focus on the author's experiences arriving at and creating a life within Arches National Monument. In this early period the park is relatively undeveloped: road access and camping facilities are basic, and there is a low volume of tourist traffic.

Many of the book's chapters are studies of the animals, plants, geography, and climate of the region around Arches National Monument. Cliffrose and Bayonets and Serpents of Paradise focus on Abbey's descriptions of the fauna and flora of the Arches area, respectively, and his observations of the already deteriorating balance of biodiversity in the desert due to the pressures of human settlement in the region. Abbey provides detailed inventories and observations of the life of desert plants, and their unique adaptations to their harsh surroundings, including the cliffrose, juniper, pinyon pine, and sand sage. He comments on the decline of the large desert predators, particularly bobcats, coyotes, mountain lions, and wildcats, and criticizes the roles ranchers and the policies of the Department of Agriculture have had in the elimination of these animals, which in turn has fostered unchecked growth in deer and rabbit populations, thereby damaging the delicate balance of the desert ecosystem.

In the aforementioned chapters and in Rocks, Abbey also describes at length the geology he encounters in Arches National Monument, particularly the iconic formations of Delicate Arch and Double Arch. In Water, Abbey discusses how the ecosystem adapts to the arid conditions of the Southwest, and how the springs, creeks and other stores of water in their own ways support some of the diverse but fragile plant and animal life. Some of the oddities of water in the desert, such as flash floods and quicksand, are also explored.

Abbey contrasts the natural adaptation of the environment to low-water conditions with increasing human demands to create more reliable water sources. The Heat of Noon: Rock and Tree and Cloud describes the intensity of the summer months in the park, and the various ways in which animals and humans have tried to survive and adapt in those conditions.

Several chapters focus on Abbey's interactions with the people of the Southwest or explorations of human history. In Rocks, Abbey examines the influence of mining in the region, particularly the search for lead, silver, uranium, and zinc. Abbey contrasts the difficult lives of the many who unsuccessfully sought their fortune in the desert whilst others left millionaires from lucky strikes, and the legacy of government policy and human greed that can be seen in the modern landscape of mines and shafts, roads and towns. Abbey offers the fable of one "Albert T. Husk" who gave up everything and met his demise in the desert, in the elusive search for buried riches.

In two chapters entitled Cowboys and Indians, Abbey describes his encounters with Roy and Viviano ("cowboys") and the Navajo of the area ("Indians"), finding both to be victims of a fading way of life in the Southwest, and in desperate need of better solutions to growing problems and declining opportunities. Abbey also comments on some of the particular cultural artifacts of the region, such as the Basque population, the Mormons, and the archaeological remains of the Ancient Puebloan peoples in cliff dwellings, stone petroglyphs, and pictographs.

Several chapters center around Abbey's expeditions beyond the park, either accompanied or alone, and often serve as opportunities for rich descriptions of the surrounding environments and further observations about the natural and human world. Specifically, his search for a wild horse in the canyons (The Moon-Eyed Horse), his camping around the Havasupai tribal lands and his temporary entrapment on a cliff face there (Havasu), the discovery of a dead tourist at an isolated area of what is now Canyonlands National Park (The Dead Man at Grandview Point), his attempt to navigate the Maza area of the Canyonlands National Park (Terra Incognita: Into the Maze), and his ascent of Mount Tukuhnikivats (Tukuhnikivats, the Island in the Desert) are recounted.

Down the River, the longest chapter of the book, recalls a journey by boat down Glen Canyon undertaken by Abbey and an associate, in part inspired by John Wesley Powell's original voyage of discovery in 1869. Their journey is taken in the final months before its flooding by the Glen Canyon Dam, in which Abbey notes that many of the natural wonders encountered on the journey would be inundated.

Finally, several chapters are devoted largely to Abbey's reflections on the damaging impact of humans on the everyday life, nature, and culture of the region. Polemic: Industrial Tourism and the National Parks is an essay fiercely criticizing the policies and vision of the National Park Service, particularly the process by which developing the parks for automotive access has dehumanized the experiences of nature, and created a generation of lazy and unadventurous Americans whilst permanently damaging the views and landscapes of the parks. In Episodes and Visions, Abbey meditates on religion, philosophy, and literature and their intersections with desert life, as well as collects various thoughts on the tension between culture and civilization, espousing many tenets in support of environmentalism. In Bedrock and Paradox, Abbey details his mixed feelings about his return to New York City after his term as a ranger has finished, and his paradoxical desires for both solitude and community. Abbey also describes his difficulty finding the language, faith, and philosophy to adequately capture his understanding of nature and its effect on the soul.

Themes and style
Desert Solitaire depicts Abbey's preoccupation with the deserts of the American Southwest. He describes how the desert affects society and more specifically the individual on a multifaceted, sensory level.

Many of the ideas and themes drawn out in the book are contradictory. For example: Abbey is dogmatically opposed in various sections to modernity that alienates man from their natural environment and spoils the desert landscapes, and yet at various points relies completely on modern contrivances to explore and live in the desert. Additionally, he expresses his deep and abiding respect for all forms of life in his philosophy, but describes unflinchingly his contempt for the cattle he herds in the canyons, and in another scene he remorselessly stones a rabbit, angry about rabbits' overabundance in the desert. Similarly, he remarks that he hates ants and plunges his walking stick into an ant hill for no reason other than to make the ants mad.

However, Abbey deliberately highlights many of the paradoxes and comments on them in his final chapter, particularly in regard to his conception of the desert landscape itself. He introduces the desert as "the flaming globe, blazing on the pinnacles and minarets and balanced rocks" and describes his initial reaction to his newfound environment and its challenges. For Abbey, the desert is a symbol of strength, and he is "comforted by [the] solidity and resistance" of his natural surroundings. However, he also sees the desert as "a-tonal, cruel, clear, inhuman, neither romantic nor classical, motionless and emotionless, at one and the same time – another paradox – both agonized and deeply still."

The desert, he writes, represents a harsh reality unseen by the masses. It is this harshness that makes "the desert more alluring, more baffling, more fascinating", increasing the vibrancy of life.

In his narrative, Abbey is both an individual, solitary and independent, and a member of a greater ecosystem, as both predator and prey. This duality ultimately allows him the freedom to prosper, as "love flowers best in openness in freedom."

Abbey's overall entrancement with the desert, and in turn its indifference towards man, is prevalent throughout his writings. To Abbey, the desert represents both the end of one life and the beginning of another:

"The finest quality of this stone, these plants and animals, this desert landscape is the indifference manifest to our presence, our absence, our staying or our going. Whether we live or die is a matter of absolutely no concern whatsoever to the desert. Let men in their madness blast every city on earth into black rubble and envelope the entire planet in a cloud of lethal gas – the canyons and hills, the springs and rocks will still be here, the sunlight will filter through, water will form and warmth shall be upon the land and after sufficient time, now matter how long, somewhere, living things will emerge and join and stand once again, this time perhaps to take a different and better course."

Like Thoreau's Walden and Leopold's A Sand County Almanac, Abbey adopts a style of narrative in Desert Solitaire that compresses multiple years of observations and experiences into a singular narrative that follows the timeline of a single cycle of the seasons. In this process, many of the events and characters described are often fictionalized in many key respects, and the account is not entirely true to the author's actual experiences, highlighting the importance of the philosophical and aesthetic qualities of the writing rather than its strict adherence to an autobiographical genre.

Modernity and industrial society
One of the dominant themes in Desert Solitaire is Abbey's disgust with mainstream culture and its effect on society. His message is that civilization and nature each have their own culture, and it is necessary for survival that they remain separate: "The personification of the natural is exactly the tendency I wish to suppress in myself, to eliminate for good. I am here not only to escape for a while the clamor and filth and confusion of the cultural apparatus but also to confront, immediately and directly if it's possible, the bare bones of existence, elemental and fundamental, the bedrock which sustains us."

Abbey's impression is that we are trapped by the machinations of mainstream culture. This is made apparent with quotes such as: "Yet history demonstrates that personal liberty is a rare and precious thing, that all societies tend toward the absolute until an attack from without or collapse from within breaks up the social machine and makes freedom and innovation again possible." He also believes the daily routine is meaningless, that we have created a life that we do not even want to live in:

"My God! I am thinking, what incredible shit we put up with most of our lives – the domestic routine (same old wife every night), the stupid and useless degrading jobs, the insufferable arrogance of elected officials, the crafty cheating and the slimy advertising of the business men, the tedious wars in which we kill our buddies instead of our real enemies back in the capital, the foul diseased and hideous cities and towns we live in, the constant petty tyranny of automatic washers and automobiles and TV machines and telephone!"

