title: Fear of a Black Planet

text: To follow up "It Takes a Nation of Millions to Hold Us Back", the group sought to make a more thematically focused work and to condense Dr. Frances Cress Welsing's theory of "Color Confrontation and Racism (White Supremacy)" into an album-length recording. According to Chuck D, this involved "telling people, well, color's an issue created and concocted to take advantage of people of various characteristics with the benefit of a few". He recalled their concept for the album in an interview with "Billboard:" "We wanted really to go with a deep, complex album ... more conducive to the high and lows of great stage-performance." Chuck D also cited the commercial circumstances for hip hop at the time, having quickly transitioned from a singles to an album medium in the music industry during the 1980s. In an interview for "Westword", he later said, "We understood the magnitude of what an album was, so we set out to make something that not only epitomized the standard of an album, but would stand the test of time by being diverse with sounds and textures, and also being able to home in on the aspect of peaks and valleys".


title: Fear of a Black Planet

text: "Fear of a Black Planet" was recorded at three studios—Greene St. Recording in New York City, The Music Palace in West Hempstead, and Spectrum City Studios in Hempstead—from June to October 1989. It was produced by The Bomb Squad—Chuck D, Eric "Vietnam" Sadler, Keith Shocklee, and his brother Hank Shocklee—while Chuck D called Hank, their director, "the Phil Spector of hip-hop". Keith, significant in composing the main tracks and music, received here his first official credit as a team member. For the album, they sought to expand on the dense, sample-layered "wall of noise" of Public Enemy's prior album, "It Takes a Nation of Millions to Hold Us Back".


title: Fear of a Black Planet

text: Employing an elaborate method, the Bomb Squad reconfigured and recontextualized disparate sound fragments, while expanding their repertoire of samples to radio and other sources. According to Shocklee, "When you're talking about the kind of sampling that Public Enemy did, we had to comb through thousands of records to come up with maybe five good pieces. And as we started putting together those pieces, the sound got a lot more dense." Hank Shocklee called it "a production assembly line where each person had their own particular specialty ... [Shocklee] came from a DJ's perspective. Eric [Sadler] is coming from a musician's perspective." Sadler's approach was more traditional and structured, while Shocklee's was more experimental. As the main lyricist, Chuck D wanted to recontextualize the sampled material into his lyrics and create a theme.


title: Fear of a Black Planet

text: The Bomb Squad used devices including the E-mu SP-1200 drum machine and sampler, the Akai S900 sampler, and a Macintosh computer. Chuck D remarked that "95 percent of the time it sounded like mess. But there was 5 percent of magic that would happen." Shocklee compared their production to filmmaking, "with different lighting effects, or film speeds, or whatever", while Chuck D analogized to an artist creating green from yellow and blue. As he had the production team improvise beats, much of the album was composed on the spot. In a 1990 interview, Chuck added, "We approach every record like it was a painting. Sometimes, on the sound sheet, we have to have a separate sheet just to list the samples for each track. We used about 150, maybe 200 samples on "Fear of a Black Planet"."


title: Fear of a Black Planet

text: To synchronize the samples, the Bomb Squad used SMPTE timecodes and arranged and overdubbed parts of backing tracks, which had been inspected by the members for snare, bass, and hi-hat sounds. Chuck D said, "Our music is all about samples in the right area, layers that pile on each other. We put loops on top of loops on top of loops, but then in the mix we cut things away." Their production was innovative, according to journalist Jeff Chang. "They're figuring out how to "jam with the samples" and to create these layers of sound," Chang said. "I don't think it's been matched since then." After the tracks were completed, the Bomb Squad began sequencing what was at first a seemingly discontinuous album, amid internal disputes. Final mixing took place at Greene St. Recording and lasted until February 1990. According to Sadler, "a lot of people were like, 'Wow, it's a brilliant album'. But it really shoulda been much better. If we had more time and we didn't have to deal with the situation of nobody talking".


title: Fear of a Black Planet

text: "Fear of a Black Planet" was conceived during the golden age of hip hop, a period roughly between 1987 and 1992 when artists took advantage of emerging sampling technology before record labels and lawyers took notice. Accordingly, Public Enemy were not compelled to obtain sample clearance for the album. This preceded the legal limits and clearance costs later placed on sampling, which limited hip hop production and the complexity of its musical arrangements. In an interview with "Stay Free!", Chuck D said: "Public Enemy's music was affected more than anybody's because we were taking thousands of sounds. If you separated the sounds, they wouldn't have been anything--they were unrecognizable. The sounds were all collaged together to make a sonic wall." An analysis by law professors Peter DiCola and Kembrew McLeod estimated that under the sample clearance system that developed after the album's release, Public Enemy were to lose at least five dollars per copy if they were to clear the album's samples at 2010 rates, a loss of five million dollars on a platinum record.


title: Fear of a Black Planet

text: For the track "Burn Hollywood Burn", Chuck D dealt with clearance issues from different record labels to collaborate with rappers Big Daddy Kane and Ice Cube, who had been pursuing the Bomb Squad to produce his debut album. The recording marked one of the first times in which MCs from different rap crews collaborated, and it led to the Bomb Squad working with Ice Cube on his 1990 debut album "AmeriKKKa's Most Wanted".


title: Fear of a Black Planet

text: For the album's artwork, Public Enemy enlisted B.E. Johnson, a NASA illustrator. His design illustrated Chuck D's concept of two planets, the "Black" planet and Earth, eclipsing. Cey Adams, creative director for Def Jam at the time, said: "It was so interesting to me that a black hip-hop act did an illustration for their album cover. At that time, black hip-hop artists, for the most part, had photos of themselves on their covers. But this was the first time someone took a chance to do something in the rock'n'roll vein".


title: Fear of a Black Planet

text: "Fear of a Black Planet"s music features assemblage compositions that draw on numerous sources. The production's "musique concrète"-influenced approach reflects the political and confrontational tones of the group's lyrics, with sound collages that feature varying rhythms, aliased or scratchy samples, media sound bites, and eccentric music loops. Recordings sampled for "Fear of a Black Planet" include those from funk, soul, rock, and hip hop genres. Elements such as choruses, guitar sounds, or vocals from sampled recordings are reappropriated as riffs in songs on the album, while sampled dialogue from speeches is incorporated to support Chuck D's arguments and commentary on certain songs. The Bomb Squad's Hank Shocklee compared their produced sounds, surrounding Chuck D's rhythmic, exhortative baritone voice, to putting "the voice of God in a storm".


title: Fear of a Black Planet

text: According to "The Greenwood Encyclopedia of African American Folklore" (2006), "Fear of a Black Planet" introduced a production style that "borrowed elements from jazz, especially that of John Coltrane, to craft a soundscape that was more challenging than that of their previous two albums, but still complemented the complex social commentary". Journalist Kembrew McLeod called the music "both agitprop and pop, mixing politics with the live-wire thrill of the popular music experience", adding that the Bomb Squad "took sampling to the level of high art while keeping intact hip hop's populist heart. They would graft together dozens of fragmentary samples to create a single song collage." Simon Reynolds said it was "a work of unprecedented density for hip hop, its claustrophobic, backs-against-the-wall feel harking back to Sly Stone's "There's a Riot Goin' On" or even Miles Davis' "On the Corner"".


title: Fear of a Black Planet

text: Some tracks used elements from Public Enemy's previous material, which Pete Watrous of "The New York Times" interpreted as a dual reference to hip hop tradition and the history of the group. Watrous described the music as "the sound of urban alienation, where silence doesn't exist and sensory stimulation is oppressive and predatory", and writes that its dense textures "envelop Chuck D's voice and make his rapping sound as if it is under duress, as if he were fighting against a background intent on taking him over ... Layer after layer of sounds are placed on top of each other until the music becomes nearly tactile". Chuck D called "Fear of a Black Planet" a record entirely of "found sounds ... probably the most elaborate smorgasbord of sound that we did ... When we put together our music, we try to put together layers that complement each other, and then the voice tries to complement that, and the theme tries to complement that, and then the song itself tries to complement the album as a whole, fitting into the overall context." In his essay on hip hop aesthetics, Richard Schur interpreted such layering as a motif in hip hop and as "the process by which ... new meanings are created and communicated, primarily to an equally knowledgeable audience", concluding that "Public Enemy probably took the ideal of layering to its farthest point".


title: Fear of a Black Planet

text: "Fear of a Black Planet" contains themes of organization and empowerment within the African-American community, and of confrontation. Chuck D's critical lyrics on the album, interspersed with the surrealism of Flavor Flav, also concern contemporary black life, the state of race relations, and criticisms of institutional racism, White supremacy, and the power elite. Greg Sandow called Chuck D's language "strong and elusive, often fragmentary" and "embedded [with] critical, sometimes brutal thoughts". Although he viewed that "some people might disagree with some of these ideas", Sandow wrote that "it's hard to dispute the lyrics' assertion that many Whites "are" afraid of blacks", adding that the album "touches on" the idea of "an age when whites understand that they're a minority in the world". Robert Hilburn believed that the songs "decried what Chuck D. saw as the consequences of white, European cultural domination in the United States and throughout much of the world". Sputnikmusic's Nick Butler observed "two recurring themes – inter-racial relationships ... and the racism inherent in the American media".


title: Fear of a Black Planet

text: In his book "Somebody Scream!: Rap Music's Rise to Prominence in the Aftershock of Black Power", Marcus Reeves said that "Fear of a Black Planet" "was as much a musical assault on America's racism as it was a call to blacks to effectively react to it". According to Greg Kot, the album was "hardly a black power manifesto for world domination, but a statement about racial paranoia. Though he spares virtually no one with his withering raps, Public Enemy's Chuck D is harshest of all on his fellow blacks, expounding on everything from history to fashion: Use your brain instead of a gun. Drugs are death. Know your past so you won't screw up the future. Gold chains worn around the neck demean the brotherhood in South Africa." Kot wrote of Chuck D's perspective and the theme of fear, "It's fear that divides us, he says; understand me better and you won't run. "Fear of a Black Planet" is about achieving that understanding, but on Public Enemy's terms. In presenting their view of life from an Afro-centric, as opposed to Euro-centric, perspective, P.E. challenges listeners to step into their world."


title: Fear of a Black Planet

text: The opening track, "Contract on the World Love Jam", is a sound collage made up of samples, scratch cuts, and snippets recorded by Chuck D from radio stations and sound bites of interviews and commercials. The tension-building track introduces the album's dense, sample-based production. According to Chuck D, the song features "about forty-five to fifty [sampled] voices" that interweave as part of an assertive sonic collage and underscore the themes explored on subsequent tracks. "Incident at 66.6 FM", another collage that segues into "Welcome to the Terrordome", contains snippets from a radio call-in show interview of Chuck D and alludes to the media persecution perceived by Public Enemy.


