ticoAg/ChineseCorpus-Kaggle-fanti huggingface dataset:
幸福亦是法律的議題之一。人類最基本的權利便包括了“追求幸福的權利”，即指在法律上，所有人都平等地享有追求幸福的權利。只要一個人未有侵害他人的基本人權，國家權力不得妨害個人追求幸福的權利。
國民幸福總值（GNH, ''Gross National Happiness''）是最早推進不丹民主化進程的前國王提出的，以國民的幸福作為政治目標，為了使政策判斷在現實中發揮作用，把幸福的量設定成的具體數字、指標。
GNH出現的背景是，一些國家視作衡量發展水平標桿的GDP非但沒有促進人們的幸福，反而促使一些政府為了追求GDP而設立種種給民眾帶來不便、痛苦的政策。
國民幸福總值這個概念在世界各國產生了反響，近年在日本的政黨和政府內也出現了相關的主張，認為應采用能夠反映國民幸福感的指標來衡量、評價國家推行的政策。
*《幸福論》，巖波書店，ISBN 4003363833 &nbsp;
*埃米爾-奧古斯特·沙爾捷《幸福論》，集英社1993，ISBN 4087520374
*伯特蘭·羅素《幸福論》，巖波書店，ISBN 4003364937
*神谷美恵子《關于生存的意義》，みすず書房2004，ISBN 4622081814
*飯田史彥《生存意義的本質——我們為什么活著》，PHP研究所2001，ISBN 4569575943
*渡邊二郎《人生的哲學》，放送大學出版協會
*中島義道《不幸論》，PHP新書
傳說見到四葉草就會變幸福。
**生命   ( 誕生 - 死 )
**先祖 - 子孫、 ( 葬禮、 墓 )
*個人性、自我、利己主義、(小我)
**生活、教育、試験、就職、戀愛、婚姻、嬰兒
迪利普·庫馬（，，真實姓名為：穆罕默德·尤薩夫·汗（Muhammad Yusuf Khan）；）是印度電影明星，有「悲劇之王」（Tragedy King）的綽號。
迪利普·庫馬爾出生于白沙瓦，其曾八次榮獲印度電影觀眾獎的最佳男演員殊榮，在其50多年的職業生涯中參演了近60部電影，其中最具代表性的作品包括《我王莫臥兒》、、。他生前患有前列腺癌。
當地時間2021年7月7日早晨7時30分，迪利普·庫馬爾在孟買印度教醫院去世，終年98歲。批準其遺體將于2021年8月安葬于珠瑚國家榮譽墳場。
2015年，迪利普·庫馬爾因其在演藝界的成就，獲得印度政府頒發的蓮花賜勛章。
2021年7月7日，印度總理莫迪發布推特表示悼念：“迪利普·庫馬爾將作為一個電影傳奇被銘記”。
氟化鈧是一種離子化合物，化學式為。它有著三氟化釩（VF3）的結構，與二氧化錸的ReO3結構單元類似，有六配位的金屬離子。它微溶于水，在過量氟化物的存在下形成而可溶。
氟和鈧的反應可以生成ScF3。氟化氫銨在高溫處理也能得到氟化鈧。
: Sc2O3 + NH4HF2 → 2 ScF3 + 6 NH4F + 3 H2O
氟化鈧有著這一不尋常的性質，即它在加熱的時候收縮。
《大大噠》（英文：''Think Big Big''）是一部由周青元指導的2018年馬來西亞喜劇劇情片。
林滿月（容璇雯飾XL版，劉錦繡飾L版，林宣妤飾中等版）是個身材巨型的女胖子，從小就夢想當一名太空人。她找到了在游樂園里當吉祥人偶的工作，雖然偏離了自己的夢想，卻至少還能在沒有人看到的世界里繼續追夢，能夠帶給大家歡樂之余，自己也樂在其中。而現實總是殘酷的，再一次的意外中她被迫在社交媒體分享瘦身過程……
容璇雯（120公斤版）