Abbey displays disdain for the way industrialization is impacting the American wilderness. He scolds humanity for the environmental duress caused by man's blatant disregard for nature: "If industrial man, continues to multiply his numbers and expand his operations he will succeed in his apparent intention, to seal himself off from the natural, and isolate himself within a synthetic prison of his own making". Man prioritizes material items over nature, development and expansion for the sake of development:

"There may be some among the readers of this book, like the earnest engineer, who believe without question that any and all forms of construction and development are intrinsic goods, in the national parks as well as anywhere else, who virtually identify quantity with quality and therefore assume that the greater the quantity of traffic, the higher the value received. There are some who frankly and boldly advocate the eradication of the last remnants of wilderness and the complete subjugation of nature to the requirements of – not man – but industry. This is a courageous view, admirable in its simplicity and power, and with the weight of all modern history behind it. It is also quite insane. I cannot attempt to deal with it here."

Another example of this for Abbey is the tragedy of the commons:

"A civilization which destroys what little remains of the wild, the spare, the original, is cutting itself off from its origins and betraying the principle of civilization itself. If industrial man continues to multiply its numbers and expand his operations he will succeed in his apparent intention, to seal himself off from the natural and isolate himself within a synthetic prison of his own making. He will make himself an exile from the earth."

He also criticizes what he sees as the dominant social paradigm, what he calls the expansionist view, and the belief that technology will solve all our problems: "Confusing life expectancy with life-span, the gullible begin to believe that medical science has accomplished a miracle—lengthened human life!" Abbey takes this theme to an extreme at various points of the narrative, concluding that: "Wilderness preservations like a hundred other good causes will be forgotten under the overwhelming pressure, or a struggle for mere survival and sanity in a completely urbanized completely industrialized, ever more crowded environment, for my own part I would rather take my chances in a thermonuclear war than live in such a world".

Wilderness
Another major theme is the sanctity of untamed wilderness. Abbey states his dislike of the human agenda and presence by providing evidence of beauty that is beautiful simply because of its lack of human connection: "I want to be able to look at and into a juniper tree, a piece of quartz, a vulture, a spider, and see it as it is in itself, devoid of all humanly ascribed qualities, anti-Kantian, even the categories of scientific description. To meet God or Medusa face to face, even if it means risking everything human in myself." There is no hidden meaning in the wilderness for Abbey – he finds it beautiful because it is untainted by human perspectives and values. He also concludes that its inherent emptiness and meaninglessness serve as the ideal canvas for human philosophy absent the distractions of human contrivances and natural complexities. As such, Abbey wonders why natural monuments like mountains and oceans are mythologized and extolled much more than deserts. That emptiness is one of the defining aspects of the desert wildness and for Abbey one of its greatest assets – and one which humans have disturbed and harmed by their own presence:

"I am almost prepared to believe that this sweet virginal primitive land would be grateful for my departure and the absence of the tourist, will breathe metaphorically a collective sigh of relief – like a whisper of wind – when we are all and finally gone and the place and its creations can return to their ancient procedures unobserved and undisturbed by the busy, anxious, brooding consciousness of man."

Midway through the text, Abbey observes that nature is something lost since before the time of our forefathers, something that has become distant and mysterious which he believes we should all come to know better: "Suppose we say that wilderness provokes nostalgia, a justified not merely sentimental nostalgia for the lost America our forefathers knew. The word suggests the past and the unknown, the womb of the earth from which we all emerged." He quite firmly believes that our agenda should change, that we need to reverse our path and reconnect with that something we have lost – indeed, that mankind and civilization need wilderness for its own edification. Abbey is not unaware, however, of the behaviour of his human kin; instead, he realizes that people have very different ideas about how to experience nature. Some like to live as much in accord with nature as possible, and others want to have both manmade comforts and a marvelous encounter with nature simultaneously: "Hard work. And risky. Too much for some, who have given up the struggle on the highways, in exchange for an entirely different kind of vacation – out in the open, on their own feet, following the quiet trail through forests and mountains, bedding down in the evening under the stars, when and where they feel like it, at a time where the Industrial Tourists are still hunting for a place to park their automobiles." His process simply suggests we do our best to be more on the side of being one with nature without the presence of objects which represent our "civilization". Abbey also was concerned with the level of human connection to the tools of civilization. He was in favor of returning to nature and gaining the freedom that was lost with the inventions that take us places in this day and age:

"A man could be a lover and defender of the wilderness without ever in his lifetime leaving the boundaries of asphalt, power lines, and right-angled surfaces. We need wilderness whether or not we ever set foot in it. We need a refuge even though we may never need to go there. I may never in my life go to Alaska, for example, but I am grateful that it is there. We need the possibility of escape as surely as we need hope; without it the life of the cities would drive all men into crime or drugs or psychoanalysis."

The wilderness is equal to freedom for Abbey, it is what separates him from others and allows him to have his connection with the planet. But he wants others to have the same freedom. His only request is that they cut their strings first. When Abbey is lounging in his chair in 110-degree heat at Arches and observes that the mountains are snow-capped and crystal clear, it shows what nature provides: one extreme is able to counter another. That a median can be found, and that pleasure and comfort can be found between the rocks and hard places: "The knowledge that refuge is available, when and if needed, makes the silent inferno of the desert more easily bearable. Mountains complement desert as desert complements city, as wilderness complements and complete civilization."

Abbey makes statements that connect humanity to nature as a whole. He makes the acknowledgement that we came from the wilderness, we have lived by it, and we will return to it. This is an expression of loyalty: "But the love of wilderness is more than a hunger for what is always beyond reach; it is also an expression of loyalty to the earth which bore us and sustains us, the only home we shall ever know, the only paradise we ever need if only we had the eyes to see". He continues by saying that man is rightly obsessed with Mother Nature. It is where we came from, and something we still recognize as our starting point:

"Standing there, gaping at this monstrous and inhuman spectacle of rock and cloud and sky and space, I feel a ridiculous greed and possessiveness come over me. I want to know it all, possess it all, embrace the entire scene intimately, deeply, totally, as a man desires a beautiful woman. An insane wish? Perhaps not – at least there's nothing else, no one human, to dispute possession with me."

Finally, Abbey suggests that man needs nature to sustain humanity: "No, wilderness is not a luxury but a necessity of the human spirit, and as vital to our lives as water and good bread."

title: Desert Solitaire


text: User talk:203.124.2.59

title: User talk:203.124.2.59


text:
Sea Dragon (rocket)

The Sea Dragon was a 1962 conceptualized design study for a two-stage sea-launched orbital super heavy-lift launch vehicle. The project was led by Robert Truax while working at Aerojet, one of a number of designs he created that were to be launched by floating the rocket in the ocean. Although there was some interest at both NASA and Todd Shipyards, the project was not implemented.

With dimensions of 150 m long and 23 m in diameter, Sea Dragon would have been the largest rocket ever built. , among rockets that have been fully conceived but not built, it is by far the largest ever and, in terms of payload into low Earth orbit (LEO), equaled only by the Interplanetary Transport System concept (the predecessor to SpaceX Starship) in the latter's expendable configuration with both designed for 550 tonnes.

Design
Truax's basic idea was to produce a low-cost heavy launcher, a concept now called "big dumb booster." To lower the cost of operation, the rocket itself was launched from the ocean, requiring little in the way of support systems. A large ballast tank system attached to the bottom of the first-stage engine bell was used to "hoist" the rocket vertical for launch. In this orientation the payload at the top of the second stage was just above the waterline, making it easy to access. Truax had already experimented with this basic system in the Sea Bee and Sea Horse. To lower the cost of the rocket, he intended it to be built of inexpensive materials, specifically 8 mm steel sheeting. The rocket would be built at a sea-side shipbuilder and towed to sea for launch. It would use wide engineering margins with strong simple materials to further enhance reliability and reduce cost and complexity. The system would be at least partially reusable with passive reentry and recovery of rocket sections for refurbishment and relaunch.