title: Fear of a Black Planet

text: The controversial "Welcome to the Terrordome" references the murder of Yusef Hawkins and the 1989 riots in Virginia Beach, and criticizes Jewish leaders who protested Public Enemy in response to Professor Griff's anti-Semitic remarks. Chuck D addresses the controversy from the perspective of someone in the center of political turmoil, with criticisms of the media and references to the Crucifixion of Jesus: "Crucifixion ain't no fiction / So called chosen frozen / Apology made to who ever pleases / Still they got me like Jesus". He is also critical of Blacks and those who "blame somebody else when you destroy yourself": "Every brother ain't a brother / 'cause a Black hand squeezed on Malcolm X the man / the shootin of Huey Newton / from the hand of Nig who pulled the trigger". His lyricism features dizzying rap patterns and internal rhyme: "Lazer, anastasia, maze ya / Ways to blaze your brain and train ya ... Sad to say I got sold down the river / Still some quiver when I deliver / Never to say I never knew or had a clue / Word was heard, plus hard on the boulevard / Lies, scandalizin', basin' / Traits of hate who's celebratin' wit Satan?". Among the samples used for the song are several James Brown tracks and the guitar line from The Temptations' "Psychedelic Shack". Several other samples are heard amid Chuck D's rapping, such as the line "come on, you can get it-get it-get it" from Instant Funk's "I Got My Mind Made Up (You Can Get It Girl)". AllMusic's John Bush cites the track as "the production peak of the Bomb Squad and one of Chuck D.'s best rapping performances ever ... [N]one of their tracks were more musically incendiary".


title: Fear of a Black Planet

text: "Burn Hollywood Burn" assails the use of black stereotypes in movies, while "Who Stole the Soul?" condemns the music industry's exploitation of black recording artists and calls for reparations. "Revolutionary Generation" celebrates the strength and endurance of black women with lyrics related to black feminism, an unfamiliar topic in contemporary hip hop. It also addresses sexism within the black community and misogyny in hip hop culture. The title track discusses racial classification and the origins of Whites fearing African Americans, particularly racist concerns by some Whites over the effect of miscegenation. In the song, Chuck D argues that they should not worry because the original man was black and "white comes from black / No need to be confused". The song features a vocal sample of comedian and activist Dick Gregory saying, "Black man, black woman, black baby / white man, black woman, black baby?". "Pollywanacraka" also concerns interracial relations, including Blacks who leave their communities to marry wealthy Whites, and societal views of the matter: "This system had no wisdom / The devil split us in pairs / and taught us white is good, black is bad / and black and white is "still" too bad". "Meet the G That Killed Me" features homophobic etiology and condemns homosexuality: "Man to man / I don't know if they can / From what I know / The parts don't fit".


title: Fear of a Black Planet

text: Songs such as "Fight the Power", "Power to the People", and "Brothers Gonna Work It Out" propose a response for African Americans to the issues criticized throughout the album. "Power to the People" has a tempo of approximately 125 beats per minute, fast-paced Roland TR-808 drum machine patterns, and elements of Miami bass, electro-boogie. Addressing their plight at the turn of the 1990s, "Brothers Gonna Work It Out" features cacophonic sound textures and a theme of unity among African Americans, with Chuck D preaching "Brothers that try to work it out / They get mad, revolt, revise, realize / They're superbad / Small chance a smart brother's gonna be a victim of his own circumstance". Richard Harrington of "The Washington Post" writes that songs such as "War at 33⅓" and "Fight the Power" "may sound like a call to ohms and arms, but they are really a call to action ('turn us loose and we shall overcome'), a message to conscience and a plea for unity ('move as team, never move alone,' both cautionary advice and game plan)". "War at 33⅓" has a theme of resistance and a 128 bpm-tempo, cited by Chuck D as "the fastest thing I've ever rapped to, rapping right on top of the beat".


title: Fear of a Black Planet

text: "Fight the Power" features revolutionary rhetoric by Chuck D and was used by director Spike Lee as a leitmotif in his acclaimed 1989 film "Do the Right Thing", a film about racial tension in a Brooklyn neighborhood. Lee approached the group in 1988 after the release of "It Takes a Nation" with the proposition of making a song for his movie. Chuck D wrote most of the song attempting to adapt The Isley Brothers' "Fight the Power" to a modernist perspective. The song's third verse contains disparaging lyrics about popular American icons Elvis Presley and John Wayne, as Chuck D rhymes "Elvis was a hero to most / But he never meant shit to me' / Straight up, racist the sucker was / Simple and plain", with Flavor Flav following, "Muthafuck him and John Wayne!". The lyrics, which shocked and offended many listeners at the time, express the identification of Presley with racism — either personally or symbolically — and the largely held notion among Blacks that Presley — whose musical and visual performances owed much to African-American sources — unfairly achieved the cultural acknowledgment and commercial success largely denied his black peers in rock and roll. The line regarding John Wayne refers to his controversial personal views, including racist remarks made in his 1971 interview for "Playboy". "Fight the Power" has since become the group's best-known song and has been named one of the best songs of all time by numerous publications.


title: Fear of a Black Planet

text: Written by Flavor Flav, Shocklee, Sadler, "911 Is a Joke" features Flav as the main vocalist and criticizes the inadequacy of 9-1-1 — the emergency telephone number used in the United States — and the lack of police response to emergency calls in predominantly African-American neighborhoods. The song originated from Chuck D's suggestion for Flavor Flav to write a song. As Flav recalled, "I went and got high and wrote the record. I went and got ripped, I went and got out of my mind, and I started speaking all kinds of crazy shit 'cos usually back in the days when I used to smoke, it used to broaden my ideas and everything". The humorous and satirical subject matter is reflected in the song's accompanying music video, which features a severely injured Flav being mistreated by a remiss, overdue ambulance staff. Another Flavor Flav-solo performance, "Can't Do Nuttin' for Ya Man", has lyrics advocating African-American self-reliance and denouncing welfare dependence. It also reflects on Flav's experiences with acquaintances from poor neighborhoods. He said of his inspiration for the song, "I was in my Corvette riding from Long Island going to The Bronx. I was slipping. I was roasting. I mean I was smoked-out crazy. And everybody kept asking me for stuff and yet nobody wanted to give me stuff. So then if anybody ever asked me for something I would be like, 'Yo, I can't do nothing for ya man.' Next thing you know I started to vibe on it: 'I can't do nothing for ya man,' um ahh um um ahh. So I went and told that to Chuck. Chuck was like, 'Record that shit man'". According to Tom Moon, on both of the album's Flavor Flav songs, the rapper "affects a tone of gimme-a-break sarcasm that is crucial to both tracks, and is welcome respite from Chuck D.'s assault".


title: Fear of a Black Planet

text: Originally intended for an October 1989 release date, "Fear of a Black Planet" was released on April 10, 1990 by Def Jam Recordings and Columbia Records. Although "It Takes a Nation" garnered Public Enemy more exposure with black audiences and music journalists, urban radio outlets had mostly rejected Def Jam's requests to include the group's singles in their regular rotation. This incited Def Jam co-founder Russell Simmons to attempt grassroots promotional tactics from his earlier years of promoting hip hop shows. In promoting "Fear of a Black Planet", he recruited young street crews to put up posters, billboards, and stickers on public surfaces, while Simmons himself met with nightclub DJs and college radio program directors to persuade them to add albums tracks such as "Fight the Power", "Welcome to the Terrordome", and "911 Is a Joke" to their playlists. As singles, they were released on July 4, 1989, in January 1990, and in April, respectively. Two more singles were later released — "Brothers Gonna Work It Out" in June and "Can't Do Nuttin' for Ya Man" in October, with the latter also featured in the 1990 comedy film "House Party".


title: Fear of a Black Planet

text: "Fear of a Black Planet" debuted at number 40 on the "Billboard" Top Pop Albums chart. It also charted for 10 weeks and reached number four in the United Kingdom, while in Canada, it charted for 28 weeks and reached number 15. By July 1990, it had sold 1.5 million copies in the US, where it ultimately peaked at number 10 and charted for 27 weeks on the Top Pop Albums. After 1991, when the tracking system Nielsen SoundScan began tracking domestic sales data, "Fear of a Black Planet" sold 561,000 additional copies by 2010.


title: Fear of a Black Planet

text: The controversy surrounding the group and their exposure through the singles "Fight the Power" and "Welcome to the Terrordome" helped "Fear of a Black Planet" exceed the sales of their previous two albums, "Yo! Bum Rush the Show" and "It Takes a Nation of Million to Hold Us Back" at the time, 500,000 and 1.1 million copies, respectively. The latter single's lyrics were initially viewed by religious groups and the media as anti-semitic upon its release. The album contributed to hip hop's commercial breakthrough at the beginning of the 1990s, despite its limited radio airplay. Its success made Public Enemy the top-selling act, both domestically and internationally, for Def Jam Recordings at the time. Ruben Rodriguez, Columbia's senior vice president at the time, said in one of the label's press releases, "What's happening with Public Enemy is unbelievable. The album is selling across the board to all demographics and nationalities". In a December 1990 article, "Chicago Sun-Times" writer Michael Corcoran discussed Public Enemy's commercial success with the album and remarked that "more than half of the 2 million fans who bought ["Fear of a Black Planet"] are white".


title: Fear of a Black Planet

text: "Fear of a Black Planet" was met with rave reviews from critics. After asserting prior to its release that it was "bound to be one of the most dissected pop collections in years", Robert Hilburn of the "Los Angeles Times" wrote that the album "rivals the force and the power of "It Takes a Nation"" while "maintaining commercial and artistic credibility in the fast-changing rap world" with original music. "USA Today"s Edna Gundersen called it "a masterpiece of innovation [and] challenging music" that makes the group's pro-black lyrics more interesting and plausible. "Rolling Stone" magazine's Alan Light praised Public Enemy's self-assured and realistic lyrics, and viewed the album as a deeper, more focused version of "the careening rage of "Nation of Millions"". Greg Sandow of "Entertainment Weekly" found it powerfully relevant to contemporary American culture and unparalleled by anything in popular music: "It sounds like a partly African, partly postmodern collage, stitched together on tumultuous urban streets." Tom Moon of "The Philadelphia Inquirer" observed "some of the genre's most sophisticated sound designs and unconventionally agile rapping" on the album and called it "a major piece of work, the first hard evidence of rap's maturity and a measure of its continuing relevance".