滿月、靚妹仔（靚仔、靚女專稱）靚仔（林火旺）、靚女（張金花）的女兒獨生女一出生就肥胖，出生時僅僅2.3公斤，但仍然健康因為出生那天，月相剛好是滿月，因此有了這個名字“林滿月”，實際是父親靚仔喜歡什么都大的東西所以才會有這個名字Vivienne、Ice、琪琪之閨蜜李常勝的朋友，認識了20多年，他是在滿月剛學會走路，牙牙學語時出現在她人生中的朋友，還被她父母嘲笑為“世交”，后因為她的太空直播里，關注她的人363104是常勝身材巨型的女胖子（120公斤），后因為損壞制作組的攝影器材要索賠時，她偶然看到全民女神邊欄，決定參與全民女神并把獲得的獎金賠償，后來從120公斤減至90公斤，90公斤減至50公斤，因為減肥成功并成為全民女神，后卸掉有學過芭蕾舞，七歲后沒理會夢想是成為一名太空人，大學時苦讀四年天文學系，因為礙于身材，因此沒得申請參與太空人培訓計劃，后找到了游樂園的工作，穿上太空狗（Astro 2018年賀歲專輯提及這個太空狗吉祥物的名字叫Whoopee【中文名為無比】）的布偶裝，當一個最受歡迎的吉祥物為了彌補沒當上太空人的遺憾，她在Facebook開了太空直播，自稱自己是太空人11號，這個直播只有363104（就是李常勝）進來支持她自從當了全民女神后，她迷失自己，后來因為常勝才找回自己，并讓她實踐了勇敢做自己的精神，因此卸下全民女神稱號
劉錦繡（90公斤版）
林宣妤（50公斤版）
阿勝Vivienne、Ice、琪琪和林滿月的朋友363104是他在太空直播里面的網名（363104是月球的距離）
Ice、琪琪和林滿月之閨蜜個性比較像大姐
劉美慧（中文全名）Vivienne、琪琪和林滿月之閨蜜不喜歡她的閨蜜叫她的中文全名個性比較像男人婆，但怕蟑螂
Vivienne、Ice和林滿月之閨蜜口頭禪：我媽咪講哦，…………
100天減肥計劃和全民女神的計劃人因林滿月的人氣下降而制造假搶劫也導致林滿月與Vivienne她們鬧翻最后因觀看了林滿月的太空人直播后而放棄了全民女神的計劃（小說版沒提及，官方預測最后她因觀看林滿月在全民女神facebook的道歉直播后而放棄了全民女神的計劃）
在電影未提及真實名稱，已在小說版本提及他的名字為林火旺林滿月的父親
在電影未提及真實名稱，已在小說版本提及她的名字為張金花林滿月的母親
滿月、靚妹仔（靚仔、靚女專用）靚仔（林火旺）、靚女（張金花）的女兒獨生女參見主要角色
《我的天》導演口頭禪：我的天啊....（客語）
客串《新聞報報看》主播參見新聞報報看
Warna Woman在小說版未提及的人物經常在宣傳預告片出現過，都講一樣的口頭禪演員口頭禪：俺久某cue來的？（客語；怎么這么久沒有指示？）諧音：正義聯盟的Wonder Woman（神奇女俠）
客串在游樂園里直播的小妹妹臨走前叫Vivienne一聲Aunty
*2018年1月15日，廠商舉辦了一場新聞發布會。導演表示非常滿意女主角璇雯的演藝，同時也提及在拍攝中也作弄了演員們：表面上告訴演員將會使用假蟑螂，私底下卻使用了真的，這是為了達到導演想要的成果。
*2019年4月，這部電影正式進軍中國大陸，并且以“馬來西亞國寶級導演周青元執導”的名義在中國上映。
國際標準書號 (ISBN)
ISBN 9789672088172
*2017年的10月，周青元導演決定把自己的《大大噠》劇本寫成電影小說，并把劇本給了和他合作過出版《一路有你》電影小說的出版社紅蜻蜓的總編輯——謝淑怡。這也是周青元導演和紅蜻蜓的第二次合作。十月中，淑怡決定把這部電影劇本交給了第二屆紅蜻蜓少年小說獎銀獎作者——賴宇欣，并要求她寫出這部電影的小說。宇欣收到后，她花了好幾天的時間把劇本細細讀了一遍，決定在這部小說里，以第一人稱“我”代替主角名字——林滿月的寫法，來創作這本電影小說。于2018年1月19日，《大大噠》電影小說終于出版。