The first stage was to be powered by a single 36000000 kgf thrust engine burning RP-1 and LOX (liquid oxygen). The tank pressure was 32 atm for the RP-1 and 17 atm for the LOX, providing a chamber pressure of 20 atm at liftoff. As the vehicle climbed the pressures dropped off, eventually burning out after 81 seconds. By this point the vehicle was 25 mi up and 20 mi downrange, traveling at a speed of 4,000 mph. The normal mission profile expended the stage in a high-speed splashdown some 180 mi downrange. Plans for stage recovery were studied as well.

The second stage was also equipped with a single very large engine, in this case a 6000000 kgf thrust engine burning liquid hydrogen and LOX. It was also pressure-fed, at a constant lower pressure of 7 atm throughout the entire 260 second burn, at which point it was 142 mi up and 584 mi downrange. To improve performance, the engine featured an expanding engine bell, changing from 7:1 to 27:1 expansion as it climbed. The overall height of the rocket was shortened somewhat by making the "nose" of the first stage pointed, lying inside the second-stage engine bell.

A typical launch sequence would start with the rocket being refurbished and mated to its cargo and ballast tanks on shore. The RP-1 would also be loaded at this point. The rocket would then be towed to a launch site, where the LOX and LH2 would be generated on-site using electrolysis; Truax suggested using a nuclear-powered aircraft carrier as a power supply during this phase. The ballast tanks, which also served as a cap and protection for the first-stage engine bell, would then be filled with water, sinking the rocket to vertical with the second stage above the waterline. Last minute checks could then be carried out and the rocket launched.

The rocket would have been able to carry a payload of up to 550 t or 550 t kg into LEO. Payload costs, in 1963, were estimated to be between $59 and $600 per kg (roughly $500 to $5,060 per kg in 2020 dollars ). TRW (Space Technology Laboratories, Inc.) conducted a program review and validated the design and its expected costs. However, budget pressures led to the closing of the Future Projects Branch, ending work on the super-heavy launchers they had proposed for a crewed mission to Mars.

Sea Dragon in fiction
The Sea Dragon appears in the first-season finale of the 2019 Apple TV+ series For All Mankind. The series is set in an alternate history timeline in which the 1960s-era space race did not end. In the post-credits scene, which takes place in 1983, a Sea Dragon is depicted launching from the Pacific Ocean to resupply the US lunar colony. An astronaut says in a voice-over that the ocean launch is being used as a safety measure because the payload includes plutonium. The Sea Dragon continues to play a role in season 2; its high payload capacity is used to resupply an expansive lunar base and is the subject of a lunar blockade by the Soviet Union. There are some small changes from the original concept compared to the version in the series, namely a lack of Launch Abort System for the Apollo capsule at the top of the rocket, and the lack of expanding second stage nozzle, instead using a large, more standard rocket engine, with four additional engines surrounding.

title: Sea Dragon (rocket)


text:
Bronson M. Cutting

Bronson Murray Cutting (June 23, 1888 – May 6, 1935) was a United States senator from New Mexico. A prominent progressive Republican, he had also been a newspaper publisher and military attaché.

Biography
Bronson Cutting was born in Great River, Long Island, New York, on June 23, 1888, at his family's country seat of Westbrook. He was the third of four children born to William Bayard Cutting (1850–1912) and Olivia Peyton Murray (1855–1949).

He attended the common schools and Groton School and graduated from Harvard University in 1910 where he was a member of the Delphic Club. Shortly after graduation, he became an invalid due to recurrent tuberculosis and moved to Santa Fe, New Mexico, at the advice of his doctors to restore his health. He became a newspaper publisher in 1912 and published the Santa Fe New Mexican and El Nuevo Mexicano. From 1912 to 1918 he served as president of the New Mexican Printing Company, and of the Santa Fe New Mexican Publishing Corporation from 1920 until his death.

During World War I, Cutting was commissioned a captain and served as an assistant military attaché of the American Embassy in London, in 1917 and 1918. He was regent of the New Mexico Military Institute in 1920 and served as chairman of the board of commissioners of the New Mexican State Penitentiary in 1925.

U.S. senator
On December 29, 1927, Cutting was appointed as a Republican to the United States Senate to fill the vacancy caused by the death of Andrieus A. Jones. He served until December 6, 1928, when a duly elected successor, Octaviano Ambrosio Larrazolo, qualified to serve the remainder of the term, which expired March 3, 1929. Cutting was not a candidate in the special election to fill this vacancy, which took place on November 6, 1928, the same day as the general election in which the seat was up for a full six-year term, beginning March 4, 1929. Larrazolo was not a candidate for election to the full term, and Cutting was elected to it, returning to the Senate after only three months away. Cutting was re-elected in 1934, winning a very close race (with 76,226 votes to Democrat Dennis Chavez's 74,944) in a failed year for Republicans.

He was a co-sponsor of the Hare–Hawes–Cutting Independence Act which aimed to grant the Philippine Islands a ten-year commonwealth status with virtually full autonomy, to be followed by the recognition of Filipino independence. The bill was enacted over President Herbert Hoover's veto. However, the law was rejected by the Philippines legislature, and the Tydings–McDuffie Act (authored by Millard Tydings, a Maryland Democrat), was instead passed by Congress and accepted by the Philippines legislature.

Freedom of the press
Cutting raised the debate on the national level about the government's censorship powers. Via tariff bills dating back to the nineteenth century, the U.S. government, through the Customs Service, had the power to confiscate "obscene" materials arriving to the country. A tariff bill introduced in 1929 sought to expand this power by modifying Section 305 to prohibit printed materials suggesting treason or threatening the life of the president. Senator Cutting, inspired by the complaints of a constituent, opposed the change and attacked Section 305 in its entirety as "irrational, unsound, and un-American." Through several impassioned speeches, Cutting suggested eliminating Section 305. Ultimately, he was forced to compromise and introduced an amendment removing the references to treason. The amendment passed by only two votes and Cutting received widespread public praise from publishers, librarians, booksellers, authors and civil liberties organizations.

As the tariff bill moved toward final confirmation, various senators, notably Reed Smoot of Utah, attempted to restore Section 305 to its original state, while others proposed further draconian measures. Ultimately, portions of Smoot's amendments were combined with those of other senators to create a compromise. Cutting's efforts to create a national debate about censorship were successful, but are now forgotten because the 1929 tariff bill became known as the Smoot-Hawley Tariff Act.

Roosevelt's New Deal and the Chicago plan
Crossing party lines, Cutting supported Franklin D. Roosevelt in the 1932 presidential election. Cutting was offered a position in Roosevelt's cabinet as Secretary of the Interior, which he ultimately declined due to his unstable health and instead went to Harold L. Ickes. Cutting played a key role in the political struggles over the reform of banking which Roosevelt undertook while dealing with the Great Depression, and which resulted in the Banking Reform Acts of 1933 and 1935. As a supporter of the Chicago plan proposed by economist Irving Fisher and others at the University of Chicago, Cutting was among a handful of influential senators who might have been able to remove from the private banks their ability to manipulate the money supply by enforcing a 100 percent reserve requirement for all credit creation, as stipulated in the Chicago plan. His death in an airliner crash cut short what may have been his most enduring legacy to the nation.

Death and legacy
On May 6, 1935, on his way from Albuquerque to Washington, D.C., Cutting died in the crash of TWA Flight 6 (a Douglas DC-3) in bad weather near Atlanta, Missouri.

Senator Cutting's death was to have national impact in that it would lead Congress to commission the highly controversial Copeland Committee report on air traffic safety.

Dennis Chavez, who had been Cutting's Democratic opponent in 1934, was appointed by the governor to fill Cutting's seat in the Senate.

Cutting is interred in Green-Wood Cemetery in Brooklyn, New York.

title: Bronson M. Cutting


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Ford Sigma engine

The Ford Sigma is a small straight-4 automobile engine introduced in 1995 by Ford Motor Company. Its first evolution was sold as the Zetec-S (not to be confused with the trim level), then Zetec-SE and finally, in later years, renamed Duratec. The last upgrade of the engine is named Duratec Ti-VCT. Conceived for Ford's smaller models, the motor was intended to replace the older HCS (a derivative of the even older Kent unit) and smaller capacity CVH units.