title: Fear of a Black Planet

text: In "The Washington Post", Richard Harrington said because "Fear of a Black Planet" is a challenging listen, "How it's met depends on how it's understood." Robert Christgau, writing for "The Village Voice", felt that its "brutal pace" loses momentum and that the group's lyrics are ideologically flawed, but wrote that although their "rebel music" is gimmicky, "this is show business, and they still think harder than anybody else working their beat." Peter Watrous of "The New York Times" called it "an essential pop album" and stated, "On their own, the lyrics seen functional. Taken with the music, they bloom with meaning." Simon Reynolds of "Melody Maker" remarked that the content epitomizes the group's significance at the time: "Public Enemy are important ... because of the angry questions that seethe in their music, in the very fabric of their sound; the bewilderment and rage that, in this case, have made for one "hell" of strong, scary album". "Chicago Tribune" critic Greg Kot felt that with the album, "Public Enemy affirms that it is not just a great rap group, but one of the best rock bands on the planet-black or otherwise".


title: Fear of a Black Planet

text: At the end of 1990, "Fear of a Black Planet" appeared in the top-10 of several critics' lists of the year's best albums. It was voted the third best record of 1990 in "The Village Voice"s annual Pazz & Jop critics' poll, and the publication's Robert Christgau ranked it number 10 on his own "Dean's list". It was named the second best album of the year by "The Boston Globe", the third best by "USA Today", and fifth best by the "Los Angeles Times"s Robert Hilburn, who wrote that it "dissects aspects of the black experience with an energy and vision that illustrates why rap continues to be the most creative genre in pop". "The State" named it one of the year's best albums and hailed it as "possibly the boldest and most important rap record ever made. A sonic tour de force". "Fear of a Black Planet" was nominated for a Grammy Award for Best Rap Performance by a Duo or Group, presented at the 33rd Grammy Awards in 1991.


title: Fear of a Black Planet

text: "Fear of a Black Planet"s success with critics and consumers was viewed as a significant factor to hip hop's mainstream emergence in 1990, which "Billboard" editor Paul Grein said was "the year that rap exploded". In a July 1990 article, Kot compared Public Enemy's influence on hip hop with the album at the start of the 1990s to the impact of Bob Dylan, George Clinton, and Bob Marley on each of their respective genres and eras, having "given it legitimacy and authority far beyond its core following". Chuck D later said of the album in retrospect, "If "It Takes a Nation" was our 'nation' record, "Fear of a Black Planet" was our 'world' record". With respect to hip hop, the album was important in the field of sampling, as copyright lawyers took notice of The Bomb Squad's production and such a sample-heavy work would not be cost effective in the future. Chuck D later said of its sampling issues, "We got sued for everything. We knew that the door on sampling was gonna close". Subsequent use of sampled material, particularly the use of whole songs on top of a beat, by other hip hop artists prompted stricter sampling laws. "Fear of a Black Planet" was the group's commercial apex, with sales dropping off for their subsequent albums. Chuck D said it was their most successful record, "not because of all the hype and hysteria. It was a world record. Because of all the different feels and the different textures and the flow it had".


title: Fear of a Black Planet

text: "Fear of a Black Planet" also helped popularize political subject matter in hip hop music, as it epitomized the resurgence in black consciousness among African-American youths at the turn of the 1990s, amid a turbulent social and political zeitgeist during the Bush administration and South African apartheid. Black consciousness became the prevailing subject matter of many hip hop acts, exemplified by X-Clan's cultural nationalism on their debut album "To the East, Blackwards", the revolutionary, Black Panther-minded "The Devil Made Me Do It" by Paris, and the Five Percenter religious nationalism of Poor Righteous Teachers' debut "Holy Intellect". Christgau wrote in 1990 that Public Enemy had become not only "the most innovative popular musicians in America if not the world" but also "the most politically ambitious. Not even in the heyday of [the] Clash has any group come so close to the elusive and perhaps ridiculous '60s rock ideal of raising political consciousness with music." Their music on the album inspired leftist and Afrocentric ideals among rap listeners who were previously exposed to more materialist themes in the music. Reeves said it introduced black consciousness to the "hip-hop youth" of the "post-black power generation", "as leather African medallions made popular by rappers like P.E. replaced thick gold chains as the ultimate fashion statement ... P.E.'s million seller sat at the front of a full-blown black pride resurgence within rap".


title: Fear of a Black Planet

text: However, this resurgence soon became commodified as a trend, while actual awareness within the African-American community was limited and ineffectual to issues such as drug dealing and the prevalence of liquor stores in such neighborhoods. Public Enemy responded to this and other deep-rooted problems of Black America on their following album, "Apocalypse 91... The Enemy Strikes Black" (1991), which featured more critical assessments of African-Americans, denouncing Black drug dealers who donned Afrocentric merchandise, hip hop artists who promoted malt liquor, black radio stations for lacking significant airplay to hip hop, and even the Africans at the onset of the Atlantic slave trade for lacking unity.


title: Fear of a Black Planet

text: Since "Fear of a Black Planet" was first released, it has been viewed by critics as one of the greatest and most important hip hop albums of all time, as well as a culturally significant work. Stephen Thomas Erlewine from AllMusic believed that "as a piece of music, this is the best hip-hop has ever had to offer", calling it "a remarkable piece of modern art, a record that ushered in the '90s in a hail of multi-culturalism and kaleidoscopic confusion". Alex Ross cited it as one of "the most densely packed sonic assemblages in musical history", while "Q" said it "achieved the near impossible by being every bit as good as its predecessor". In the opinion of Kembrew McLeod, Public Enemy had worked with production equipment that would seem primitive decades later but still managed to invent new "techniques and workarounds that electronics manufacturers never imagined". Sputnikmusic staff writer Nick Butler said the album remained an enduring and vital work in a genre that "has a habit of moving at such a pace that records date in a matter of years".


title: Fear of a Black Planet

text: According to Acclaimed Music, "Fear of a Black Planet" is the 126th most acclaimed album in history, based on professional rankings of the greatest records. In 1997, "The Guardian" ranked it number 50 on their 100 Best Albums Ever list, which was voted on by a panel of various artists, critics, and DJs. The following year, it was selected as one of "The Source"s 100 Best Rap Albums. In 2000, it was voted number 617 in Colin Larkin's "All Time Top 1000 Albums" and named in "" as among the decade's most essential works. "Rolling Stone" included "Fear of a Black Planet" on their "Essential Recording of the '90s" list, and in 2003, the magazine ranked it number 300 on their list of the 500 greatest albums of all time, and 302 in a 2012 revised list, and number 176 in a 2020 revised list. The record was ranked number 21 in "Spin"s "100 Greatest Albums, 1985–2005" publication, and number 17 on "Pitchfork"s "Top 100 Albums of the 1990s".


title: Fear of a Black Planet

text: In 2004, the Library of Congress added "Fear of a Black Planet" to the National Recording Registry, which selects recordings annually that are "culturally, historically, or aesthetically significant". According to a press release for the registry, ""Fear of a Black Planet" brought hip-hop respect from critics, millions of new fans and passionate debate over its political content. The album signaled the coupling of a strongly political message with hip-hop music". In 2013, "NME" named it the 96th best record ever in their all-time list.


title: Cleaning

text: Cleaning is the process of removing unwanted substances, such as dirt, infectious agents, and other impurities, from an object or environment. Cleaning is often performed for aesthetic, hygienic, functional, environmental, or safety purposes. Cleaning occurs in many different contexts, and uses many different methods. Several occupations are devoted to cleaning.


title: Cleaning

text: Cleaning occurs in various commercial, domestic, personal, and environmental contexts, which differ in scale and requirements.


title: Cleaning

text: Cleaning is broadly achieved through mechanical action and/or solvent action; many methods rely on both processes.


title: Cleaning

text: Some items and materials require specialized cleaning techniques, due to their shape, size, location, or the material properties of the object and contaminants.


title: Mitsubishi Orion engine

text: The Mitsubishi Orion or 4G1 engine is a series of inline-four internal combustion engines introduced by Mitsubishi Motors in around 1977, along with the Astron, Sirius, and Saturn. It was first introduced in the Colt and Colt-derived models in 1978. Displacement ranges from .


title: Mitsubishi Orion engine

text: The 4G12 (also known as the G11B) displaces with a bore and stroke of . 4G12 was the first to feature Mitsubishi's MD (modulated displacement) technology, a form of variable displacement which shut off two cylinders during light load and at low speeds. The 4G12 was not offered by Mitsubishi with fuel injection. This engine is fairly outdated compared to its counterparts that were used in the later Lancers.


title: Mitsubishi Orion engine

text: This is the turbocharged version of the 4G12, uses a TC-04 turbocharger from Mitsubishi Heavy Industries. The diameter of the blades in this charger is rather small, at 49 mm, and it spins at 90,000 rpm to provide of boost. This increased power and torque by about 30 and 25 percent respectively. The Japanese-specification version of this engine produces at 5,500 rpm and of torque at 3,000 rpm.


title: Mitsubishi Orion engine

text: The SOHC, 12-valve 4G13 displaces and produces with a bore and stroke of . In the Gulf Countries, gross at 6000 rpm is claimed on the mitsubishi lancer CB1. The 4G13 engine has been produced by Dongan Mitsubishi Motors Engine Manufacturing, in Harbin, China since September 1998.


title: Mitsubishi Orion engine

text: The SOHC 4G15 displaces with a bore and stroke of . A version of the 4G15 was produced with gasoline multi-port fuel injection. It has approximately on the 1993 Mirage model. The DOHC 4G15 produces with of torque. Another DOHC version was combined with GDI fuel injection and delivers and of torque. A DOHC MIVEC turbo variant of the engine is also still in production to date (4G15T), serving in the Mitsubishi Colt series, offering on the latest Colt Version-R (with exhaust enhancement). The most powerful version of this engine is found in the Colt CZT Ralliart (special model in Switzerland) with a total output of . There was a recorded instance of the engine exceeding in a 1998 Mitsubishi Mirage sedan.


title: Mitsubishi Orion engine

text: The 4G15 is known as one of the longest living Japanese engines ever produced where new variants of the engine are still being produced and used in Chinese cars since 2005. The 4G15 engine has been produced by Dongan Mitsubishi Motors Engine Manufacturing in Harbin, China. And also the new engines have been produced by GAC Mitsubishi Motors, a joint venture from the Hunan province in southern China, since April 2017.


title: Mitsubishi Orion engine

text: This version of the 4G15 is a single overhead camshaft (SOHC) 8-valve, carburetor type engine. It is a in-line four with a compact type combustion chamber. The engine's advertised power was (DIN) and of torque.


title: Mitsubishi Orion engine

text: The engine is an analogue of the Mitsubishi G15B in terms of the engine mechanical specifications except for the valve timing. The G13B is also equipped with jet valves and jet springs.


