document_title: Basketball court

question_text: how far away is the foul shot line from the basket

text: Basketball court

text: Dimensions[edit]

text: Basketball courts come in different sizes. In the National Basketball Association (NBA), the court is 94 by 50 feet (28.7 by 15.2 m). Under International Basketball Federation (FIBA) rules,[1] the court is minutely smaller, measuring exactly 28 by 15 metres (91.9 by 49.2 ft). A high school court is slightly smaller, at 84 by 50 feet (25.6 by 15.2 m).[citation needed] In amateur basketball, court sizes vary widely. The baskets are always 10 feet (3.0 m) above the floor (except possibly in youth competition). Basketball courts have a three-point arc at both baskets. A basket made from behind this arc is worth three points; a basket made from within this line, or with a player's foot touching the line, is worth 2 points. The free-throw line, where one stands while taking a foul shot, is located within the three-point arc at 15 feet from the basket. A foul shot is worth 1 point, but if a shot is made from the foul line while in play it is still worth 2 points.[2]

text: Diagrams[edit]

text:
A diagram of a FIBA basketball court

Composite diagram of a basketball court with FIBA (top half only), NBA (both halves), and NCAA (men’s & women’s – bottom half only) markings

The backboard and basket

NCAA backboard and basket (2008)

tag: ul

text: Layout prescribed by the rules of the International Basketball Federation (FIBA), the National Basketball Association (NBA), and a National Collegiate Athletic Association (NCAA).

text: Table[edit]

text:
Area
NBA
FIBA
WNBA
NCAA[3]
U.S. H.S.
U.S. Junior H.S.

Imperial
Metric
Imperial
Metric
Imperial
Metric
Imperial
Metric
Imperial
Metric
Imperial
Metric

Court length
94 ft
28.65 m
91.86 ft
28 m
Same as NBA
84 ft
25.60 m
74 ft
22.56 m

Court width
50 ft
15.24 m
49.21 ft
15 m
Same as NBA
42 ft
12.80 m

Rim height
10 ft
3.05m
Same as NBA

Restricted arc radius
4 ft
1.22 m
4.10 ft
1.25 m
Same as NBA
3 ft
0.91 m
Non-existent

Center circle diameter
12 ft
3.66 m
11.81 ft
3.6 m
Same as NBA

3-point line distance from the basket
23.75 ft
22 ft in corner*
7.24 m
6.70 m in corner*
22.15 ft
21.65 ft in corner†
6.75 m
6.60 m in corner†
Same as FIBA
20.75 ft
6.32 m
19.75 ft
6.01 m
Same as high school

Key (shaded lane or
restricted area) width
16 ft
4.88 m
16.08 ft
4.9 m
Same as NBA
12 ft
3.66 m
Same as NCAA

Free-throw line distance from point on the floor directly below the backboard
15 ft
4.57 m
15.09 ft
4.6 m
Same as NBA

text: * The NBA three-point line is 3 ft (0.91 m) from the sideline in a zone starting at the baseline and ending when it crosses the 23.75 ft (7.24 m) arc. The 22 ft (6.70 m) measurement applies only at a point where a line parallel to the baseline intersects the long axis of the court and the center of the basket.

text: † The FIBA three-point line is 2.95 ft (0.90 m) from the sideline in a zone starting at the baseline and ending when it crosses the 22.1 ft (6.75 m) arc. The 21.65 ft (6.60 m) measurement applies only at a point where a line parallel to the baseline intersects the long axis of the court and the center of the basket.

text: Sections[edit]

text: Center circle[edit]

text: The only two players permitted to enter this area prior to the tipoff are the players contesting the jump ball (usually but not always centers). Both players jump when the referee throws the ball in the air, each attempting to tap the ball into the hands of a player of their own team.

text: Three-point line[edit]

text: The three-point line is the line that separates the two-point area from the three-point area; any shot converted beyond this line counts as three points. If the shooting player steps on the line, it is counted as two points. Any foul made in the act of shooting beyond the three-point line would give the player three free throws if the shot does not go in, and one if it does.