Introduction and production
As with the Ford Taurus SHO's SHO V6 engine, development of the Zetec-S was a collaborative effort between Ford, Mazda and Yamaha. The engine's sounds were refined in the Ford acoustics center in Cologne-Merkenich, Germany. Production of the Zetec-SE was carried out in the Ford Valencia Engine Plant, with Yamaha building the 1.7 L engine blocks in Japan.

When the Zetec-SE first arrived in 1995, it included many firsts, such as a plastic inlet manifold, a "ladder" style main bearing and crankcase assembly, and big-end bearing caps which are forged in one piece and subsequently split. It also incorporates powder metal connecting rods, which were quite exotic and notable at the time. This feature however makes the engine more challenging to rebuild at the end of its working life, since it is not possible to re-machine the bearing ladder as would be the case with a conventional cylinder block - the entire assembly has to be renewed. Despite this however, engine tuners have found novel ways to increase the power of the unit through use of different valves and increasing the compression ratio of the engine through skimming of the cylinder head.

The engine first appeared in the Mk4 Ford Fiesta and the virtually identical Mazda 121 in 1242 cc capacity, with 1388 cc, 1596 cc and 1679 cc derivatives coming later.

Difference between Zetec-SE/Zetec-S/Duratec/Duratec Ti-VCT
The Sigma engine was introduced under the Zetec-S name; after the upgrade it was renamed to Zetec-SE, Duratec and Duratec Ti-VCT. The latest upgrade of Sigma is called Ecoboost 1.6 engine (Not to be confused with the smaller 1.0 or larger 2.0/2.3 engines)

Zetec-S
The 1679 cc engines uses a heavily modified 1.4 L engine block and features Variable Cam Timing on the inlet camshaft. This displacement has only been used in the Ford Puma. A 155 PS version of this engine was developed for the Ford Racing Puma with only 500 units built.

Zetec RoCam
In 2000, Ford of Brazil developed a cheaper version of the Zetec-SE engine, to compete with the classic Volkswagen EA827 engine series known locally as Volkswagen AP (from Alta Performance, "High Performance" in English) engine in Brazil. It is 8v SOHC instead of 16v DOHC and its block is made of cast iron instead of aluminum. Also, its camshaft is driven by a chain instead of a belt. As a result this engine exhibits rougher behaviour, producing more vibration and noise.

On the other hand, it has a superb torque output thanks to the addition of the RoCam (Rollifinger Camshaft) feature. It's also a much smaller engine than the SE version, which allowed it to be installed on the Ford Ka, replacing the Endura-E engine which by that time was considered underpowered and outdated.

The engine also featured a new patented process for the aluminum head production, which resulted in a better alloy than those produced in Spain and UK, and at a lower production cost.

In 2002 a supercharged 1.0–litre 95 PS version was released for the Ford Fiesta, to compete with the 1.0 Turbo 16v 112 PS version of the Volkswagen Gol.

In 2001 the Zetec RoCam engine was introduced in Europe, but labeled as Duratec 8v, for the Ka and Fiesta. Later a 1.6–litre version was also released for the SportKa and StreetKa. The European versions of the engine are produced in the South Africa plant.

In October/2004 a newer bi-fuel version was introduced labeled "1.6L Flex", capable of running on both petrol and ethanol, even mixed at any proportion. This version also featured a high compression ratio of 12.3:1 and "Compound High Turbulence" chambers, as used on the CHT engine. The 1.0L Flex runs with a compression of 12.8:1.

Currently, this engine powers nearly all Brazilian Ford models – except those with 2.0 litre engines – in many different variants:
 * 101/106 hp 1.6L Flex (Ford Ka)
 * 71/73 hp 1.0L Flex (Ford Fiesta), 69/73 hp 1.0L Flex after 2012 in Brazil
 * 105/111 hp 1.6L Flex (Ford Fiesta/ Fiesta Sedan), (Ford Focus), Ford EcoSport)

Applications
1596 or applications:
 * 2003—2008 Ford SportKa 1.6, 95 PS and 100 lbft
 * 2003—2006 Ford StreetKa 1.6, 95 PS and 100 lbft

Duratec
After an upgrade to the Sigma, Ford renamed it the Duratec.

Duratec Ti-VCT
The 1596 cc Ti-VCT (Twin independent Variable Camshaft Timing) version includes variable valve timing, and generates more power and torque than non-VVT counterparts. Latest versions comply with the Euro5 emission level.

Crate engine versions
Crate engine versions of Zetec-SE engines are sold by Ford Power Products under the name ZSG Range.

Current use
The Ford Sigma engine was produced at Bridgend Ford in Wales, U.K. until September 2020 and at Taubate Engine & Transmission Plant, Taubate, São Paulo, Brazil. Today the Sigma engine is used as the basis for the four cylinder Ford Ecoboost 1.5 litre and 1.6 litre engines. A 110 bhp version was used by Morgan for their 4/4 Roadster coupled to a Mazda transmission from 2009 until the model was discontinued in 2018.

1.25/1.4/1.6 L Sigma
These engines in the first generation Focus produced 75 and 100 bhp respectively, but for MkII Focus the 1.4 variant was slightly modified and produced 80 bhp. Both engines have belt driven camshafts and Electronic Fuel Injection systems. They weigh 90 kg. The 1.6 Ti-VCT was introduced in 2004, it features Variable Cam Timing; this 115 bhp version is used in MkII Focus. A new 105 bhp or 125 bhp EU5 version is used in the MkIII Focus, also a 1.6 L 120 hp version is used in Ford Fiesta Zetec-S. The Sigma is usually coupled to the Ford IB5 five-speed manual transmission.

Brazil
Recently the Sigma engine was present in modern Brazilian versions of the Fiesta, Focus and Ecosport (1.6L TI-VCT version) and a 1.5 version was used by Ka. This engine was able to use the flex technology.

Power with ethanol:
 * 1.5L Sigma (non TI-VCT) - IB5+ manual transmission
 * Fiesta (2014-2016) - 112 PS
 * Ka (2014–2021) - 110 PS
 * 1.6 Sigma (non TI-VCT) - IB5+ manual transmission (both) and PowerShift (Fiesta Only).
 * Fiesta (2008-2014) - 116 PS
 * Ecosport (2012–2023) - 116 PS
 * 1.6 Sigma TI-VCT - IB5+ manual transmission and PowerShift.
 * Focus (2013–2019) - 135 PS
 * Fiesta (2008-2014) - 128 PS
 * Ecosport (2012–2023) - 131 PS

 * In 2018 the Sigma engine was replaced in all Ford compact/subcompact cars to the newer and stronger "Dragon" engine, displacing 1.5L with a 3-Cylinder layout and with a power output of 136HP.

Caterham usage
Some Caterham Cars use modified Ford Sigma engines such as the Caterham Seven 270, which uses a tuned Sigma engine producing 135 hp at 6,800 rpm as a modern equivalent to the original Ford Kent Crossflow engine used in the Lotus 7 from 1957 to 1972.

Ford Sigma 1.6-litre overview Technical features:
 * a high level of running refinement and low emission levels
 * aluminium alloy cylinder block and head
 * cross flow cylinder head
 * structural aluminium oil-pan for increased engine stiffness
 * individual throttle bodies in place of the standard intake manifold
 * twin overhead camshafts each with five bearings
 * sequential multi-port fuel injection system
 * long life, glass fibre reinforced camshaft drive belt with automatic tensioner
 * state-of-the-art Twin Independent Variable Camshaft Timing (on Ti-VCT variant)

SCCA Spec Racer
The third generation of the SCCA Spec Racer, commonly known as the Gen3 was introduced in 2015, and uses the 1.6 L Sigma engine. The engine is sold by SCCA Enterprises as a sealed unit.

Zetec-E comparison
The Zetec-SE has no common parts or design with the larger Zetec-E engines apart from the name. This gives rise to some confusion since it suggests that they are members of the same family when they are, in fact, completely different. Zetec-E units are mounted transversely with the inlet manifold at the rear, whereas the Zetec-SE units are mounted with the inlet manifold at the front.

Replacement
In 2012 Ford replaced the Sigma engine with a brand new 3-cylinder 1.0–litre EcoBoost engine for some markets and models. The new engine provides more power and torque with less fuel consumption and lower Carbon dioxide emissions.

title: Ford Sigma engine


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Predrag Mijatović

Predrag Mijatović (Предраг Мијатовић; born 19 January 1969) is a former professional footballer who played as a striker.