*此電影小說登市后，得到讀者的熱烈支持，有不少的讀者跟作者反映說很喜歡這本書，讓他們領悟書本核心思想“Think Big”。有者更說這本書啟發了他，讓他勇敢做回自己。宇欣在書本后記寫道，她堅信這個世界上的每一個人若是都有發揮所長的機會，做自己喜歡做的事，那么，這個世界終將一點一點變得更加美好。
*除了電影小說獲得好評價外，紅蜻蜓出版社在官方臉書專頁聲稱，電影里面的“Think Big”海報若要索取，并要求他們來到公司網頁預購這本小說，而這本小說將會附送限量版的“Think Big”海報（延遲購買和去書局購買的人除外）。
攝影指導：楊俊麟
美術指導：孫詠釗
造型指導：黃菊清
音樂總監：Onn San
音效設計：杜篤之／吳書瑤
剪輯：林淑芬
執行導演：劉欣瑜
制作統籌：馬紅綾
編劇：陳勝吉／陳定寧
影像特效導演：麥志康
Christinne Lim——Astro Shaw
鄧友光——Golden Screen Cinemas
拿督林文祥——Multimedia
洪偉才（新加坡）——MM2 娛樂（馬來西亞）
總監：Najwa Abu Bakar
監制：王章／馬全
聯合制片：周尤敏
導演：周青元
張纂，字徽纂，代郡平城人，北魏、東魏及北齊官員。
張纂的父親張烈曾任桑幹太守。他最初於爾朱榮麾下當官，又擔任爾朱兆的都督長史，出使高歡被賞識。高歡在山東舉事義，劉誕據相州抵抗，其時張纂亦在相州。高歡攻破相州，提拔他擔任參丞相軍事。張纂擅長諂媚逢迎，對高歡近臣親近優待，補任行臺郎中；高歡決定削減自己國邑分授將士，他獲封壽張伯。魏孝武帝末年，高歡到洛陽，任命趙郡公高琛為行臺留守晉陽，他就擔任行臺右丞；之後轉任大丞相府功曹參軍事，除授右光祿大夫。
張纂出使茹茹，以遵奉命令符合上意，歷官中外、丞相二府從事中郎；邙山之戰中俘獲很多俘虜，高歡下令他押送鄴城，魏孝靜帝賜五百疋絹布給他，進封武安縣伯。不久他再次擔任高歡的行臺右丞，跟從征討玉壁；當時東魏軍隊回到山東，行經晉州事忽然下起寒雨，士兵饑餓寒冷，有人因此凍死，但晉州城士兵以邊境禁令不肯開城。張纂為別使遇見此事，立刻命令士兵開城，分寄東魏軍隊到各民家供應伙食，於是原來在城外的事兵都保全了，高歡聽聞此事表示贊許。
他侍奉高歡二十多年，通傳教令獲得親信賞識；到高澄繼任大丞相，侯景在潁川作亂，招引西魏軍隊，高澄就下令張纂出任南道行臺，和各將領討伐。回歸後，他除授瀛州刺史，高澄任命為太子少傅。後來他和平原王段韶、行臺尚書辛術等人圍攻東楚，攻下廣陵、涇州數城，斬殺叛軍將帥東方白額，授官儀同三司；出任監築長城大使，領數千步騎鎮守北方。回來後，遷任護軍將軍，在北齊天保年間去世。
*《北齊書》·卷二五·列傳第十七
是1991年上映的一部香港電影，由鍾少雄執導，呂良偉、鄭則仕領銜主演。
片頭先從1990年代跛豪保外就醫，在臺灣的兩兄弟看到新聞說起。
1949年，大量中國大陸居民湧入香港，馬尖山與馬少海也在這亂世中赴港謀生，兩兄弟童年時在龍蛇混雜的三角碼頭當苦力工，他們在碼頭受盡地痞欺侮，同工卻不同酬。幸而兩人在老人（雷達飾）介紹下認識同為潮州出身的黑幫老大王老吉（陳惠敏飾）門下得到庇護，並收為養子，馬氏兄弟從此幫助王老吉經營字花攤，兩人打理字花生意。數年後，兩人已經成年，事業發展一帆風順，叱吒一時，但尖山不甘養父的生意不振，與兄長聯絡外人將字花攤生意攬入手中。
1968年，兄弟倆涉足毒品買賣，此時《遠方日報》（影射《東方日報》）報社社長孫立仁（黃仲渠飾）報社出現財政困難，向馬少林借錢，獲得馬少林財力支持其報業解決困難。馬少海投資報業名利雙收，成為報業董事會主席，並依靠報紙的傳播力量打開了局面，並認識了議員陳國榮（劉志榮飾）。馬氏兄弟依靠議員的力量發展販毒事業，以進口屠宰牛隻掩護毒品走私。橫掃黑幫，事業蒸蒸日上，一家獨大。