text: The distance to the three-point line from the center of the basket varies depending on the level or league, and has changed several times. These are the current distances, with the league or level using each distance:

text:
19.75 ft (6.02 m): High School
20.75 ft (6.32 m): NCAA
21.65 ft (6.60 m) to 22.15 ft (6.75 m): WNBA and FIBA
22 ft (6.71 m) to 23.75 ft (7.24 m): NBA

text: The NBA adopted the three-point line at the start of the 1979–80 season. This is of variable distance, ranging from 22 feet (6.7 m) in the corners to 23.75 feet (7.24 m) behind the top of the key. During the 1994–95, 1995–96 and 1996–97 seasons, the NBA attempted to address decreased scoring by shortening the overall distance of the line to a uniform 22 feet (6.7 m) around the basket. It was moved back to its original distance after the 1996–97 season. FIBA and the NCAA both adopted the three-point line in 1985.

text: In most high school associations in the United States, the distance is 19.75 feet. This was formerly the distance for college basketball as well. On May 26, 2007, the NCAA playing rules committee agreed to move the three-point line back one foot to 20.75 feet for the men. This rule went into effect for the 2008–2009 season. The three-point line for women (NCAA) moved back one foot to 20.75 feet at the start of the 2011–2012 season.

text: The international distance, used in most countries outside the United States and in FIBA and WNBA competition, is currently 6.6 m (21.65 ft) to 6.75 m (22.15 ft).

text: Perimeter[edit]

text: The perimeter is defined as the areas outside the free throw lane and inside the three-point line. Shots converted (successfully made) from this area are called "perimeter shots" or "medium-range shots." If a player's foot is on the three-point line, the shot is considered a perimeter shot.

text: Low post area[edit]

text: The low post is defined as the areas that are closest to the basket but outside of the free throw lane.[4] This area is fundamental to strategy in basketball. Skilled low post players can score many points per game without ever taking a jump shot.

text: Key[edit]

text: The key, free throw lane or shaded lane refers to the usually painted area beneath the basket; for the NBA it is 16 feet (4.9 m) wide, for the NCAA it is 12 feet (3.7 m) wide; for both instances it extends 15 feet (4.6 m) from the backboard. At the top of the rectangle is the free throw line, behind which players shoot uncontested shots when they're fouled. A circle is drawn around the free-throw line with a 6 feet (1.8 m) radius; this is used for jump ball instances, as is done at the center circle. Two 6-inch hash lines, 3 ft from the free throw lane line and 5 ft 8 in from the free throw line, show the lower defensive box linked to the restricted area.

text: For FIBA tournaments, since October 2010 the key has been a rectangle 4.9 m wide and 5.8 m long. Previously it was a trapezoid 3.7 meters (12 ft) wide at the free-throw line and 6 meters (19 feet and 6.25 inches) at the end line.

text: The key is primarily used to prevent players from staying beneath the basket of the opponents' team for long periods (maximum three seconds).

text: Restricted area arc[edit]

text: The restricted area arc is a semi-circular arc drawn around the area directly underneath the basket. With some exceptions, members of the defending team cannot draw charging fouls in this area. The restricted arc in all North American rule sets above high school level (NCAA men's and women's, NBA, and WNBA) has a radius 4 feet (1.22 m) from below the center of the basket. The NCAA restricted area arc was originally established for the 2011–12 men's and women's seasons at a 3-foot (0.91 m) radius from below the center of the basket, and was extended to match the (W)NBA radius for the 2015–16 season and beyond.

text: Other lines[edit]

text: On NBA floors, two hash marks are drawn at the end lines near the key to mark the area known as the lower defensive box. A defensive player is allowed to draw a charging foul within the restricted arc if the offensive player receives the ball and/or starts his drive within this area.[5]

text: Also, two lines are drawn on each of the sidelines, 28 feet from each of the endlines, which designates the extent of the coaching box and bench. This line marks the farthest extent a coach (aside from the sidelines) can stand. Directly behind this area is the team bench.