At club level, Mijatović played for six clubs: Budućnost, Partizan, Valencia, Real Madrid, Fiorentina and Levante. Internationally, he played for FR Yugoslavia at the 1998 FIFA World Cup and at the UEFA Euro 2000. During his career at Real Madrid he was widely considered as one of the best strikers in the world.

Mijatović scored 28 goals in the 1995–96 La Liga season for Valencia, which prompted a move to Real Madrid, where he scored a goal in the 1998 UEFA Champions League final which ensured Madrid's first European Cup in 32 years. In 1997, Mijatović was named runner-up for the Ballon d'Or, behind Ronaldo and ahead of Zinedine Zidane. After his playing career, he served as director of football for Real Madrid from 2006 to 2009.

Budućnost
From the 1987–88 season, Mijatović became a regular at Budućnost under new head coach Stanko Poklepović. In October 1987, he was a member of the Yugoslav youth squad which competed in and won the 1987 FIFA World Youth Championship in Chile. Upon his return to Budućnost, Mijatović's spot on the squad was now cemented alongside Dejan Savićević, Dragoljub Brnović and Branko Brnović, who also represented Yugoslavia in Chile. Mijatović made 31 league appearances and contributed four goals as Budućnost finished the season in ninth position.

During the winter of 1989–90, Mijatović nearly signed with Hajduk Split after negotiating with Hajduk's sporting director Jurica Jerković, with even a DM50,000 pre-contract payment given to the player. However, Partizan club president Mirko Marjanović stepped in and convinced Mijatović to join the Belgrade-based club instead. In December 1989, Partizan ultimately paid a DM1 million transfer fee to Budućnost for Mijatović. This was at time the highest transfer within the Yugoslav league.

In later interviews, Mijatović said a deteriorating political and security situation in Yugoslavia was a factor in his decision not to join the Croatian club Hajduk.

Partizan
Though he scored on his Partizan debut against his former club Budućnost, Mijatović's debut half season in the new club under head coach Ivan Golac was mostly spent settling into the new surroundings. He failed to score in his following 14 league appearances until the end of the 1989–90 league season.

However, Mijatović continued improving, becoming the squad's undisputed leader during 1991–92 season under head coach Ivica Osim, and leading Partizan to the 1992 Yugoslav Cup title over reigning European Cup champions Red Star Belgrade. He was also named Yugoslav Footballer of the Year award en route.

At Partizan, Mijatović had been linked with various top European sides, which included Juventus. He joined Valencia in the summer of 1993.

Valencia
Mijatović made his Valencia debut on 5 September 1993 against Real Oviedo. He won the Spanish Footballer of the Year award in the 1995–96 season, having scored 28 goals in 40 La Liga matches. As the second best goal-scorer in the league, he was the runner-up for the Pichichi Trophy, second only to Juan Antonio Pizzi. Mijatović's contributions helped Valencia finish in second place behind Atlético Madrid that season.

Real Madrid
On 13 February 1996, Mijatović signed an advanced contract with Real Madrid mandating that he join the club from Valencia in the summer of 1996 for a transfer fee of Pts. 1.5 million. Former Yugoslavia teammate Davor Šuker, as well as Clarence Seedorf and Roberto Carlos, also joined Real Madrid in the summer 1996 transfer window. Coach Fabio Capello often deployed Mijatović in a strike tandem with Šuker, reviving their partnership from their time in Yugoslavia's youth team at the 1987 FIFA World Youth Championship. Over the course of the 1996–97 La Liga season, Mijatović scored a total of 14 goals; he scored one goal in Real Madrid's 2–0 victory over Barcelona the El Clásico on 7 December 1996, escaping from Miguel Ángel Nadal and Laurent Blanc before lifting the ball over Vítor Baía to score. By the end of the season, Real Madrid were first in La Liga and also claimed the 1997 Supercopa de España over Barcelona.

On 20 May 1998, Mijatović scored the winning goal in Real Madrid's 1–0 victory over Juventus in the 1998 UEFA Champions League final. This was Real Madrid's first UEFA Champions League after 32 years. The following season was Mijatović's final season with Los Blancos; at the end of the season, the 30-year-old Mijatović was sold to Italian Serie A club Fiorentina.

Fiorentina
On 28 June 1999, Mijatović signed a three-year contract with Fiorentina for 17 billion Italian lire. His earliest performances at Fiorentina were promising; in spite of Fiorentina's attacking depth with the likes of Gabriel Batistuta, coach Giovanni Trapattoni initially chose Mijatović as a starter. On 26 July 1999, Mijatović scored the opening goal in Fiorentina's 4–0 victory over Aston Villa in the Gotham Cup finals in New York City, a pre-season exhibition tournament. He played at Fiorentina for two seasons, scoring four goals within the Serie A, and added a Coppa Italia title to his honours. Additionally, he featured in Fiorentina's 1999–2000 UEFA Champions League campaign, which resulted in a third-place finish in Group B of the second group stage behind Manchester United and former club Valencia.

Levante
Mijatović joined Levante UD in the summer of 2002. He played there for one season, after which Levante finished in fourth place in the Segunda División 2002–03 season. He subsequently retired from professional football after struggling with lingering injuries.

International career
Mijatović was included in Yugoslavia's squad for the 1987 FIFA World Youth Championship, winning the tournament.

Mijatović made his senior debut for Yugoslavia national football team in an August 1989 friendly match against Finland. He was also called by the main team to UEFA Euro 1992, but the nation would be suspended due to the Yugoslav Wars.

1998 FIFA World Cup
Mijatović was the top scorer for the FR Yugoslavia national football team during the 1998 FIFA World Cup qualification. Seven of his 14 goals came in the play-off tie against Hungary, as Yugoslavia won 12–1 on aggregate to qualify for the final tournament.

Mijatović was one of the key players for FR Yugoslavia in the 1998 FIFA World Cup, appearing in all four of his team's games and scoring a goal in a 2–2 draw against Germany in the group stage. He however missed a penalty in the match versus the Netherlands in the round of 16, eventually losing 2–1.

UEFA Euro 2000
Mijatović played for FR Yugoslavia at UEFA Euro 2000, appearing in all games as the team exited in the quarter-finals following a convincing 6–1 loss to the Netherlands.

Mijatović has earned a total of 73 international caps, scoring 27 goals. His final international game was a June 2003 European Championship qualification match against Azerbaijan.

Post-playing career
After retiring in 2004, Mijatović continued living in the city of Valencia and soon became a player agent.

In 2006, Mijatović became Real Madrid's director of football, serving in the position for three seasons under the leadership of Ramón Calderón as club president. During this time, Mijatovic signed important players in Real Madrid's history such as Fabio Cannavaro, Ruud van Nistelrooy, Marcelo, Gonzalo Higuaín and Pepe.

Through his friendship with Anzhi Makhachkala general manager German Chistyakov, Mijatović was reportedly part of the three-man delegation (the other two were Anzhi's transfer man German Tkachenko and Serbian player agent Vlado Lemić) the Russian club deployed to Milan on 9 August 2011 for initial negotiations with Internazionale (represented by sporting director Marco Branca and vice-president Rinaldo Ghelfi) over the transfer of striker Samuel Eto'o.

Personal life
Born in Titograd, SR Montenegro, SFR Yugoslavia, Mijatović grew up in the Masline neighbourhood.

On 3 June 2009, the official website of Real Madrid stated that Mijatović's son Andrej, aged 15, died after a long illness, and offered its "deepest sympathies on behalf of the entire club and its members".