title: Mitsubishi Orion engine

text: A 12-valve version (two intake and one exhausts per cylinder) of the 1468 cc 4G15 engine. It entered production in 1989, for the third generation Mitsubishi Mirage/Lancer. It was available with a carburettor or fuel injection, producing in Japanese market trim at the time of introduction. Later, a natural gas-powered version was added and in 1991 a new lean-burn technology called "Mitsubishi Vertical Vortex" (MVV) was introduced on this engine.


title: Mitsubishi Orion engine

text: The 4G16 displaces from a bore and stroke. This engine was mainly offered in European markets, where it suited local tax regulations.


title: Mitsubishi Orion engine

text: The 4G17 displaces . It is a SOHC 12-valve engine. Bore and stroke is . Output of a carbureted version is at 6,000 rpm and of torque at 3,500 rpm.


title: Mitsubishi Orion engine

text: The SOHC 4G18 displaces with a bore and stroke of . It is a 4-valve per cylinder engine, which produses from to with (European specifications). It uses a COP (Coil-On-Plug, also known as Plug-top coil) ignition rely on one coil to fire two cylinders, one of which was by spark plug wire. The 4G18 engine has been produced by Dongan Mitsubishi Motors Engine Manufacturing , in Harbin, China since April 2010.


title: Mitsubishi Orion engine

text: The DOHC MIVEC 4G19 displaces 1.3–litres and features four valves per cylinder. It produces at 5,600 rpm and of torque at 4,250 rpm. It was introduced in 2002, powering the then-new Mitsubishi Colt.


title: Yvette Herrell

text: Stella Yvette Herrell ( ; born March 16, 1964) is an American politician and realtor serving as the U.S. representative for New Mexico's 2nd congressional district. A member of the Republican Party, she served four terms as a member of the New Mexico House of Representatives for the 51st district from 2011 to 2019.


title: Yvette Herrell

text: Herrell was the Republican nominee for New Mexico's 2nd congressional district in 2018, narrowly losing to Democrat Xochitl Torres Small. She was the Republican nominee for the 2nd district again in 2020, and defeated Torres Small in a rematch. She lost her bid for reelection in 2022 to Democratic nominee Gabe Vasquez.


title: Yvette Herrell

text: Herrell has marked many firsts: she is the first Republican Native woman elected to Congress, the first Cherokee woman, the third Native American woman, and the second Native woman from New Mexico elected to the House. She was the only Republican member of New Mexico's congressional delegation during the 117th Congress.


title: Yvette Herrell

text: Herrell was born in Ruidoso, New Mexico, and is a citizen of the Cherokee Nation. After attending Cloudcroft High School, she earned a legal secretary diploma from the ITT Technical Institute School of Business in Boise, Idaho.


title: Yvette Herrell

text: After graduating from ITT, Herrell returned to New Mexico, where she worked as a realtor in Alamogordo. She later worked as a real estate broker for Future Real Estate in Alamogordo.


title: Yvette Herrell

text: In 2010, Herrell challenged incumbent District 51 Republican state Representative Gloria Vaughn in the June 1 Republican primary. Herrell won with 846 votes (54.2%), and went on to win the November 2 general election with 3,077 votes (62.9%) against Democratic nominee Susan Medina.


title: Yvette Herrell

text: In 2012, Herrell was unopposed in both the June 5 Republican primary, which she won with 2,128 votes, and the November 6 general election, which she won with 7,750 votes.


title: Yvette Herrell

text: In 2018, Herrell was a candidate for the United States House of Representatives, and was defeated in a close race by political newcomer and Democratic attorney Xochitl Torres Small. The results were close on election night, with Herrell in the lead at the end of the night and some New Mexico media organizations projecting that she would win. The next day, more ballots were counted, narrowing Herrell's lead, and media organizations rescinded their initial projections. Absentee ballots made Torres Small the winner. Without offering evidence, Herrell alleged possible election fraud before conceding the race.


title: Yvette Herrell

text: A 2018 Associated Press review of Herrell's campaign finance disclosure records found that she had failed to disclose that her real estate company earned $440,000 in contracts with two state agencies over five years. Herrell said she had submitted all required paperwork and that the allegations against her represented "an attack on my moral character" orchestrated by one of her opponents in the Republican congressional primary.


title: Yvette Herrell

text: Herrell was a candidate for the 2nd congressional district in the 2020 elections. In the Republican primary, she faced businesswoman Claire Chase and businessman Chris Mathys. Herrell won the primary with 45.6% of the vote and faced Torres Small in the November general election.


title: Yvette Herrell

text: Herrell won the November general election and took office on January 3, 2021. She campaigned on a stronger southern U.S. border, supporting small businesses, and fighting overly tight government regulation.


title: Yvette Herrell

text: Herrell was a candidate for the 2nd congressional district in the 2022 elections. She ran unopposed in the Republican primary and faced Democratic nominee Gabe Vasquez in the general election.


title: Yvette Herrell

text: In September 2021, Herrell was among 75 House Republicans to vote against the National Defense Authorization Act of 2022, which contains a provision that would require women to be drafted.


title: Yvette Herrell

text: In 2022, Herrell was the main sponsor of a bill to give Canadian truckers protesting vaccine mandates temporary political asylum.


title: Yvette Herrell

text: During her campaign for the 2nd district in 2020, Herrell positioned herself as an ally of President Donald Trump. After Joe Biden won the 2020 presidential election and Trump refused to concede while making baseless claims of fraud, Herrell objected to the certification of Arizona's and Pennsylvania's electoral votes in Congress.


title: Yvette Herrell

text: Herrell supports repealing the Affordable Care Act. She has argued that health insurance should be left to "free markets".


title: Yvette Herrell

text: In an interview with the "Albuquerque Journal", she said, "DACA needs to be reformed." She also said she "will not support any legislation that will impede on our Second Amendment" and supports allowing concealed carry on school property.


title: Yvette Herrell

text: Herrell opposes abortion. While a member of the New Mexico House of Representatives in 2015, Herrell sponsored a bill that banned late-term abortion with exceptions for instances of sexual abuse, rape, or incest.


title: Yvette Herrell

text: Herrell has said that she supports legislation that improves water rights, private property rights, and the management of public lands.


title: Yvette Herrell

text: After Trump supporters stormed the U.S. Capitol on January 6, 2021, Herrell voted not to impeach Trump.


title: Yvette Herrell

text: In 2021, Herrell voted against the American Rescue Plan that was passed by Congress and signed into law by Biden.


title: Yvette Herrell

text: On February 25, 2021, Herrell voted against the Equality Act, a bill that would prohibit discrimination based on gender identity and sexual orientation by amending the Civil Rights Act of 1964 and the Fair Housing Act to include new protections.


title: Yvette Herrell

text: During the COVID-19 pandemic, Herrell attended events that did not comply with public health measures to hinder the spread of the virus, such as social distancing and face masks. Explaining why she did not wear a face mask while in a public gathering, Herrell said, "I was at an event, yes; no one in the audience was wearing a mask, so I didn't feel as though I needed to wear one in that particular setting." She criticized the virus mitigation strategies implemented by Democrats in New Mexico.


title: Savage Love (Laxed – Siren Beat)

text: "Savage Love (Laxed – Siren Beat)", originally known as "Savage Love", is a song by New Zealand music producer Jawsh 685 and American singer Jason Derulo. The song was officially released on 11 June 2020, following the resolution of sample clearance issues between the two artists.


title: Savage Love (Laxed – Siren Beat)

text: "Savage Love (Laxed – Siren Beat)" peaked at number one in seventeen countries, including the United Kingdom, New Zealand and Australia. A remix featuring South Korean septet BTS was released on 2 October 2020, featuring a new verse sung in Korean. It features vocals predominantly from members Jungkook, Suga, and J-Hope. The remix reached number one on the US "Billboard" Hot 100, earning the second number-one song for both Jason Derulo and BTS, and first for Jawsh 685 on the chart. Additionally, the remix reached number one on the "Billboard" Global 200. BTS was listed as a credited act for one week on the mentioned charts.


title: Savage Love (Laxed – Siren Beat)

text: Jawsh 685 had originally posted the instrumental, titled "Laxed (Siren Beat)", to YouTube in 2019. Following its viral success, "Laxed (Siren Beat)" was officially released to online platforms on 24 April 2020 and Jawsh 685 signed with Columbia Records in May 2020.


title: Savage Love (Laxed – Siren Beat)

text: On 11 May 2020, Derulo teased "Savage Love" which was built off of a sample of "Laxed (Siren Beat)". However, Derulo did not credit Jawsh 685 nor did he obtain clearance for the sample. This sparked widespread backlash and calls for Derulo to properly clear the sample and credit Jawsh 685. It was reported that Jawsh 685 was in talks with multiple artists, including Derulo, to remix "Laxed (Siren Beat)", but Derulo "went 'rogue'" and released "Savage Love" without properly obtaining permission to do so. A source close to the situation stated that Derulo wanted the song for himself and to only have Jawsh 685 as the producer, but Jawsh 685 wanted more control over the work and did not want to be "bullied by a larger artist into putting [the song] out".


title: Savage Love (Laxed – Siren Beat)

text: On 11 June 2020, Columbia Records announced that the two artists had "put aside their differences" with Jawsh 685 allowing Derulo to use the sample. Jawsh 685 is credited as an artist and co-writer, as well as the track's sole producer. Additionally, "(Laxed – Siren Beat)" was added to the title.


title: Savage Love (Laxed – Siren Beat)

text: Speaking to the Official Charts Company, Jawsh 685 stated that the track's early success took him entirely by surprise. "I created it one day after school last year," he said. "[I was] feeling relaxed so it made sense to call it 'Laxed'. The thought going into it took longer than the actual making of it – I think it only took me 4 hours to make."


title: Savage Love (Laxed – Siren Beat)

text: He says he felt "happy and excited" when it took off as a dance challenge on TikTok. "There were so many people doing it," he recalls. "I couldn’t pick a favourite but it was pretty cool to see the mix of cultures doing it – Indian, Chinese and Pacific Island."


title: Savage Love (Laxed – Siren Beat)

text: "Jason first hit me up on my IG and he told me about his plan on adding lyrics to my beat," Jawsh 685 explained. "We never really came to an official agreement as I had a great team helping me make the best decisions. His song was pretty catchy, so in the end we came to an official agreement."


title: Savage Love (Laxed – Siren Beat)

text: Jawsh 685 created the instrumental as a tribute to his Samoan and Cook Island heritage (685 is the country calling code for Samoa). It is an example of a siren jam, a New Zealand/Pasifika trend of creating beats to play through siren speakers, usually attached to cars or bikes. It also became a viral trend on TikTok, with users inspired to post "Culture Dance" videos in which they celebrate their heritage by dancing to the song while wearing traditional costumes.