然而馬氏兄弟的力量強大卻與掌管碼頭生意的幫會老大金牙駒（何家駒飾）發生衝突，馬少林在十哥（黃光亮飾）殺害金牙駒失敗後遭金牙駒報復，導致養父王老吉和眾多兄弟殞命，家毀人亡；為了復仇，馬氏兄弟與彪叔（韓義生飾）合作，在談和的飯局上殺了金牙駒。馬世豪靠毒品與黑幫事業成為四大家族之一。當他得知總華探長雷覺天不願收他的錢時，仍不以為意。
1974年，廉政公署宣告成立，形勢急轉直下。馬少林認為香港終將大變，因此早一步將資產轉移至臺灣；然而馬世豪認為廉政公署跟之前的反貪污科一樣都是玩假的，仍不以為意。兩兄弟在意見不合下，終於馬少林一家前往臺灣、馬世豪仍留在香港。馬少林一家臨走前，馬世豪問他有無遺留，馬少林回答他留下了弟弟。
留在香港的馬世豪看似仍前程似錦，然而在一場唐三彩的拍賣會中，尖山眾目睽睽下被廉政公署約談逮捕，少海決定重返香港，運用其豐富的人際關係讓尖山無罪釋放，卻遭到叛徒爛仔明出賣，被雷覺天逮捕入獄，雷覺天向馬世豪表明金牙駒是他的人，馬少林動了他就就是與雷覺天結下梁子。愛弟心切的少海則盡全力辦法營救這個唯一的弟弟平安歸來；在調虎離山之下，最後少海助尖山離開香港，二人在臺灣重逢，前塵往事，言雖有盡，意卻無窮。
馬尖-{}-山(臺灣版：馬世-{}-豪)
馬少海之弟王老吉之乾兒子影射馬惜珍
宋本中(少年)
馬少-{}-海(臺灣版：馬少-{}-林)
馬尖山之兄王老吉之乾兒子影射馬惜如
阮德鏘(少年)
字花檔負責人馬尖山、馬少海之乾爹後被金牙駒買兇殺害
王老吉之手下幫二馬去殺金牙駒時，反被殺害
歌手馬尖山之女友，後為其妻
大排檔女少東馬少海之妻子
幫會老大，傲慢貪心，與馬氏兄弟合夥販毒不歡而散後買兇殺害王老吉與其手下，之後在飯局上遭到殺害
幫會老大，與金牙駒是多年朋友但內心不滿金牙駒已久，與馬氏兄弟設局在飯局上殺害金牙駒，後在警隊掃黑行動中被捕
彪叔之手下，後反目後改投馬尖山，因偷竊吸毒而被逐出社團後以污點証人助雷覺天指控馬尖山
議員與馬氏兄弟勾結收受利益，並以議員的名義給警隊壓力橫掃黑幫成為廉政專員後與馬氏兄弟反目，並肆意拘捕馬尖山因馬少海以當初收受利益拍下照片及記錄，而被迫釋放馬尖山
警長曾受馬世海的意思厚待身在警署羈留所的馬尖山，被雷覺天視為眼中釘在馬少海營救馬尖山的行動為內應
雷老虎、雷老總總華探長金牙駒和彪叔之靠山馬氏兄弟之天敵影射呂樂
活躍於三角碼頭的黑幫人士曾欺負少年時的馬氏兄弟
曾受命於馬尖山使字花檔慘賠後被十哥發現並殺害
王老吉字花檔伙計
少年時馬氏兄弟之鄰居當馬氏兄弟被黑幫欺負時，自稱是王老吉的人，並帶馬氏兄弟求見王老吉
報社社長當初其報社出現財政困難，向馬少海借錢，獲得馬少海財力支持其報業解決困難，忠心替馬少海打理生意。
* 馬惜如、馬惜珍：現實中故事原型人物
三氟甲磺酸鈧是一種離子化合物，化學式為Sc(SO3CF3)3。
它在有機化學中可以作為路易斯酸使用。它在水中穩定，可以用作催化劑，而不是按化學計量比作為反應的試劑。它可由氧化鈧和三氟甲磺酸反應得到。
它可以參與向山羥醛反應，產率81%：
:ScOTf3-mediated aldol condensation
通常情況下，安全快門是指在攝影時使手持相機拍攝出的照片不模糊的最低快門速度。
在攝影的時候，經常會出現拍攝出的照片模糊不清或有嚴重拖影的情況。排除掉脫焦的因素，則很有可能是因為拍攝時所采用的快門速度沒有達到安全快門。
如果拍照時的快門速度低于安全快門數值，那么很有可能由于手的抖動導致照片拍糊。
一般認為,安全快門的計算方法為：安全快門 = 1 / 等效焦距，這是一個經驗公式。