International goals

 * Scores and results list Yugoslavia/Serbia–Montenegro's goal tally first, score column indicates score after each Mijatović goal

Honours
Partizan
 * Yugoslav First League: 1992–93
 * Yugoslav Cup: 1991–92

Real Madrid
 * La Liga: 1996–97
 * Supercopa de España: 1997
 * UEFA Champions League: 1997–98
 * Intercontinental Cup: 1998

Fiorentina
 * Coppa Italia: 2000–01

Yugoslavia
 * 1987 FIFA World Youth Championship
 * UEFA European Under-21 Championship runner-up: 1990

Individual
Awards
 * FR Yugoslavia Player of the Year: 1992, 1993, 1998
 * La Liga Best Foreign Player: 1995–96
 * Ballon d'Or: Runner-up 1997

title: Predrag Mijatović


text:
Wikipedia:Articles for deletion/Rauding

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was MERGE. dbenbenn | talk 17:02, 14 Feb 2005 (UTC)

Rauding
The term is a neologism invented by Ronald P. Carver, a professor of educational psychology who died a year ago, to denote normal reading as opposed to skimming or scanning. Carver was an important figure in his field, but this term does not enjoy wider usage. It could be defined briefly at Reading (activity) but this page should be deleted. --Angr 16:40, 3 Feb 2005 (UTC)
 * Delete agreed. Neologisms from relatively notable people are still neologisms until they become widespread. Andrew Lenahan - St ar bli nd  17:04, Feb 3, 2005 (UTC)
 * Keep, Rauding scores around 400 hits on Google. The term appears in a number of medical and language journals. I am inclined to vote keep on this one. Article needs expansion. Megan1967 01:54, 4 Feb 2005 (UTC)
 * Merge and redirect to reading (activity). This neologism seems to have been adopted by the scientific community. But it seems there is more to the theory than the article tells. See this for instance, which makes reference to the "rauding diagnostic" for reading disabilities. But I still think we should improve an article on the general topic first and then make more specific articles. JoaoRicardo 03:51, 4 Feb 2005 (UTC)
 * I've across this article a while ago, and I agree with JoaoRicardo, redirect and merge. Mgm|(talk) 09:09, Feb 4, 2005 (UTC)
 * Delete, this term is not widely accepted enough for a dedicated article. Wyss 23:58, 5 Feb 2005 (UTC)
 * Merge & redirect. Wile E. Heresiarch 08:29, 6 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.

title: Wikipedia:Articles for deletion/Rauding


text:
Talk:We Will Rock You

Initial message
I think this article should mention some of the criticism this musical got on the press, in special the fact that the storyline sounds remarkably similar to the one Rush used for their '2112' concept album. — Preceding unsigned comment added by Pinnecco (talk • contribs) 16:40, 3 February 2005 (UTC)

"currently showing"
The phrase "currently showing" is a bit meaningless if it doesn't have a date attached. That was added 6 months ago - is the musical still showing there? If phrases like "currently" are used, the date should be specified, i.e. "As of July 2005" etc. Vclaw 1 July 2005 21:38 (UTC)

HELP!!!!!
does any one no wat kind of tempo we will rock you has and things like that — Preceding unsigned comment added by 195.144.131.12 (talk) 10:42, 5 December 2005 (UTC)
 * what are you, some kind of moron? It has a constant tempo,

I don't know what it is off the top of my head (probably about 100bpm) - all you need to work it out is: (i) a watch (ii) the ability to count --feline1 11:58, 5 December 2005 (UTC)
 * Luckily, the ability to write in actual English is not required. >:) Wahkeenah 12:30, 5 December 2005 (UTC)

Plagiarism
I'm currently taking a college level music course where the instructor made the claim that We Will Rock You was based on either a Christmas Carol or a Christian Hymn. Can anyone discredit this? — Preceding unsigned comment added by 68.97.220.174 (talk) 09:46, 3 February 2006 (UTC)

 * Why should we have to? The writing credit in the song is owned by Brian Harold May, that is a legal fact. If your tutor wants to allege that he plagarised it off a hymn, then it's up to *him* to prove which one. Personally I think he's talking crap. Most hymns have very simple chord progressions, as do most rock songs. Any similarity is likely to be coincidence.--feline1 11:14, 3 February 2006 (UTC)
 * My History teacher last year (Frechman year) said that Brian May was interested in Roman history, and that he wrote the song about Hannibal in relation to the three Carthaginian Wars. I'm not sure if it's true... but we did have to write something about what each of the lines in the song mean compared to what happened in the Wars.--Reed9277 01:30, 4 April 2006 (UTC)
 * We Will Rock You does have the same beat as some Vietnamese traditional tune. But still it's not plagiarised imo. I mean, should the monologue of Hamlet be considered a rip-off because Shakespeare didn't invent the words "to" "be" "or" and "not"? Likewise, Brian didn't create any of the chords, words, beats or scales used in Rockyou (or Show Must Go On or any other song he wrote), the difference is the way he organised those. Or else nobody could have been considered to have composed anything. — Preceding unsigned comment added by 200.106.169.208 (talk) 14:11, 6 April 2006 (UTC)

I think that WWRY was also partly inspired by a nursery rhyme and not a carol. I seem to recall that Brain performs something akin to this rhyme on his Back To The Light albums.

The title "We will rock you" probably draws its inspiration from the chorus of a Czech Christmas carol, translated into English: "Little Jesus, sweetly sleep". — Preceding unsigned comment added by Veritasincaritate (talk • contribs) 12:24, 13 August 2016 (UTC)

When played backwards, the song appears to say "It's Fun to Smoke Marijuana" repeatedly
I've deleted this line, it's untrue, this is supposedly the case with another Queen song, Another One Bites The Dust loki@ 17:29, 6 January 2006 (UTC)

Stomp Stomp Clap AHH
In the original studio version, form News of The World, on the first set of stomp stomp clap, we can ear a strange "AHHHH". It's quite hard to ear it, but if you put the volume to the max, you can ear it. I though that it was there by accident, but when I eard the fast version, the ahh was there again. Any Ideas??
 * Yes. This sound is caused by members of Queen going "ahhh". They did this by opening their mouths and making an "aaah" noise, and recording it onto tape using microphones. Their express purpose in this regard was to include the sound of people going "aaah" on this recording.--feline1 16:34, 14 July 2006 (UTC)

I am not sure that it was actually recorded in a church. Perhaps ithis fact is a mis-translation of the song being recorded 'a cappella'?

 * I'm not sure, but yes, I do hear that ahh. I don't know if it was on purpose or not, however...  Øř  ê   ōş  22:40, 31 January 2007 (UTC)

we will rock you song
can you give me the song that i can sing my self at home but only the paper that gives me the words to sing it and make it that you can print —The preceding unsigned comment was added by 24.38.129.94 (talk) 17:31, 16 February 2007 (UTC).

old comment
This I think should go in the article: During the 2004 Republican National Convention, women held in Pier 57 by the mass arrests stomped, clapped and chanted "We will, we will SUE YOU" to the NYPD.

Here's three sources:

http://portland.indymedia.org/en/2004/09/296704.shtml (in all caps about 4 paragraphs down)

http://detritus.net/steev/mt/archives/2004_09.html (september 6 2004 entry)

http://72.14.209.104/search?q=cache:I0YKvkit9KwJ:nyc.indymedia.org/feature/display/126233/index.php+pier+rnc+2004+%22we+will+sue+you%22&hl=en&ct=clnk&cd=1&gl=us (10th comment down)

There's more where that came from.

I also personally witnessed it for what that's worth...

— Preceding unsigned comment added by 70.20.229.98 (talk) 22:40, 22 March 2007 (UTC)

Confusion regarding Double A-side
There's seems to be a lot of confusion on Wiki concerning the fact that WWRY was or wasn't released as a single. It wasn't released as a single in the UK, but was indeed released in the U.S. as a Double A-side with WATC and even as a single in France. As a proof one just has to look in the booklet of GVH1, Greatest Hits 1 and Greatest Hits (North American release). So this should be clearly stated in the box with charts positions, because right now, it's clearly inaccurate. VincentG 03:34, 11 May 2007 (UTC)

I have updated things concerning the Double A-side question.VincentG 22:08, 25 May 2007 (UTC)

An extended version of WWRY
I recall Pirate Radio (97.1 FM in Los Angeles many years ago) used to play an extended version of WWRY, which had a rocking guitar riff and interlude, extending the total time nearly 15 to 30 seconds. It was at the end of the existing music and the start of Freddy singing "WATC". It was NOT a live version, but a quality studio version. After the station left the airwaves, I have never heard it again. Is this the "FAST" version I have been reading about? Does anyone else recall hearing this extended version?

Earlsgately 09:54, 21 October 2007 (UTC)

 * Perhaps the version in their 1977 Peel session (it's on YouTube right now)? I've heard it before as well, so I'm pretty sure it's been issued on LP or single somewhere. Rp (talk) 19:09, 4 February 2017 (UTC)

Image copyright problem with Image:Wearethechampions.jpg
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 * That there is a non-free use rationale on the image's description page for the use in this article.
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Return the Trivia!
Ok, this is an announcement for all the Queen fans, let´s return the Trivias section that was in this article with references and very well verificated.