text: On the half-court line of NBA floors two lines extend outside the playing court, designating the place where substitutes wait before they can enter the playing court; directly behind this area are the various off-court officials such as the timekeeper and reserve referee.

text: FIBA changes[edit]

text: On April 26, 2008, FIBA announced several major rules changes involving the court markings. These changes took effect for major international competitions on October 1, 2010, after that year's World Championships for men and women, and became mandatory for other competitions on October 1, 2012 (although national federations could adopt the new markings before 2012). The changes were as follows.[6]

text:
The shape of the key changed from a trapezoid to a rectangle as it is in the NBA, with NBA dimensions.
The three-point line moved back to 6.75 metres (22 ft 1.7 in) from 6.25 metres (20 ft 6.1 in), compared to 23 ft 9 in (7.24 m) for the NBA at the top of the arc.
The FIBA adopted the NBA's restricted area arc with a marginally wider radius of 1.25 metres (4 ft 1.2 in).


document_title: Special economic zones of China

question_text: three of the four special economic zones are located in which province of china

root

text: Special economic zones of China

text: History[edit]

text: Since the late 1970s, and especially since the 3rd Plenary Session of the 11th CPC Central Committee in 1978, the Chinese government decided to reform the national economic setup. The basic state policy has focused on the formulation and implementation of overall reform and opening to the outside world. During the 1980s, China passed several stages, ranging from the establishment of special economic zones and open coastal cities and areas, and designating open inland and coastal economic and technology development zones.[citation needed]

tag: p

text: Since 1980, China has established special economic zones in Shenzhen, Zhuhai and Shantou in Guangdong Province and Xiamen in Fujian Province, and designated the entire province of Hainan as a special economic zone. In August 1980, the National People's Congress (NPC) passed "Regulations for The Special Economy Zone of Guangdong Province" and officially designated a portion of Shenzhen as the Shenzhen Special Economy Zone (SSEZ).[citation needed]

text: In 1984, China further opened 14 coastal cities to overseas investment: Dalian, Qinhuangdao, Tianjin, Yantai, Qingdao, Lianyungang, Nantong, Shanghai, Ningbo, Wenzhou, Fuzhou, Guangzhou, Zhanjiang and Beihai. Since 1988, mainland China's opening to the outside world has been extended to its border areas, areas along the Yangtze River and inland areas. First, the state decided to turn Hainan Island into mainland China's biggest special economic zone (approved by the 1st session of the 7th NPC in 1988) and to enlarge the other four special economic zones.[citation needed]

text: Shortly afterwards, the State Council expanded the open coastal areas, extending into an open coastal belt the open economic zones of the Yangtze River Delta, Pearl River Delta, Xiamen-Zhangzhou-Quanzhou Triangle in south Fujian, Shandong Peninsula, Liaodong Peninsula (Liaoning Province), Hebei and Guangxi. In June 1990, the Chinese government opened the Pudong New Area in Shanghai to overseas investment, and additional cities along the Yangtze River valley, with Shanghai's Pudong New Area as its "dragon head."[citation needed]

text: Since 1992, the State Council has opened a number of border cities, and in addition, opened all the capital cities of inland provinces and autonomous regions. In addition, 15 free trade zones, 32 state-level economic and technological development zones, and 53 new and high-tech industrial development zones have been established in large and medium-sized cities. As these open areas adopt different preferential policies, they play the dual roles of "windows" in developing the foreign-oriented economy, generating foreign exchanges through exporting products and importing advanced technologies and of "radiators" in accelerating inland economic development.[citation needed]