例如：在使用佳能 EOS 60D 配合50mm定焦鏡頭拍攝時，安全快門為： 1/（50mm×1.6）=1/80秒
其中1.6為佳能APS-C畫幅型相機的焦距轉換系數。
但是，在實際攝影的過程中，安全快門往往并沒有一個非常嚴格的計算公式，在使用某一快門速度時候，只要拍攝出的照片不因手的抖動而模糊，就可以將這一快門速度稱為安全快門。對于可以拍攝具有更高像素照片的數碼相機，需要適當提高快門速度，以避免細節模糊。
“Who's Next”是英國搖滾樂隊誰人樂隊的第五張錄音室專輯。它發展自一個由樂隊成員皮特·湯申德創作的作為樂隊1969年的專輯的多媒體搖滾歌劇項目，由于樂隊與樂隊經理人Kit Lambert錯綜復雜的關系，該項目被取消了，但皮特·湯申德被說服錄制其中一些歌曲作為通俗的專輯。
誰人樂隊錄制這張專輯受到錄音師Glyn Johns的幫助。在滾石移動錄音室錄制“Won't Get Fooled Again”之后，他們搬到倫敦奧林匹克錄音室錄制和混合該專輯剩余的大部分歌曲。他們在該專輯中突出地使用合成器，特別是在“Won't Get Fooled Again”和“ Baba O'Riley ”之中，兩首歌都是單曲發行。封面照片由Ethan Russell攝制，參考了1968年電影2001太空漫游中提到的巨石（monolith），就像該封面上樂隊成員背對有小便條紋的堆渣中的突出的混凝土樁。
“Who's Next”在1971年8月發行后立刻獲得成功。許多評論家認為它是誰人樂隊的最佳唱片和有史以來最偉大的專輯之一。該專輯以CD形式再版了幾次，再版包含了最初用于Lifehouse的曲目。
到1970年，誰人樂隊既受到了顯著的批評又獲得了商業成功，而他們已經開始與脫離原來的觀眾。摩德文化已經消失,
and the original followers from Shepherd's Bush had grown up and acquired jobs and families. The group had started to drift apart from manager Kit Lambert due to his preoccupation with their label, Track Records. They had been touring since the release of ''Tommy'' the previous May, with a set that contained most of that album, but realized that millions had now seen their live performances, and Pete Townshend in particular recognized that they needed to do something new. A single, "The Seeker", and a live album, ''Live at Leeds'' were released in 1970, and an EP of new material ("Water", "Naked Eye", "I Don't Even Know Myself", "Postcard" and "Now I'm a Farmer") was recorded, but not released as the band felt it would not be a satisfactory follow-up to ''Tommy''.