I hope that you will join to this. :) --189.187.138.177 (talk) 05:32, 7 April 2009 (UTC)

 * Let's read WP:AVTRIV first. It was removed six months ago and no one's complained, so it'll take a lot of work to come up with something worth retaining. ThuranX (talk) 11:43, 7 April 2009 (UTC)

Stomp-Stomp-Clap re-used from Give Peace A Chance?
Saying here goes that the characteristic stomp-stomp-clap was already used in Give Peace A Chance by John Lennon. Has anybody information on this? Are there even more other songs using this musical phrase in such a prominent way? Alfe (talk) 14:54, 30 July 2009 (UTC)

Who's the idiot??
What idiot in this world put it was fucking rap rock?? That is just mentally retarded, im fixing it to it's genre that actually made sence!! — Preceding unsigned comment added by 76.249.28.252 (talk) 00:44, 27 October 2010 (UTC)

Made more sense than your sentence, I'm afraid.203.220.212.117 (talk) 04:19, 26 January 2018 (UTC)

Arena rock is not a genre
Arena rock is not a genre - it's pretty telling that the arena rock article has existed this long and no consensus has been reached to structure the article the same way as a genre article (or call it a genre in the lead). Perhaps it's because the sources do not exist to prove it's nothing more than an era in rock music history and/or a performance style. Music genres have distinct musical characteristics that they share in common - what identifying characteristics makes arena rock a genre? As far as I can tell, the only thing that makes this song or any others arena rock is that they were performed in arenas. What if Queen had never performed in arenas or stadiums? Would anyone be calling this song arena rock? The manner in which a song is performed live is irrelevant in determining the genre of the song from its original studio recording. If you can't understand that, I'm sorry. Y2Kcrazyjoker4 (talk • contributions) 21:08, 16 March 2014 (UTC)
 * I don't want to be harsh nor aggressive with you, but arena rock is a sub genre of rock, just like funk rock, glam rock,...

 * Journey (...) were considered one of the leaders in the arena rock subgenre, but the success of their 1982 album Escape, including new keyboardist Jonathan Cain, made Journey an early leader in 1980s rock.
 * "With 1976's Leftoverture, Kansas sounded like a lighter version of Led Zeppelin, fitting squarely into a genre known as "arena rock" rather than progressive rock." (Chris Smith, The Greenwood Encyclopedia of Rock History: From Arenas to the Underground, 1974-1980, p. 29)
 * "most of the arena rock bands from the '70s and '80s produced a lot of shit, but that doesn't dilute the one worthwhile characteristic of the genre: it was fun" (CMJ New Music Report, 29 September 2003, p. 5)
 * "As the 1970s progressed, hard rock and heavy metal evolved into a more appealing, high-production genre commonly labeled stadium rock or arena rock because of its grand design to accommodate huge crowds in huge spaces." (David Lee Joyner, American Popular Music, p. 261)

Moreover you've got representative bands such as Styx, Journey or REO Speedwagon. Queen is also regarded as one of the most representative band of this (sub)genre :
 * "A strong arena-rock act, Queen's final performance was at a festival appearance at Knebworth in 1986" (Nick Talevski, Rock Obituaries - Knocking On Heaven's Door, p. 425)
 * The Queen/Thin Lizzy tour of America (...) was the tour on which Queen had all the trimmings that went with arena-rock status" (Phil Sutcliffe, Queen: The Ultimate Illustrated History of the Crown Kings of Rock, p. 74)
 * "Elton (...) was directing a rehearsal for the about-to-launch US tour of his hit London musical, “We Will Rock You,” featuring the songs of arena-rock legends Queen."
 * "In their heyday, Queen was one of the largest arena rock bands ever"

"The manner in which a song is performed live is irrelevant in determining the genre of the song from its original studio recording." : as you may have understood now, "We Will Rock You" is considered one of the most definitive arena rock songs not because it was often performed live (most Queen songs were designed to be performed live anyway) but because it incorporates elements, including its distinctive "stomp-stomp-clap" rhythm, which fits the arena rock template, as suggested by David Konow on his book Bang Your Head: The Rise and Fall of Heavy Metal : "Two years later, in 1977, [Queen] would practically invent the arena-rock anthem with "We Will Rock You." The song was designed for maximum audience participation, where everyone would stomp and clap along to its beat. Even today, whenever you stomp and clap that thunderous beat at a sporting event, Queen gets royalties." It is clear, no ? The song was created to be played in public, exactly like "We Are the Champions" or "Radio Ga Ga", two other songs which fit the arena rock template. Other references I brought next to "arena rock" provide similar comments.

To sum it up, I really don't understand why you're so suspicious. Arena rock is not simply a term or a "style" (what a ugly word you're using here !), it's definitely a genre or, if you prefer, a sub-genre of rock music. Also, to be sincere, I don't care about what the "arena rock" article, because it is not the subject of the "We Will Rock You" article. Synthwave.94 (talk) 02:19, 17 March 2014 (UTC)
 * No need to get upset: the OP was just stating a viewpoint. If you try to edit the arena rock article, a message pops up that says, "NOTE: Arena rock is a "term" and not a genre. The genre infobox is designed for use in genre articles and not terms. Do not add a genre infobox to this article or alter any content to mistakenly refer to the term "arena rock" as a genre." So even the article itself admits that it is not a genre. Also you said "I don't care about what the 'arena rock' article, because it is not the subject of the 'We Will Rock You' article." This makes absolutely no sense. Your bringing in WP:OSE actually goes against what you're saying, because comparisons "should be consistent in the content that it provides or excludes." In fact, your saying that Arena rock is a genre is inconsistent with the actual article. It is NOT a genre, and should not be in the infobox, much in the same way that cock rock isn't in any infoboxes. Johnny338 (talk) 01:10, 27 May 2014 (UTC)
 * That's your own point of view, which is irrelevant here. And yes I really don't care about what the "arena rock" article says or seems to claim. Someone decided to push his/her own point of view over this article, it is something which is quite common over music-related articles. "Arena rock" is both correctly sourced and appropriate. Five references is more than enough to prove the song is a definitive/typical arena rock song. Moreover I brought references (see above) which proved "arena rock" IS a music genre. You need better/stronger arguments to prove this song is not arena rock and to prove "arena rock" is not a music genre/subgenre. Personal point of views count for nothing. (NB : "cock rock" is considered a music genre too) Synthwave.94 (talk) 03:43, 27 May 2014 (UTC)
 * Whether you care about the arena rock article is irrelevant. An encyclopedia is supposed to show things as they are, not as we want them to be. Therefore, it would be more appropriate for you to bring these sources up in the arena rock article. I am not quite sure why you are so determined to have the infobox in this particular article say "arena rock" when the general consensus across Wikipedia is that it is NOT a genre or style of music, but rather is merely a term. Plus, this template says to "Aim for generality (e.g. Hip hop rather than East Coast hip hop)." with regard to infoboxes. And there is a difference between those two genres listed. The first is a branch umbrella term, the second is a more specific genre. If you want to see the consensus changed, then bring this up on either the arena rock talk page, or an assorted Wikiproject. Rock is a much better label in the infobox for this song, as the infobox is supposed to be a summary of what's in the article. It doesn't make sense to have this "genre" in the infobox when the article on that "genre" states that it is a term. Remind me again on how inconsistency is supposed to be a good thing. Johnny338 (talk) 22:34, 1 June 2014 (UTC)
 * The "general consensus" you're talking about is only based on pure original research. A common belief if you prefer. That's not the truth (once again read all the references added above). "Rock is a much better label in the infobox for this song". Really ? So why did I manage to find so many reliable sources describing this song as "arena rock" (or stadium rock) ? Is it just a coincidence ? Of course it isn't. If many references employ the same specific genre/subgenre then it is possible to keep it in the infobox. Also what your so-called template says is completly outdated. I saw countless infoboxes with specific genres or subgenres. Only reliability matters. However I agree a piece of consistency is better. But what is said at the arena rock article is not true. There are definitive arena rock songs (including "We Will Rock You") and definitive, representative arena rock bands (Queen, Styx, Journey, Foreigner, REO Speedwagon, Boston, etc). Oh, and don't you know something ? News of the World is described as a "The Great Arena Rock Wonder" by a Sputnik staff review. Another proof arena rock is not simply a term but a true, definitive genre/subgenre. Along with all the references I brought here, "arena rock" can stay in the infobox of this article, but adding a "composition" section would be better to make understand why it is an arena rock song. Synthwave.94 (talk) 03:44, 2 June 2014 (UTC)