title: Savage Love (Laxed – Siren Beat)

text: To distinguish the song from other earlier unauthorised releases, a vocalisation of Jason Derulo's name is heard before the song begins.


title: Savage Love (Laxed – Siren Beat)

text: "Savage Love (Laxed – Siren Beat)" debuted at number 81 on the "Billboard" Hot 100 on the issue dated 27 June 2020. The song reached the top 10 in its seventh week on the chart on 8 August. With the ascension of the song to the top ten, "Savage Love (Laxed – Siren Beat)" became Jawsh 685's first top 10 hit as well as Derulo's first top ten hit since "Want to Want Me" in 2015 and first top 40 hit since "Swalla" in 2017. A remixed version with the South Korean band BTS jumped from number eight to number one on the issue dated 17 October 2020, becoming the second number-one hits for both Jason Derulo (his first since "Whatcha Say" in 2009, the longest time in between number-one hits for male artists since Dr. Dre's reached number one in 2009 with "Crack a Bottle" after a 12-year hiatus) and BTS (after their previous single "Dynamite") as well as Jawsh 685's first chart-topper.


title: Savage Love (Laxed – Siren Beat)

text: "Savage Love (Laxed – Siren Beat)" debuted at number 26 on the Canadian Hot 100. It later reached number one on the issue dated 15 August 2020, becoming Jawsh 685's first and Jason Derulo's first number-one single in the country.


title: Savage Love (Laxed – Siren Beat)

text: In the United Kingdom, "Savage Love (Laxed – Siren Beat)" debuted at number 22 on the UK Singles Chart on 19 June 2020 – for the week ending date 25 June 2020. It eventually peaked at the top of the chart on 3 July 2020 – for the week ending date 9 July 2020 – becoming Derulo's fifth number-one song in Britain. Overall, the single spent three consecutive weeks at the top of the UK Singles Chart.


title: Savage Love (Laxed – Siren Beat)

text: In Ireland, the song debuted at number 23 in the charts before climbing to number one five weeks later, becoming Derulo's first number-one single in the Republic of Ireland.


title: Savage Love (Laxed – Siren Beat)

text: The song also reached number one in Austria, Belgium, Germany, the Netherlands, Norway, Romania, Scotland, Sweden and Switzerland, as well as the top-ten in Czech Republic, Denmark, Finland, Italy and Slovakia.


title: Savage Love (Laxed – Siren Beat)

text: In Australia, it topped the ARIA Charts for six non-consecutive weeks. The song also reached number one in New Zealand.


title: Savage Love (Laxed – Siren Beat)

text: In Latin America, "Savage Love (Laxed – Siren Beat)" reached the top-ten in Panama and El Salvador, peaking at numbers 8 and 10, respectively. It also reached the top-twenty in Argentina, peaking at number 13.


title: Savage Love (Laxed – Siren Beat)

text: A remix of "Savage Love (Laxed – Siren Beat)" with South Korean boy band BTS was released for digital download and streaming in various countries on 2 October 2020 through Columbia Records. An accompanying animated lyric video was uploaded to BTS' YouTube channel on the same day. Speaking about how the collaboration with BTS happened, Jawsh 685 said:


title: Savage Love (Laxed – Siren Beat)

text: The remix has identical credits to the original "Savage Love (Laxed – Siren Beat)" with the addition of BTS band members Suga and J-Hope as songwriters. On the song, BTS members, predominantly Jungkook, J-Hope and Suga, perform in both English and Korean, alongside Jason Derulo. Jungkook sings mostly on the chorus while Suga and J-Hope perform rap-inspired vocals on a new verse in Korean. Prior to its digital release, BTS performed a TikTok dance challenge to the original version of the song alongside Jason Derulo and Jawsh 685.


title: Savage Love (Laxed – Siren Beat)

text: Following the release of the remix, the song rose to number one on the US "Billboard" Hot 100 crediting the remix on the issue dated 17 October 2020, becoming the second number-one hits for both Jason Derulo (his first since "Whatcha Say" in 2009, the longest time in between number-one hits for male artists since Dr. Dre's "Crack a Bottle" reached number one after a 12-year hiatus in 2009) and BTS (after their previous single "Dynamite") as well as Jawsh 685's first chart topper. BTS became the first group to simultaneously hold the top two spots on the Hot 100 in a decade since Black Eyed Peas in 2009 and fifth overall group to do so. The remix earned 16 million US streams, 70.6 million radio airplay audio impressions and sold 76,000 copies, becoming the second top-selling song of the week. It peaked at number one on the "Billboard" Global 200 chart, with 77.5 million global streams and 62,000 global downloads, making BTS the first act to earn multiple number-one songs on the chart, and at number three on the Global Excl. U.S. Chart. It also peaked at number one on Canadian Hot 100, becoming BTS' first chart-topping single in the country and reached number six on South Korea's Gaon Digital Chart and number nine on the New Zealand Hot Singles chart.


title: Savage Love (Laxed – Siren Beat)

text: The following week, on the issue dated 24 October 2020, "Savage Love" dropped from number one to number six on the "Billboard" Hot 100, with BTS' credit removed as the remix did not outperform the original version during the tracking week.


title: James Saito

text: James Tomio Saito (born March 6, 1955) is a Japanese-American actor of stage, motion pictures, and television.


title: James Saito

text: Saito is best known as the original Shredder in "Teenage Mutant Ninja Turtles", Dr. Chen in the ABC series "Eli Stone", Harry Kim in the Netflix film "Always Be My Maybe", and Kenji on "Modern Love". In 2020, Saito became a member of the Academy of Motion Picture Arts and Sciences.


title: James Saito

text: Saito was born in Los Angeles to Japanese parents. He graduated from University of California, Los Angeles with a degree in theater. He later studied acting with actress Uta Hagen at HB Studios, located in New York City.


title: James Saito

text: He was in the last group of students who studied with Sanford Meisner on the island of Bequia in the Grenadines and then continued with Meisner in North Hollywood.


title: James Saito

text: Saito also appeared in the movies "Life of Pi", "Big Eyes", "Wilson", "While We're Young", "I Think I Love My Wife", "The Thomas Crown Affair", "The Devil's Advocate", "Henry Fool", "Home Alone 3", "Pearl Harbor", "Die Hard with a Vengeance", and "Hot Dog…The Movie."


title: James Saito

text: Saito's TV credits include "Grey's Anatomy", "Altered Carbon", "Prodigal Son", "Broad City", "At Home with Amy Sedaris", "Elementary", "Instinct", "Iron Fist", "The Deuce", "Paterno", "House of Cards", "Madam Secretary", "Hawaii Five-0", "Person of Interest", "30 Rock", "One Life to Live", "Too Big to Fail", "Blue Bloods", "Rubicon", "The Unit", "Heroes and Villains" as Tokugawa Ieyasu, "As the World Turns", "", "Sex and the City", "The Young and the Restless", "Blood & Orchids", "MacGyver", "Hart to Hart", "The Greatest American Hero", "The Incredible Hulk", "M*A*S*H", "Law & Order", "Miami Vice", and "Farewell to Manzanar".


title: James Saito

text: Saito has worked extensively in theater, including the Broadway productions of The King and I (1997) and David Henry Hwang's Golden Child (1998). Off-Broadway plays include Sarah Ruhl's The Oldest Boy (2014) at the Mitzi Newhouse Theater at Lincoln Center and Julia Cho's Durango at The Public Theater for which he won an Obie award in 2007. He also appeared in the Off-Broadway production "Greater Clements" in 2019.


title: Torsion (mechanics)

text: In the field of solid mechanics, torsion is the twisting of an object due to an applied torque. Torsion is expressed in either the pascal (Pa), an SI unit for newtons per square metre, or in pounds per square inch (psi) while torque is expressed in newton metres (N·m) or foot-pound force (ft·lbf). In sections perpendicular to the torque axis, the resultant shear stress in this section is perpendicular to the radius.


title: Torsion (mechanics)

text: In non-circular cross-sections, twisting is accompanied by a distortion called warping, in which transverse sections do not remain plane. For shafts of uniform cross-section unrestrained against warping, the torsion is:


title: Torsion (mechanics)

text: Note that the highest shear stress occurs on the surface of the shaft, where the radius is maximum. High stresses at the surface may be compounded by stress concentrations such as rough spots. Thus, shafts for use in high torsion are polished to a fine surface finish to reduce the maximum stress in the shaft and increase their service life.


title: Torsion (mechanics)

text: The diameter is 40 cm. If one adds a factor of safety of 5 and re-calculates the radius with the maximum stress equal to the "yield stress/5", the result is a diameter of 69 cm, the approximate size of a turboset shaft in a nuclear power plant.


title: Torsion (mechanics)

text: The shear stress in the shaft may be resolved into principal stresses via Mohr's circle. If the shaft is loaded only in torsion, then one of the principal stresses will be in tension and the other in compression. These stresses are oriented at a 45-degree helical angle around the shaft. If the shaft is made of brittle material, then the shaft will fail by a crack initiating at the surface and propagating through to the core of the shaft, fracturing in a 45-degree angle helical shape. This is often demonstrated by twisting a piece of blackboard chalk between one's fingers.


title: Torsion (mechanics)

text: In the case of thin hollow shafts, a twisting buckling mode can result from excessive torsional load, with wrinkles forming at 45° to the shaft axis.


title: Highland (council area)

text: Highland (, ; ) is a council area in the Scottish Highlands and is the largest local government area in the United Kingdom. It was the 7th most populous council area in Scotland at the 2011 census. It shares borders with the council areas of Aberdeenshire, Argyll and Bute, Moray and Perth and Kinross. Their councils, and those of Angus and Stirling, also have areas of the Scottish Highlands within their administrative boundaries.


title: Highland (council area)

text: The Highland area covers most of the mainland and inner-Hebridean parts of the historic counties of Inverness-shire and Ross and Cromarty, all of Caithness, Nairnshire and Sutherland and small parts of Argyll and Moray. Despite its name, the area does not cover the entire Scottish Highlands.


title: Highland (council area)

text: Unlike the other council areas of Scotland, the name "Highland" is often not used as a proper noun. The council's website only sometimes refers to the area as being "Highland", and other times as being "the Highland Council Area" or "the Highlands". Road signs on the boundary of the council area say "Welcome to the Highlands" rather than "Welcome to Highland".


title: Highland (council area)

text: To many people within the area, using the name "Highland" as a noun sounds wrong. "Dingwall in Highland", for example, sounds strange and is not idiomatic usage. To refer specifically to the area covered by the council, people tend to say "the Highland Council area" or "the Highland area" or "the Highland region". Otherwise, they may also refer to the traditional county names, such as "Ross".