text: Primarily geared to exporting processed goods, the five SEZs are foreign trade-oriented areas which integrate science, innovation and industry with trade. Foreign firms benefit from preferential policies such as lower tax rates, reduced regulations and special managerial systems. In 1999, Shenzhen's new-and high-tech industry reached an output value of high-tech products of 81.98 billion yuan, making up 40.5% of the city's total industrial output value.[citation needed]

text: Since its founding in 1992, the Shanghai Pudong New Zone has made progress in both absorbing foreign capital and accelerating the economic development of the Yangtze River valley. The government has extended special preferential policies to the Pudong New Zone that are not yet enjoyed by the special economic zones. For instance, in addition to the preferential policies of reducing or eliminating Customs duties and income tax common to the economic and technological development zones, the state also permits the zone to allow foreign business people to open financial institutions and run tertiary industries. In addition, the state has given Shanghai permission to set up a stock exchange, expand its examination and approval authority over investments and allow foreign-funded banks to engage in RMB business. In 1999, the GDP of the Pudong New Zone came to 80 billion yuan, and the total industrial output value, 145 billion yuan.[citation needed]

text: In May 2010, the PRC designated the city of Kashgar in Xinjiang a SEZ. Kashgar's annual growth rate was 17.4 percent from 2009, and Kashgar's designation has since increased tourism and real estate prices in the city. Kashgar is close to China's border with the independent states of former Soviet Central Asia and the SEZ seeks to capitalize on international trade links between China and those states.[2]

text: List of SEZs[edit]

text: As part of its economic reforms and policy of opening to the world, between 1980 and 1984 China established special economic zones (SEZs) in Shantou, Shenzhen, and Zhuhai in Guangdong Province and Xiamen in Fujian Province and designated the entire island province of Hainan a special economic zone.

text: In 1984, China opened 14 other coastal cities to overseas investment (listed north to south): Dalian, Qinhuangdao, Tianjin, Yantai, Qingdao, Lianyungang, Nantong, Shanghai, Ningbo, Wenzhou, Fuzhou, Guangzhou, Zhanjiang, and Beihai.

text: Then, beginning in 1985, the central government expanded the coastal area by establishing the following open economic zones (listed north to south): Liaodong Peninsula, Hebei Province (which surrounds Beijing and Tianjin), Shandong Peninsula, Yangtze River Delta, Xiamen-Zhangzhou-Quanzhou Triangle in southern Fujian Province, Pearl River Delta, and Guangxi.

text: In 1990, the Chinese government decided to open the Pudong New Zone in Shanghai to overseas investment, as well as more cities in the Yang Zi River Valley.

text: Since 1992, the State Council has opened a number of border cities and all the capital cities of inland provinces and autonomous regions.

text: In addition, 15 free-trade zones, 32 state-level economic and technological development zones, and 53 new and high-tech industrial development zones have been established in large and medium-sized cities. As a result, a multilevel diversified pattern of opening and integrating coastal areas with river, border, and inland areas has been formed in China.

text:
Type
City
Province

Special Economic Zone, City
Shenzhen
Guangdong

Haining
Zhejiang

Zhuhai
Guangdong

Shantou
Guangdong

Xiamen
Fujian

Kashgar
Xinjiang

Special Economic Zone, Province
-
Hainan

Coastal Development Areas
Dalian
Liaoning

Qinhuangdao
Hebei

Tianjin
-

Yantai
Shandong

Qingdao
Shandong

Lianyungang
Jiangsu

Nantong
Jiangsu

Shanghai
-

Ningbo
Zhejiang

Wenzhou
Zhejiang

Fuzhou
Fujian

Guangzhou
Guangdong

Zhanjiang
Guangdong

Beihai
Guangxi

tag: table

text: Economic policies of SEZs[citation needed][edit]

text:
Special tax incentives for foreign investments in the SEZs.
Greater independence on international trade activities.
Economic characteristics are represented as "4 principles":