The above arguments based on sources are what we should follow. I found more sources:
 * CMJ New Music Report – September 29, 2003 – page 5: "Sure, most of the arena rock bands from the '70s and '80s produced a lot of shit, but that doesn't dilute the one worthwhile characteristic of the genre: it was fun."
 * American Popular Music – page 270: "Along the way, arena rock, progressive rock, and other postpsychedelic styles seemed to forsake the concept of dance music."
 * Music Theory Online, Walter Everett, "Making Sense of Rock's Tonal Systems", December 2004: "An effort was made to reflect in the sample the most popular and/or significant styles of the day—hip-hop, hard rock, country, alternative rock, grunge, mainstream rock, arena rock, jazz-rock fusion, pre-teen idols, and catalog artists with new releases—just as the singles chart would have done in its day." (Also appears as a chapter in Allan F. Moore's Critical essays in popular musicology, Ashgate, 2007. See page 321.)
 * This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk, page 10: "This Ain't the Summer of Love therefore begins not with the release of a particular record or the origin of a sound, but with the rise of a new sort of concert phenomenon: arena rock, which effectively emerged alongside the genre of heavy metal in the first years of the 1970s." On page 33 in the book, the author describes Grand Funk Railroad as a band that was formed around the concept of arena rock, a band that never paid its dues in little clubs.
 * The Rock Cover Song: Culture, History, Politics – page 138: "In this way, while the first three songs on NATO are taken from three vastly different genres (classical, soul, and arena rock), they end up sounding almost identical in Laibach's détourned versions..." The author presents Europe (band) as a Swedish arena rock band. I think the arena rock designation is certainly a performance style, and that a performance style is also a genre. I don't think performance aspects can be separated from the musical genre. Certainly in a rock anthem the music is easy to sing, while in arena rock the music celebrates its massiveness. Binksternet (talk) 03:59, 2 June 2014 (UTC)
 * Nice to see there are other reliable references which to prove what I'm saying is true (even if the CMJ New Music Report was already mentionned but anyway that's not really important). I'm pretty sure other reliable sources see "arena rock"/"stadium rock" as a (sub)genre and not as a "term". Synthwave.94 (talk) 04:11, 2 June 2014 (UTC)
 * @Synthwave.94 I would like to apologize if I seemed harsh at all in my previous arguments. I'd like to clarify what I meant: While I'm not opposed to what you're arguments on this subject are, I do believe consistency is needed in an encyclopedia. Therefore, I believe that if we are to agree on Arena rock as a genre, it needs to be something consistent throughout Wikipedia. I am going to bring this up with the Music genres task force as well as the talk page on Arena rock itself to hopefully settle this debate once and for all. Again, I apologize and I hope we can move past this discussion without becoming antagonistic towards one another in the future. Johnny338 (talk) 16:46, 9 June 2014 (UTC)
 * Yes I understand consistency is better, but this is a huge problem with Wikipedia. Consistency is not always respected. For example, there is a consensus about not calling AC/DC a metal band ... but this band appears on the list of heavy metal bands ! I am going to clean up and brought some references I mentionned above to the arena rock article anyway. I'm gonna prove arena rock is a definitive genre and not a so-called term. I only wanted to prove removing arena rock from this article is completly stupid as numerous reliable sources call this song arena rock or stadium rock. Synthwave.94 (talk) 17:06, 9 June 2014 (UTC)
 * @Synthwave.94 I have started a discussion at the music genres task force here regarding this. I would weigh in there before you start editing the arena rock article itself, to avoid a possible edit war ensuing. Johnny338 (talk) 17:12, 9 June 2014 (UTC)
 * Ok, thanks. I'd keep an eye at this discussion. Synthwave.94 (talk) 17:19, 9 June 2014 (UTC)
 * I for one view "arena rock" as "rock which is better live than on an album". The work of Boston sounds too epic to listen to their albums. The full experience must be felt live. That is what arena rock is supposed to be. AmericanLeMans (talk) 01:48, 7 June 2015 (UTC)

So, if someone plays We Will Rock You in a jazz club, is the song still 'arena rock'? My personal opinion is a setting isn't a genre. AC/DC started as a pub rock band, then they got popular and became an arena rock band. What changed in their music? Not a single thing. Arena is a setting, and can not be a genre. I mean, how does one go about recording an 'arena rock' song in a recording studio? And what if your band claims to be working in the areana rock genre, but is confined to playing 200 seat venues their entire career?122.107.170.39 (talk) 14:11, 13 April 2017 (UTC)

I thought this too actually. For the Bring Me The Horizon songs 'Drown' and 'Avalanche' it got removed for not being a genre, so how is it any different here? --Solitude6nv5 (talk) 11:11, 11 July 2017 (UTC)

 * What do you think?

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Emergency Broadcast Network
Can the band Emergency Broadcast Network get credit for their version of this song on this page? It features vocals by George H.W. Bush. — Preceding unsigned comment added by 203.220.212.117 (talk) 04:19, 26 January 2018 (UTC)

A Knight's Tale
I suppose the song is on the soundtrack of several movies, but I think it is odd not to mention A Knight's Tale in this article. In addition to the song itself (which according to imdb should be there, though I don't remember that), the audience at jousting tournaments perform the stomp-stomp-clap thing (which I remember very clearly). Thoughts? Nø (talk) 18:52, 18 February 2024 (UTC)

title: Talk:We Will Rock You


text:
Melissa Fahn

Melissa Fahn is an American actress and singer, best known as the voice of Gaz Membrane in the Nickelodeon animated series Invader Zim, Dendy in the Cartoon Network animated series OK K.O.! Let's Be Heroes, Hello Kitty in Hello Kitty's Paradise, as well as voicing many anime and video game characters like Himawari Uzumaki from Boruto, Edward from Cowboy Bebop, Neptune from Hyperdimension Neptunia and Rider and her various other incarnations in the Fate stay/night franchise. She starred in the Broadway performance of Wicked and various theatre projects in Los Angeles.

Early life and education
Fahn was born in Long Island, New York to Michael and Millie Fahn. She is the youngest of four siblings. She performed dancing at the age of 3. Her family moved to Huntington Beach, California. Her father, a jazz drummer, encouraged her to learn singing and acting in addition to just dancing. She continued in community theater productions and toured with Young Americans. She majored in dance at California State University, Long Beach, but left after one year to devote her time to work and theater.

Career
While working as a receptionist, her voice caught the attention of a casting director for a new Betty Boop featurette, which led to her first voice-over role in The Betty Boop Movie Mystery. Fahn has voiced many animated characters, Edward in Cowboy Bebop, Haruka in Noein, Gaz as well as others in Invader Zim, and Rika Nonaka, Kristy Damon and Nene Amano in Digimon. She is the voice of Neptune in the Hyperdimension Neptunia series.

She performed live on stage worldwide in shows such as Hal Prince's 3hree, Gilligan's Island the Musical, Singin' in the Rain, No, No, Nanette and the rock-operas of Vox Lumiere.

In 2007, Fahn released her music album Avignon which was produced by her husband, Joel Alpers. The album also involved her brother Tom on trombone and sister-in-law Mary Ann McSweeney in bass. Alpers also played drums and percussion.

Wicked
Fahn was a member of the ensemble in the original Broadway cast of Stephen Schwartz's musical Wicked. In March 2004, Fahn became an understudy for the role of Glinda, replacing Melissa Bell Chait who had suffered a minor stroke. Fahn departed the show on October 31, 2004. She later became an original cast member of the Los Angeles sit-down productions, performing in the ensemble and again understudying the role of Glinda before departing on December 30, 2007.

Personal life
Fahn has three older brothers: Mike Fahn is a musician, while Tom Fahn and Jonathan Fahn are fellow voice and stage actors. In 2000, Fahn met musician Joel Alpers in Los Angeles, and they wed at Kauai, Hawaii, in 2002.

Discography

 * Avignon (2007)

title: Melissa Fahn


text:
Category:Inter-process communication

This is the category for inter-process communication, a subset of computer science also related to synchronization.

title: Category:Inter-process communication