title: Highland (council area)

text: Although named after it, the Highland council area does not cover the entire geographic region of the Scottish Highlands themselves. Other parts belong to the council areas of Aberdeenshire, Angus, Argyll and Bute, Moray, North Ayrshire, Perth and Kinross, Stirling or West Dunbartonshire.


title: Highland (council area)

text: In 1975, the area was created as a two-tier region, under the Local Government (Scotland) Act 1973, with an elected council for the whole region and, in addition, elected councils for each of eight districts, Badenoch and Strathspey, Caithness, Inverness, Lochaber, Nairn, Ross and Cromarty, Skye and Lochalsh and Sutherland. The act also abolished county and burgh councils.


title: Highland (council area)

text: In 1996, under the Local Government etc. (Scotland) Act 1994, the Highland Regional Council and the district councils were wound up and their functions were transferred to a new Highland Council. The Highland Council adopted the districts as management areas and created area committees to represent them. However, the boundaries of committee areas ceased to be aligned exactly with those of management areas as a result of changes to ward boundaries in 1999. Ward boundaries changed again in 2007, and the management areas and related committees have now been abolished in favour of three new corporate management areas: Caithness, Sutherland and Easter Ross; Inverness, Nairn and Badenoch and Strathspey; and Ross, Skye and Lochaber. The names of these areas are also names of constituencies, but the boundaries are different.


title: Highland (council area)

text: The Highland Council is based in Inverness, with most previous district council offices retained as outstations.


title: Highland (council area)

text: The council area covers an area of – which is 11.4% of the land area of Great Britain, 32.9% of the land area of Scotland and an area 20% larger than Wales. The Highland and Islands division of Police Scotland also includes the Western Isles, Orkney and Shetland (the former area of the Northern Constabulary) and therefore covers an area of , which is larger than that of the state of Belgium.


title: Highland (council area)

text: Though relatively populous for a Scottish council area, it is also sparsely populated. At 9.0 per km in 2012, the population density is less than one seventh of Scotland's as a whole, and comparable with that of Bolivia, Chad and Russia. Historically, the area was home to a much higher percentage of Scotland's population. The rural population of the Highlands (both within and outwith the council area) declined in the late 19th century even as Scotland's grew substantially. For example, the population of Skye declined from 23,082 in 1841 to 15,705 in 1891 and a low point of 7,183 in 1971, before growing in more recent decades.


title: Highland (council area)

text: Inverness is by far the largest settlement, with a population of 46,870 in 2012. The urban area around Inverness includes a few outlying villages and has a population of 59,910.


title: Highland (council area)

text: The highest point in the Highland council area is Ben Nevis, the tallest mountain in both Scotland and the United Kingdom as a whole. Its northernmost point is Island of Stroma, in the Pentland Firth. Its southernmost point is on the Morvern peninsula. Highland contains the northernmost and westernmost points of the island of Great Britain, respectively at Dunnet Head and . Despite the name, not all of Highland is mountainous. The areas east of Inverness, as well as the Black Isle, eastern Sutherland, and all of Caithness are, in fact, low-lying.


title: Highland (council area)

text: According to the 2011 UK census, there are nearly 12,000 Scottish Gaelic speakers in the Highland area.


title: Highland (council area)

text: The Highland Council represents 21 wards, of which each elects three or four councillors by the single transferable vote system of election, to produce a form of proportional representation in a council of 74 members.


title: Highland (council area)

text: For elections to the Scottish Parliament the Highland area is within the Highlands and Islands electoral area, which elects eight first past the post constituency Members of the Scottish Parliament (MSPs) and seven additional member MSPs. Three of the region's constituencies, each electing one MSP, are within the Highland area: Caithness, Sutherland and Ross, Inverness and Nairn and Skye, Lochaber and Badenoch.


title: Highland (council area)

text: In the House of Commons of the Parliament of the United Kingdom the Highland area is represented by Members of Parliament (MPs) elected from three constituencies: Caithness, Sutherland and Easter Ross; Inverness, Nairn, Badenoch and Strathspey; and Ross, Skye and Lochaber. Each constituency elects one MP by the first past the post system of election.


title: Kevin Smith (New Zealand actor)

text: Kevin Tod Smith (16 March 1963 – 15 February 2002) was a New Zealand actor and musician, best known for starring as the Greek god of war, Ares, in the TV series "" and in its two spin-offs – "" and "Young Hercules". He died in a fall at a film studio in China.


title: Kevin Smith (New Zealand actor)

text: Kevin Smith was born in Auckland in 1963. His mother was of Tongan and German ancestry and his father (of English descent) hailed from New Zealand. Smith's family moved to the South Island town of Timaru when he was eleven. He attended Timaru Boys' High School from 1976 to 1979. He was involved in the drama club at his high school.


title: Kevin Smith (New Zealand actor)

text: Smith played in rock and roll bands during high school, working out each morning at the gym and watching television in the afternoon. He painted and played rugby and hoped to become a member of New Zealand's world-famous rugby team, the All Blacks.


title: Kevin Smith (New Zealand actor)

text: At the age of 17, Smith moved to Christchurch, where he lived in a flat above a fruit shop, worked at various jobs, and considered joining the police to help children, before enrolling in Canterbury University at the age of 20. In 1986 he married his high school sweetheart, Suzanne (Sue), with whom he had three sons: Oscar, Tyrone, and Willard.


title: Kevin Smith (New Zealand actor)

text: Smith played in several lo-fi experimental bands in New Zealand and released a few albums with Say Yes to Apes and Hyphen-Ears in the mid-1980s.


title: Kevin Smith (New Zealand actor)

text: After suffering a concussion while playing university rugby union in 1987, Smith was forced to sit on the sidelines for almost three weeks. His wife saw a casting call advertisement for the touring musical tribute to Elvis Presley, "Are You Lonesome Tonight", and signed up Kevin for an audition. He got the role of bodyguard JoJoe and was the lead understudy. Later that year, Smith joined Christchurch's Court Theatre and performed on stage for the next three years in a variety of roles including Don Pedro in Shakespeare's "Much Ado About Nothing" and Stanley Kowalski in Tennessee Williams' "A Streetcar Named Desire".


title: Kevin Smith (New Zealand actor)

text: In 1989, Smith co-founded a Christchurch theatresports group, Scared Scriptless, performing live comedy. Later that year he got the role of charming "bad boy" Demian Vermeer on the New Zealand primetime soap opera "Gloss", and moved to Auckland to work on the series' final season.


title: Kevin Smith (New Zealand actor)

text: In 1993, Smith played Lawrence Hayes in "Desperate Remedies". He then appeared as Paul Cosic in the last two seasons of the primetime drama "Marlin Bay". For this role, he won the 1995 New Zealand Film and Television Award for Best Supporting Actor.


title: Kevin Smith (New Zealand actor)

text: He screen-tested for the lead role in Paramount's big budget action-film "The Phantom", but the role ultimately went to Billy Zane instead. His fellow "" cast member, low-budget-movie actor and Pacific Renaissance Pictures partner Bruce Campbell, was also one of the contenders for the role of the legendary superhero.


title: Kevin Smith (New Zealand actor)

text: Also in 1995, Smith appeared on "" as Hercules' half-brother, Iphicles. Later he joined the cast of "Xena: Warrior Princess", as Ares, a role he would later play on "Hercules" and "Young Hercules" as well. As the dark and dangerously seductive Greek god of war, Smith gained legions of fans. During this time Kevin performed as Ares on "Hercules: The Legendary Journeys", "Xena: Warrior Princess" and "Young Hercules" simultaneously.


title: Kevin Smith (New Zealand actor)

text: While starring on "Xena", "Hercules" and "Young Hercules", Smith also appeared in other TV shows and films, notably as a Vietnam veteran in the feature film "Channelling Baby" and as detective John Lawless in three TV movies: "Lawless" (1999), "Lawless 2: Dead Evidence" (2000), and "Lawless 3: Beyond Justice" (2001). In the mockumentary "Love Mussel" (2001) he played himself covering the story of a small town in New Zealand following the discovery that a local shellfish, the geoduck, has similar effects to Viagra.


title: Kevin Smith (New Zealand actor)

text: Smith also continued to act in the theatre. During his career, he also appeared on several cassettes of alternative music, alongside other musicians, under the band names "The Picnic Boys" and "Say Yes to Apes" which was later renamed "Hyphen-Smythe". He was one of the lead singers of the celebrity band "The Wide Lapels", a band famous for its campy performances of the worst songs of the 1970s.


title: Kevin Smith (New Zealand actor)

text: Early in 2002, Smith (who was preparing for his first Hollywood role in the Bruce Willis action film "Tears of the Sun") went to China to shoot the US-Chinese martial arts film "".


title: Kevin Smith (New Zealand actor)

text: On 6 February 2002, Smith completed his work on the set in Shijiazhuang, 270 km southwest of Beijing. After celebrating with staff from Beijing Film Studio, and while waiting for a ride back to the hotel, he decided to walk around the Central China Television film studio grounds, and climbed a prop tower on the set of another film. He lost his footing and fell three stories, suffering severe head injuries. Smith was rushed by staff to a local hospital, then transferred to Beijing. He lapsed into a coma and was kept on life support for ten days until life support was discontinued. He died on 15 February without regaining consciousness.


title: Kevin Smith (New Zealand actor)

text: Smith was buried after a private funeral on 28 February 2002. The launch of the Kevin Smith Trust for Smith's children was announced later that day at a memorial service attended by old friends, New Zealand's acting community, and over a thousand mourners at the Aotea Centre, Auckland.


title: Kevin Smith (New Zealand actor)

text: A television documentary celebrating Smith's life and career, "Remembering Kev: A Tribute to Kevin Smith", aired on TV2 on the first anniversary of his death.


title: Armour of the Kelly gang

text: In 1879, Australian bushranger and outlaw Ned Kelly devised a plan to create bulletproof armour and wear it during shootouts with the police. He and other members of the Kelly gang—Joe Byrne, Steve Hart, and brother Dan Kelly—had their own armour suits and helmets crafted from plough mouldboards, either donated by sympathisers or stolen from farms. The boards were heated and then beaten into shape over the course of several months, most likely in a crude bush forge and possibly with the assistance of blacksmiths. While the suits successfully repelled bullets, their heavy weight made them cumbersome to wear, and the gang debated their utility.