Construction primarily relies on attracting and utilizing foreign capital
Primary economic forms are Sino-foreign joint ventures and partnerships as well as wholly foreign-owned enterprises
Products are primarily export-oriented
Economic activities are primarily driven by market forces

tag: ol

text: SEZs are listed separately in the national planning (including financial planning) and have province-level authority on economic administration. SEZs local congress and government have legislation authority.

text: Leong (2012) investigates the role of special economic zones (SEZs) in liberalizing the Chinese and Indian economies and their impact on economic growth. The policy change to a more liberalized economy is identified using SEZ variables as instrumental variables. The results indicate that export and FDI growth have positive and statistically significant effects on economic growth in these countries. The presence of SEZs increases regional growth but increasing the number of SEZs has negligible effect on growth. The key to faster economic growth appears to be a greater pace of liberalization.


document_title: The Queen Is Dead

question_text: who is on the queen is dead cover

question_tokens: who is on the queen is dead cover

text: The Queen Is Dead

text: Songwriting[edit]

text: Guitarist Johnny Marr wrote several songs that would later appear on The Queen Is Dead while the Smiths toured Britain in early 1985, working out song arrangements with bassist Andy Rourke and drummer Mike Joyce during soundchecks.[3] The title of the album is from Hubert Selby Jr.'s 1964 novel Last Exit to Brooklyn.[4]

text: "The Boy with the Thorn in His Side" was, according to Marr, "an effortless piece of music", and was written on tour in the spring of 1985. The song's lyrics refer allegorically to the band's experience of the music industry that failed to appreciate it.[5]:48 In 2003, Morrissey named this as his favourite Smiths song.[6]

text: A demo of the music for "Some Girls Are Bigger Than Others" was posted by Marr through Morrissey's letterbox in the summer of 1985. Morrissey then completed the song by adding lyrics. Marr has stated that he "preferred the music to the lyrics".[5]:405

text: "Frankly, Mr. Shankly", "I Know It's Over" and "There Is a Light That Never Goes Out" were written by Morrissey and Marr in a "marathon" writing session in the late summer of 1985 at Marr's home in Bowdon, Greater Manchester.[5]:136 The first of these is reputed to have been addressed to Geoff Travis, head of the Smiths' record label Rough Trade. Travis has since described it as "a funny lyric" about "Morrissey's desire to be somewhere else", acknowledging that a line in the song about "bloody awful poetry" was a reference to a poem he had written for Morrissey.[7]:86

text: "There Is a Light That Never Goes Out" features lyrics drawn from "Lonely Planet Boy" by the New York Dolls. According to Marr: "When we first played it, I thought it was the best song I'd ever heard".[5]:442 The guitar part of "There Is a Light That Never Goes Out' draws on the Rolling Stones cover of Marvin Gaye's "Hitch Hike", a song that, itself, was an inspiration for the Velvet Underground's "There She Goes Again".[8]

text: The music for "Never Had No One Ever", completed in August 1985, was based on a demo which Marr had recorded in December 1984, itself based on "I Need Somebody" by the Stooges.[5]:281 According to Marr: "The atmosphere of that track pretty much sums up the whole album and what it was like recording it."[5]:282 The lyric to the song reflects Morrissey's feeling unsafe and, being from an immigrant family, not at home on the streets of Manchester.[9]

text: "The Boy with the Thorn in His Side", "Bigmouth Strikes Again" and "Frankly, Mr. Shankly" were debuted live during a tour of Scotland in September and October,[10]:120–2 during which "The Queen Is Dead" and "There Is a Light That Never Goes Out" were soundchecked.[11]:78 "The Queen is Dead" was based on a song Marr began writing as a teenager.[11]:78 "Cemetry Gates" (sic) was a late addition to the album. Marr had not believed that the guitar part was interesting enough to be developed into a song, but Morrissey disagreed when he heard Marr play it.[5]:70

text: Recording[edit]

text: The album was produced by Morrissey and Marr, working predominantly with engineer Stephen Street, who had engineered the band's 1985 album, Meat Is Murder. Street recalled: "Morrissey, Johnny and I had a really good working relationship – we were all roughly the same age and into the same kind of things, so everyone felt quite relaxed in the studio".[12]

text: At the time the group was having difficulty with its record label Rough Trade. However, according to Street "this didn't get in the way of recording because the atmosphere in the studio was very, very constructive."[12]

text: The first song from the album to be recorded, in July 1985, was "The Boy with the Thorn in His Side". The recording, made with engineer Stephen Street at a small studio in Manchester and initially intended as a demo, was considered by the band to be good enough for release as a single. It went on sale on 16 September 1985 and made number 23 in the UK Singles Chart.[10]:120–1

text: In August 1985, "Bigmouth Strikes Again" and "Some Girls Are Bigger Than Others" were recorded at RAK Studios in London, along with the B-sides to "The Boy with the Thorn in His Side", "Asleep" and "Rubber Ring".[10]:121[12] Kirsty MacColl sang a backing vocal for "Bigmouth Strikes Again" but it was considered "really weird" by Marr, and was replaced with a sped-up vocal by Morrissey in the final mix, for which he is credited as Ann Coates on the sleeve of The Queen Is Dead.[5]:32–3 "Some Girls Are Bigger Than Others" includes a false fade near the start, intended by Street to give the impression of a door closing and opening again.[5]:405 During the same session, a first version of "Never Had No-one Ever" was recorded.[5]:337

text: The bulk of the album was recorded in the winter of 1985 at Jacob Studios in Farnham, under the working title "Margaret on the Guillotine".[10]:124

text: "Frankly, Mr. Shankly" was an attempt to recreate the "vibe" of Sandie Shaw's "Puppet on a String", although "it didn't quite work out that way", according to Marr. Linda McCartney was asked to play piano on the track, but declined, and a first take featuring a trumpeter was scrapped. The version originally intended for inclusion on The Queen Is Dead was ruined by a technical glitch on the tape, and so the song was re-recorded with John Porter at Wessex Studios in London.[5]:136

text: "The Queen Is Dead" was among the last songs to be recorded. Its distinctive tom-tom loop was created by Mike Joyce and Stephen Street using a sampler. A line of guitar feedback was played by Marr through a wah-wah pedal throughout the song.[12]

text: Composition[edit]

text: The song "There Is a Light That Never Goes Out", was a contender for lead single off the album, but was passed over in favour of "Bigmouth Strikes Again". (Later in 1986 it was released as a 7"-only single in France.) It received a belated release in 1992, when it became one of WEA's singles in a programme to promote Smiths re-releases (see the entry on ...Best II). In 1990 the song was voted no. 1 on a list of the greatest songs of all time by the readers of SPIN magazine in the US.

text:
"There Is a Light That Never Goes Out"

Sample from one of The Smiths' most highly regarded songs.

Problems playing this file? See media help.

text: "Cemetry Gates" was Morrissey's direct response to critics who had cried foul over his use of texts written by some of his favourite authors, notably Shelagh Delaney and Elizabeth Smart. Oscar Wilde, who was also accused of plagiarism, figures as a patron saint of Morrissey's in the song's lyrics. A Wilde quote, "Talent borrows, genius steals", was etched in the vinyl run-out grooves of the first single off the album, "Bigmouth Strikes Again".[13] These etchings appear almost exclusively on the UK releases (denoted by the RT and RTT prefixes on the catalogue number).

text: "The Queen Is Dead", which leads off the album and notably became an expressionistic music video directed by Derek Jarman, starts with a soundbite from Bryan Forbes' 1962 British film The L-Shaped Room. Another instance of Morrissey's fascination with '60s British cinema, the film featured performances by Pat Phoenix (who had already appeared as a cover star on the 1985 single "Shakespeare's Sister") and Cicely Courtneidge as an elderly lesbian veteran of the music halls. The soundbite is Courtneidge's character nostalgically singing the World War I song "Take Me Back to Dear Old Blighty". The actress had also appeared in a gala performance for Elizabeth II's Silver Jubilee called "God Save the Queen", and died in 1980.