title: Armour of the Kelly gang

text: The gang found use for the armour as part of a plan to derail and ambush a police train in June 1880 at Glenrowan. After the plan failed, the gang, having taken hostages in a local hotel, wore the armour during a final shootout with the police. Byrne died from a stray bullet that hit his groin through a small gap in the armour, and in an attempt to rescue Dan and Hart, Ned donned his suit during a fifteen-minute exchange of gunfire with the police. Although the armour protected his head and torso, he received several bullet wounds to the hands and legs, causing significant blood loss and resulting in his capture. Hart and Dan died during the final stages of the siege, possibly in a suicide pact. After making sufficient recovery from his wounds, Ned was tried, convicted, and sentenced to death by hanging.


title: Armour of the Kelly gang

text: News reports of the armour caused a sensation throughout Australia and much of the world. It has become a widely recognisable image and icon, inspiring many cultural depictions and cementing Ned Kelly as one of Australia's most well-known historical figures. The suits of armour ended up in both private and public hands; Ned Kelly's, for instance, is held by the State Library of Victoria. However, within days of the Kelly gang's demise, the armour started to become mismatched, and there was confusion over which pieces belonged to which suit. It was not until the early 21st century, after extensive research, that owners reached an agreement to swap the necessary pieces to restore the original suits.


title: Armour of the Kelly gang

text: There are two main theories for the inspiration for the armour. One is that members of the gang had witnessed performers wearing Chinese armour during a carnival procession through the streets of Beechworth in 1873. The gang also had a network of Chinese sympathisers, and Byrne, who grew up near Chinese camps on the goldfields, was reported to have been fluent in Cantonese. The other theory is that Ned got the idea from his favourite book, R. D. Blackmore's "Lorna Doone" (1869). Set in 17th-century England, the novel is about a family of outlaws, and in one part describes them on horseback wearing "iron plates on breast and head". Another story is that Ned saw and drew a suit of armour during a visit to the Melbourne Museum. What is widely accepted is that the idea and decision to wear armour was Ned's.


title: Armour of the Kelly gang

text: The gang's armour was made of iron 6 mm thick, each consisting of a long breast-plate, shoulder-plates, back-guard, apron and helmet. The helmet resembled a tin can without a crown, and included a long slit for the eyes. The suits' separate parts were strapped together on the body while the helmet was separate with internal leather straps that straddled the head, keeping the massive weight off of the collar bones and the shoulders, also allowing it to be removed easily. Ned Kelly's armour weighed . His suit was the only one to have an apron at the back, but all four had front aprons. Padding is only known from Ned's armour and it is not clear if the other suits were similarly padded. Ned wore a padded skull cap and his helmet also had internal strapping so that his head could take some of the weight. After the shootout there were five bullet marks on the helmet, three on the breast-plate, nine on the back-plate, and one on the shoulder-plate.


title: Armour of the Kelly gang

text: Although no bullets actually penetrated through the armour, each bullet to Ned's helmet caused massive bruising, lacerations and disorienting concussion. All four men wore oilskin coats over the armour.


title: Armour of the Kelly gang

text: The manufacture of the four suits took four or five months. Two stolen circular saws and iron tacks were tried and found not to be bulletproof. Mouldboards for plough shares were ultimately adopted. It was likely that the first suit made was defective, and was therefore discarded.


title: Armour of the Kelly gang

text: According to legend the armour was made on a stringybark log by the gang themselves. Due to the quality of the workmanship and the difficulties involved in forging, historians and blacksmiths originally believed the armour could only have been made by a professional blacksmith in a forge. A professional blacksmith would have heated the steel to over , before shaping it. A bush forge could only reach which would make shaping the metal very difficult. In 2003 Byrne's suit of armour was disassembled and tested by ANSTO at the Lucas Heights nuclear reactor in Sydney to determine how the armour was made and what temperatures were involved. The results indicated that the heating of the metal was "patchy". Some parts had been bent cold while other parts had been subjected to extended periods in a heat source of not much more than , which is consistent with the bush forge theory. The quality of forging was also determined to be less than believed, and it was considered unlikely to have been done by a blacksmith. The bush forge theory is now widely accepted. After heating, the mould boards were likely beaten straight over a green log before being cut into shape and riveted together to form each individual piece.


title: Armour of the Kelly gang

text: The Hobart "Mercury" reported that Glenrowan district blacksmith Joe Grigg had made the armour from parts of ploughs and harvesting machines while watched by Ned and Dan Kelly. Ned paid for Grigg's work in gold sovereigns. Grigg immediately told the authorities about it and was told to keep the cash as he had earned it honestly. This information did not become known until Grigg's death in 1934 as authorities apparently did not want details known to the public and, apart from its mention in Grigg's 1934 obituary, the story remained relatively unknown.


title: Armour of the Kelly gang

text: The Victorian Police were told about the armour three times by informants, but Hare and Sadleir both dismissed the information as "nonsense" and "an impossibility". None of the police realised the gang were wearing armour until Ned fell. In the mist and dim light of dawn, the size and shape of his armour made a number of policemen even question whether he was human, and his apparent invulnerability caused onlookers to react with "superstitious awe". Constable Arthur, the first policeman to encounter Kelly, recalled that he was initially "completely astonished, and could not understand what the object [he] was firing at was"; as the shootout continued he thought Kelly was a "huge blackfellow wrapped in a blanket". A civilian volunteer, Dowsett, cried out that it was the Devil, to which Sergeant Kelly replied, "No, it must be the bunyip". Constable Gascoigne, who recognised Ned's voice, told Superintendent Sadleir he had "fired at him point blank and hit him straight in the body. But there is no use firing at Ned Kelly; he can't be hurt". Although aware of the information supplied by the informant prior to the siege, Sadleir later wrote that even after Gascoigne's comment "no thought of armour" had occurred to him.


title: Armour of the Kelly gang

text: Following the siege of Glenrowan the media reported the events and use of armour around the world. The gang were admired in military circles and Arthur Conan Doyle commented on the gang's imagination and recommended similar armour for use by British infantry. The police announcement to the Australian public that the armour was made from ploughshares was ridiculed, disputed, and deemed impossible even by blacksmiths.


title: Armour of the Kelly gang

text: There was considerable debate over whether to destroy the armour, but all four disassembled suits were eventually stored in Melbourne. Hare gave Ned Kelly's armour to Sir William Clarke, and it was later donated to the State Library of Victoria (SLV). Byrne's was kept by Hare and now belongs to the latter's descendants. Dan Kelly and Hart's are still owned by the Victorian Police force. As no effort was made to maintain the armour's integrity while stored, the suits were reassembled by guesswork. In 2002 several parts were identified from photographs taken shortly after the siege and reunited with their original suits. The SLV was able to exchange Hart's breastplate for Ned Kelly's, making Kelly's suit currently the most original. In January 2002 all four suits were displayed together for an exhibition in the Old Melbourne Gaol.


title: Canuck

text: Canuck is a slang term for a Canadian. The origins of the word are uncertain. The term "Kanuck" is first recorded in 1835 as an Americanism, originally referring to Dutch Canadians (which included German Canadians) or French Canadians. By the 1850s, the spelling with a "C" became predominant. Today, many Canadians and others use "Canuck" as a mostly affectionate term for any Canadian.


title: Canuck

text: If familiar with the term, most citizens of other nations, including the United States, also use it affectionately, though there are individuals who may use it as derogatory term.


title: Moda Center

text: Moda Center, formerly known as the Rose Garden, is the primary indoor sports arena in Portland, Oregon, United States. It is used for basketball, ice hockey, rodeos, circuses, conventions, ice shows, concerts, and dramatic productions. The arena has a capacity of 19,393 spectators when configured for basketball. It is equipped with state-of-the-art acoustics and other amenities.


title: Moda Center

text: The arena is owned by Vulcan Inc., a holding company owned by the estate of Paul Allen. The primary tenant is the Portland Trail Blazers NBA franchise, also owned by Allen's estate. The other major tenant of the building was the major junior hockey franchise Portland Winterhawks of the Western Hockey League, which used to split its schedule with the Memorial Coliseum next door. In addition to the Blazers and Winterhawks, several other professional sports franchises, and the Portland State University men's basketball team, either currently play home games in Moda Center, or have done so in the past. In addition, Moda Center is a popular venue for concerts and other artistic productions.


title: Moda Center

text: Construction began in 1993, and the arena opened on October 12, 1995. The arena cost US$262 million to build; construction was financed with funds obtained by a variety of sources, including the City of Portland, Allen's personal fortune, and $155 million in bonds issued by a consortium of mutual funds and insurance companies. These bonds would become the subject of an acrimonious 2004 bankruptcy in which the Oregon Arena Corporation, the holding company which owned the arena at the time, would forfeit title to the arena in lieu of repaying the bonds per the payment terms. Allen would later repurchase the arena from the creditors in 2007.


title: Moda Center

text: Moda Center is a multipurpose arena which is suitable for numerous indoor sports, including basketball, ice hockey, arena football, and lacrosse, as well as for hosting other events such as concerts, conventions, and circuses. The arena is located in a sports and entertainment district known as the Rose Quarter, a parcel of land in inner northeast Portland which also includes the Memorial Coliseum arena, as well as several parking structures, restaurants, and other amenities.


title: Moda Center

text: The original name of the facility was "Rose Garden"; however, the arena was also commonly known as the "Rose Garden Arena" to disambiguate it from the International Rose Test Garden, also located in Portland. The name was chosen both to reflect Portland's reputation as the Rose City, and to reflect the importance to basketball heritage of Boston Garden and Madison Square Garden arenas in Boston and New York City, respectively. When the name was selected, the remainder of the former coliseum grounds were given the name "Rose Quarter".


title: Moda Center

text: In 2007, the Trail Blazers and Vulcan announced that they were seeking a corporate partner to grant naming rights for the facility, with the goal of a new name being available for the Blazers' 2008–09 season. In August 2013, the Trail Blazers announced a 10-year deal with Moda Health, an Oregon-based health insurance provider, to rename the arena Moda Center.


title: Moda Center

text: The renaming spurred a public outcry and petition by fans and Portlanders who preferred the old name. Portland mayor Charlie Hales initially expressed concern about the name, calling it a "head scratcher."


title: Moda Center

text: Moda Center is a precast concrete-framed structure with a roof made up of skeletal steel. The arena structure encloses a total of over , on eight levels, five of which are open to the public. The building height is , from the event floor to the pinnacle of the saddle-shaped roof. The arena includes a permanent stage, and a ice rink.


title: Moda Center

text: The building is composed of over of concrete, and over of steel. The exterior is composed of over of glass, of plaster, of architectural precast, of insulation, and of steel louvers.


title: Moda Center

text: The building, designed by architecture firm Ellerbe Becket, has been criticized by some in Portland's architectural community. A survey of local architects and planners was conducted by the "Portland Tribune", and subsequently Moda Center was listed among the five ugliest buildings in the city.