text: A few songs, including "The Queen Is Dead" and "Bigmouth Strikes Again", feature pitch-shifted backing vocals by Morrissey. Morrissey liked to experiment with effects on his voice, so Street ran his voice through a harmoniser for the backing tracks. Street recalled, "At that time, apart from the harmoniser, he didn't go for much backing vocal or harmony work – he's done that more on recent albums – but he did like to experiment". The backing vocals are attributed to "Ann Coates" on the record sleeve (Ancoats is a district in Manchester, just north east of the city centre).[12]

text: Release[edit]

text: The Queen Is Dead finally emerged in June 1986, and was previewed by the May single release of "Bigmouth Strikes Again", the only single taken from the album. Many encouraged the band to release "There Is a Light That Never Goes Out" as a single, but Johnny Marr is said to have wanted an explosive, searing single, along the lines of the Rolling Stones' "Jumpin' Jack Flash", to announce that the Smiths had returned from hiatus. It did not fare as well as expected, stalling at number 26 on the British charts.

text: The album cover, designed by Morrissey, features Alain Delon from the 1964 film L'Insoumis.

text: Critical reception[edit]

text:
Professional ratings

Aggregate scores

Source
Rating

Metacritic
99/100
(deluxe edition)[14]

Review scores

Source
Rating

AllMusic
[15]

Blender
[16]

Chicago Tribune
[17]

Mojo
[18]

Pitchfork
10/10[19]

Q
[20]

Rolling Stone
[21]

The Rolling Stone Album Guide
[22]

Uncut
[23]

The Village Voice
B+[24]

text: The Queen Is Dead received critical acclaim, and is considered to be a defining album of the 1980s, as well as one of the greatest albums of all time. In a contemporaneous review of the album, Mark Coleman of Rolling Stone remarked on Morrissey's sense of humour and singled out the singer's performance on "Cemetry Gates" as a highlight, concluding that "like it or not, this guy's going to be around for a while."[25] Writing in pop magazine Smash Hits, Tom Hibbert gave a favourable review, stating that "the guitars are great, some of the words are marvellous, others like scratchings on a Fifth Form desk", as well as describing Morrissey as "half genius half buffoon".[26] Robert Christgau of The Village Voice wrote that despite his dislike of the Smiths' previous albums, he held an "instant attraction" to The Queen Is Dead, where he found that "Morrissey wears his wit on his sleeve, dishing the queen like Johnny Rotten never did and kissing off a day-job boss who's no Mr. Sellack", which "makes it easier to go along on his moonier escapades".[24]

text: Pitchfork listed The Queen Is Dead as sixth best album of the 1980s.[27] In 2003, The Queen Is Dead was ranked number 216 on Rolling Stone's list of The 500 Greatest Albums of All Time.[28] In 2006, it was named the second greatest British album of all time by the NME.[29] In 2006, Q magazine placed the album at number three in its list of "40 Best Albums of the '80s".[30] UK-based magazine Clash added The Queen Is Dead to its "Classic Album Hall of Fame" in its June 2011 issue, saying it "is an album to lose yourself in; it has depth, focus and some great tunes. It's easy to see why the album is held in such high esteem by Smiths fanatics and why, a decade later, it became a key influence for all things Britpop."[31] In 2012, Slant Magazine listed the album at number 16 on its list of "Best Albums of the 1980s" and said: "There may never again be an indie-rock album as good as The Queen Is Dead".[32] In 2013, The Queen Is Dead was ranked the greatest record of all time on the NME's Greatest Albums of All Time list.[33] At Rolling Stone, Gavin Edwards retrospectively viewed the album as "one of the funniest rock albums ever", noting that Morrissey had "learned to express his self-loathing through mockery" while Johnny Marr "matched his verbal excess with witty, supple music", and concluded, "If the queen's reaction to Morrissey was 'We are not amused,' then she was the only one."[21]

text: Track listing[edit]

text: All tracks written by Morrissey and Johnny Marr, except "Take Me Back to Dear Old Blighty" (used as an intro to "The Queen Is Dead"), written by A.J. Mills, Fred Godfrey and Bennett Scott.

text:
No.
Title
Length

1.
"The Queen Is Dead"
6:24

2.
"Frankly, Mr. Shankly"
2:17

3.
"I Know It's Over"
5:48

4.
"Never Had No One Ever"
3:36

5.
"Cemetry Gates"
2:39

6.
"Bigmouth Strikes Again"
3:12

7.
"The Boy with the Thorn in His Side"
3:15

8.
"Vicar in a Tutu"
2:21

9.
"There Is a Light That Never Goes Out"
4:02

10.
"Some Girls Are Bigger Than Others"
3:14

Total length:
36:48

text: 2017 collector's edition[edit]

text: Disc one features the 2017 master of the album. Disc four DVD features the 2017 master in 96kHz / 24-bit PCM stereo.

text: All tracks written by Morrissey and Johnny Marr, except "Money Changes Everything" by Johnny Marr.

text:
[show]Disc two: Additional recordings

No.
Title
Length

1.
"The Queen Is Dead" (full version)
7:14

2.
"Frankly, Mr. Shankly" (demo)
2:18

3.
"I Know It's Over" (demo)
5:48

4.
"Never Had No One Ever" (demo)
4:40

5.
"Cemetry Gates" (demo)
3:01

6.
"Bigmouth Strikes Again" (demo)
3:06

7.
"Some Girls Are Bigger Than Others" (demo)
3:57

8.
"The Boy with the Thorn in His Side" (demo)
3:18

9.
"There Is a Light That Never Goes Out" (take 1)
4:25

10.
"Rubber Ring" (single B-side)
3:54

11.
"Asleep" (single B-side)
4:02

12.
"Money Changes Everything" (single B-side)
4:41

13.
"Unloveable" (single B-side)
3:55

Total length:
54:19

text:
[show]Disc three: Live in Boston

No.
Title
Length

1.
"How Soon Is Now?"
5:25

2.
"Hand in Glove"
2:58

3.
"I Want the One I Can't Have"
3:24

4.
"Never Had No One Ever"
3:26

5.
"Stretch Out and Wait"
3:12

6.
"The Boy with the Thorn in His Side"
3:34

7.
"Cemetry Gates"
3:01

8.
"Rubber Ring / What She Said / Rubber Ring"
4:17

9.
"Is It Really So Strange?"
3:22

10.
"There Is a Light That Never Goes Out"
4:09

11.
"That Joke Isn't Funny Anymore"
4:51

12.
"The Queen Is Dead"
5:05

13.
"I Know It's Over"
7:36

Total length:
54:14

text:
[show]Disc four – DVD: The Queen Is Dead – A Film by Derek Jarman

No.
Title
Length

11.
"The Queen Is Dead"
6:28

12.
"There Is a Light That Never Goes Out"
4:03

13.
"Panic"
2:18

Total length:
12:49

text: Personnel[edit]

text:
Morrissey – vocals
Johnny Marr – guitars, harmonium, synthesised string instruments and flute arrangements, marimba on "The Boy with the Thorn in His Side"[34]
Andy Rourke – bass
Mike Joyce – drums

text: Production[edit]

text:
Morrissey – producer
Johnny Marr – producer
Stephen Street – engineer
John Porter – engineer on "Frankly, Mr. Shankly"

text: Charts[edit]

text: Album

text:
Year
Chart
Position

1986
Dutch Albums[35]
11

1986
German Albums[36]
45

1986
New Zealand Albums[37]
17

1986
Swedish Albums[38]
39

1986
UK Albums Chart[39]
2

1986
US Billboard 200[40]
70

1986
Canadian Albums[41]
28

2017
German Albums[42]
33