title: Moda Center

text: The arena has a total of over 14,000 permanent seats arranged in two bowls. An additional 1540 permanent seats are found in the arena's 70 skyboxes. Over 4,200 portable seats may or may not be installed, depending on the arena's configuration. When configured for basketball, the arena has a capacity of 19,393, and can accommodate a total of up to 20,796 patrons with standing room. Prior to the 1998 NBA season the capacity was reduced to 19,980 from the original 21,485 spectators. When configured for hockey or lacrosse, capacity decreases to 17,544. The arena supports numerous other configurations for events such as concerts, monster trucks, and circuses. The seating below the suites, known as the lower bowl, is further divided into the 100 and 200 levels. The upper bowl seats, above the suites, are the 300 level.


title: Moda Center

text: The arena features 70 Suites and 8 Skyboxes each with a seating capacity of 22 guests. Suites include amenities such as a wet bar, catering, a private restroom, multiple television monitors, and a sound system. Suites may be rented on a yearly or single-event basis; yearly renters of suites are given access to all Moda Center events. The arena also features modular party suites, which can be configured either as a pair of 44-person Super Suites, or as one 88-person mega suite.


title: Moda Center

text: For smaller, more intimate events, Moda Center can be placed into a configuration known as the "Theater of the Clouds". This configuration, part of a trend of large arenas having smaller theater configurations, places the stage at center court, and utilizes the western side of the arena. Custom floor-to-ceiling theater curtains are draped at the edges of the seating area, creating a more intimate setting. As of 2004, on average 10 events per year have been held in the Theater of the Clouds configuration.


title: Moda Center

text: Two concourses, the 100 level and the 300 level, are open to the ticket-buying public during events; the 100 level concourse provides access to the lower bowl (including the 200-level seats); the 300-level concourse provides access to the upper bowl. A third concourse, the 200 level, provides access to guest services such as a sports bar, a barbecue grill, an executive banquet facility, and several outdoor terraces. A fourth concourse, known as Suite Level, provides access to the skyboxes and is restricted to patrons who have skybox admission. All concourses provide a variety of concession stands. The arena also features 32 public restrooms; women's toilets outnumber men's toilets 3 to 1. There are Wi-Fi hotspots throughout the arena. The concourses are decorated with historical memorabilia.


title: Moda Center

text: The primary scoreboard is a Mitsubishi-manufactured HD video scoreboard. This scoreboard, which hangs from the ceiling over center court, features four 15 feet by 22.5 feet (4.5 m by 6.75 m) video screens, among the biggest in the NBA. The arena also features over 650 television monitors placed throughout, showing the action on court. Auxiliary scoreboards located both in the arena itself and the concourses provide statistical information, including "hustle" statistics for basketball (rebounds, blocked shots, and steals). Three media towers, one at each main entrance, provide video of other games in the NBA.


title: Moda Center

text: A unique feature found in no other multi-purpose arena is known as the "acoustical cloud". The acoustical cloud is a set of 160 rotating acoustic panels suspended from the Moda Center ceiling, intended to recreate the roar of noise that made the old Memorial Coliseum one of the loudest buildings in the NBA. One side of each 10 feet by 10 feet (3 m by 3 m) panel reflects sound, while the other side absorbs sound. Each panel is shaped like an airplane wing, and is 8 inches (20 cm) thick at the center and 4 inches (10 cm) thick at the edges. The effect during Blazers games is to absorb the noise from the upper levels and reflect it back down to the court.


title: Moda Center

text: The panels permit the acoustics of the arena to be adjusted according to the requirements of the event. For smaller events in which only the lower bowl of the arena is used, the panels can be lowered to further improve the sound and increase the intimacy of the arena. The acoustical cloud cost US$2 million to design and install. The arena is also equipped with a JBL sound system.


title: Moda Center

text: Moda Center is currently owned by Vulcan Sports and Entertainment, a holding company owned by the Estate of Paul Allen which manages Allen's various sports-related properties. Management and operation of Moda Center, along with other Rose Quarter facilities, is contracted out to Global Spectrum, Global Spectrum employs more than 75 full-time and 700 part-time employees at Moda Center. Mike Scanlon is the current general manager of the arena. Global Spectrum was first hired by arena creditors to operate the facility after Allen lost possession of the arena in a bankruptcy proceeding; Allen has subsequently repurchased the arena from creditors. Prior to the bankruptcy, Oregon Arena Corporation operated the arena directly; Global Spectrum has been widely praised for increasing the financial performance of the facility.


title: Moda Center

text: The arena's current primary tenant is the Portland Trail Blazers of the NBA. Both the Trail Blazers and Moda Center are ultimately owned by the estate of Microsoft co-founder Paul Allen, which also owns the Seattle Seahawks of the National Football League. The head of the estate is his sister Jody Allen. The Trail Blazers have a lease agreement with Moda Health which runs through 2025, and an exclusive site agreement with the City of Portland requires the team to remain in Portland through 2023.


title: Moda Center

text: It was home to the Portland Winterhawks of the Western Hockey League, a Canadian-based junior hockey league. Both the Trail Blazers and Winterhawks previously played in the Memorial Coliseum and moved to the arena when it was completed in 1995. However, the Winterhawks played home games in both facilities during the season. Moda Center and Winterhawks hold the Western Hockey League's record for single game attendance with a crowd of 14,103 on March 15, 1997 in which Portland tied the visiting Seattle Thunderbirds, 6–6. Prior to the start of the 2021-22 WHL season, the Winterhawks announced they will be moving back to Veterans Memorial Coliseum full-time.


title: Moda Center

text: The arena was also built to accommodate a NHL franchise and there has been speculation over the years about Portland landing an NHL team; however this has not occurred. A former third tenant was the Portland Lumberjax of the National Lacrosse League, who played four seasons in the arena prior to disbanding.


title: Moda Center

text: The arena has hosted numerous other minor league sports teams as well. In 1997, an AFL team landed in Portland from Memphis as the Portland Forest Dragons. Two seasons later, they relocated to Oklahoma City. The arena started hosting another AFL team, the Portland Steel (originally called the Portland Thunder), from 2014 until it disbanded in 2016. From 2000 through 2002, the facility hosted the now-defunct Portland Fire of the WNBA. In the past, the Portland State Vikings men's basketball team has played home games in the arena; currently, the team plays its home games at Viking Pavilion on the PSU campus.


title: Moda Center

text: In the early 1980s, as the National Basketball Association increased in popularity, it became apparent that the 12,888-seat Memorial Coliseum, which was the home of the Portland Trail Blazers at the time, was no longer an adequate NBA facility. The Trail Blazers had sold out every home game since April 5, 1977. In 1988, the team was purchased by Paul Allen and made appearances in the NBA Finals in 1990 and 1992. Allen soon expressed a desire to build a new arena for his team, and in 1991 chartered the Oregon Arena Corporation, a private corporation with Allen as the sole shareholder, to build and operate a new facility. The team soon made an agreement with the City of Portland to build a new multi-purpose arena on the Coliseum's parking lot.


title: Moda Center

text: A major factor in the choice of the site for the new arena was its close proximity to transit, with MAX Light Rail and bus service at TriMet's Coliseum Transit Center (later renamed Rose Quarter Transit Center) being adjacent to the site. The "Portland Business Journal", in a July 1995 article, quoted the Trail Blazers' then-president Marshall Glickman as saying, "There is no doubt that transit made it possible for us to build here. The thing that burns everyone in terms of financing big projects like this is parking. The fact that we have a [light rail] stop outside our front door, and the potential for what we'll get with the south/north line made this the only place for us to build." (The "south/north" MAX line referred to was a then-planned line from Clackamas Town Center to Vancouver via downtown Portland, which was canceled in 1996, but partially revived several years later, with the MAX Yellow Line connecting Moda Center with areas to the north.)


title: Moda Center

text: The financing of the construction of the facility was widely hailed at the time as a good example of public-private partnership; most of the costs were borne by Allen and/or Allen-owned companies, rather than by taxpayers. The bulk of the $262 million construction costs were funded by a $155 million loan from a consortium of lenders led by pension fund TIAA-CREF. As Allen was unwilling to guarantee the loan with his personal finances, the lenders demanded an interest rate of 8.99%, with no opportunity for prepayment. Other major creditors included Prudential Insurance, and Farmers Insurance.


title: Moda Center

text: The remainder of funds came from the City of Portland ($34.5 million), Allen himself ($46 million), with the final $10 million coming from a bond backed by box office and parking revenues. In addition, the City transferred to Allen the underlying land. The City maintains ownership of the Memorial Coliseum and the adjacent parking garages, but the right to manage these was also transferred to Allen. In exchange, Allen signed an exclusive site agreement with the city requiring the Trail Blazers to play all home games in Portland for 30 years The City of Portland hoped that the building of the arena would lead to other renovation or development in the Rose Quarter district, but as of 2021 this has yet to materialize.


title: Moda Center

text: Ground on the arena was broken in 1993, and the arena opened on October 12, 1995. The project included the largest construction and demolition recycling program in the U.S. up to that time, in which of construction waste and of dirt were recycled, saving OAC over $127,000. This effort later won the project an environmental award from the city.


title: Moda Center

text: The first concert held in the arena was held two weeks after opening, when David Bowie performed on October 25, with Nine Inch Nails opening. The first regular-season game to be played at the facility was the Trail Blazers hosting the then-Vancouver Grizzlies on November 3, 1995, a 92–80 defeat for the home team. The arena was originally capable of seating 20,340 spectators for NBA basketball. Its capacity has since been reduced to 19,393 by subsequent modifications. At the time of its construction, the arena was a state-of-the-art facility. Although more recent NBA arenas have surpassed Moda Center in amenities, it still is well regarded as a facility. A 2005 survey by "USA Today" ranked the facility in the middle of the pack among the 29 NBA arenas; factors unrelated to the venue itself (such as ticket prices and entertainment offerings) are considered in the rankings.


title: Moda Center

text: Soon after the arena opened, it was the subject of several lawsuits seeking to enforce the Americans with Disabilities Act. One lawsuit ("United States v. Ellerbe Becket, Inc.") was filed by the United States Department of Justice against architect Ellerbe-Becket; another ("Independent Living Resources v. Oregon Arena Corporation") was filed by a disabled advocacy group against OAC. Both lawsuits alleged that Moda Center (and other facilities designed by Ellerbe Becket) did not provide adequate seating for patrons using wheelchairs, and that the line-of-sight of patrons in wheelchairs was frequently obstructed by standing spectators. The first case was settled with a consent decree, wherein Ellerbe Becket agreed to design future projects in compliance with the ADA; the lawsuit against Oregon Arena Corp was resolved in 1998 when OAC agreed to install over one hundred elevated seats permitting wheelchair-using patrons to see over standing spectators in front.