Instead, the group tackled a project called ''Lifehouse''. This evolved from a series of columns Townshend wrote for ''Melody Maker'' in August 1970, in which he discussed the importance of rock music, and in particular what the audience could do. Of all the group, he was the most keen to use music as a communication device, and wanted to branch out into other media, including film, to get away from the traditional album / tour cycle. Townshend has variously described ''Lifehouse'' as a futuristic rock opera, a live-recorded concept album and as the music for a scripted film project. The basic plot was outlined in an interview Townshend gave to ''Disc and Music Echo'' on 24 October 1970. ''Lifehouse'' is set in the near future in a society in which music is banned and most of the population live indoors in government-controlled "experience suits". A rebel, Bobby, broadcasts rock music into the suits, allowing people to remove them and become more enlightened. Some elements accurately describe future technology; for example, The Grid resembles the internet and "grid sleep" virtual reality.
Pete Townshend was given a Gretsch 6120 guitar by Joe Walsh in early 1971, and it became his main electric instrument for ''Who's Next''.
The group held a press conference on 13 January 1971, explaining that they would be giving a series of concerts at the Young Vic theatre, where they would develop the fictional elements of the proposed film along with the audience. After Keith Moon had completed his work on the film ''200 Motels'', the group performed their first Young Vic concert on 15 February. The show included a new quadrophonic public address system which cost ￡30,000 and the audience was mainly invited from various organisations such as youth clubs, with only a few tickets on sale to the general public.
After the initial concerts, the group flew to New York's Record Plant Studios at Lambert's suggestion, for studio recordings. The group were joined by guests Al Kooper on Hammond organ, Ken Ascher on piano and Leslie West on guitar. Townshend used a 1957 Gretsch guitar, given to him by Joe Walsh, during the session and it went on to become his main guitar for studio recording. Lambert's participation in the recording was minimal, and he proved to be unable to mix the final recordings. He had started taking hard drugs, while Townshend was drinking brandy regularly. After returning to Britain, engineer Glyn Johns made safety copies of the Record Plant material but decided that it would be better to re-record it from scratch at Olympic Sound Studios in Barnes.
The group gave a further series of concerts at the Young Vic on 25 and 26 April, which were recorded on the Rolling Stones Mobile Studio by Andy Johns, but Townshend grew disillusioned with ''Lifehouse'' and further shows were cancelled. The project proved to be intractable on several levels and caused stress within the band as well as a major falling out between Townshend and Lambert. Years later, in the liner notes to the remastered CD, Townshend wrote that the failure of the project led him to the verge of a nervous breakdown. Audiences at the Young Vic gigs were not interested in interacting with the group to create new material, but simply wanted the Who to play "My Generation" and smash a guitar. At the time, Roger Daltrey said the Who "were never nearer to breaking up".
Although the ''Lifehouse'' concept was abandoned, scraps of the project remained in the final album, including the use of synthesizers and computers. An early concept for ''Lifehouse'' featured the feeding of personal data from audience members into the controller of an early analogue synthesizer to create a "universal chord" that would have ended the proposed film. Abandoning ''Lifehouse'' gave the group extra freedom due to the absence of an overriding musical theme or storyline (which had been the basis of ''Tommy''). This allowed the band to concentrate on maximising the impact of individual tracks, and providing a unifying sound for them.
Although he gave up his original intentions for the ''Lifehouse'' project, Townshend continued to develop the concepts, revisiting them in later albums, including a 6-CD set, ''The Lifehouse Chronicles'' in 1999. In 2007 he opened a website called The Lifehouse Method to accept personal input from applicants that would be turned into musical portraits.
Most of ''Who's Next'' was recorded at Olympic Studios, Barnes with Glyn Johns.
The first session for what became ''Who's Next'' was at Mick Jagger's house, Stargroves, at the start of April 1971, using the Rolling Stones Mobile. The backing track of "Won't Get Fooled Again" was recorded there before the band decided to relocate recording to Olympic at Johns' suggestion; the first session was on 9 April, attempting a basic take of "Bargain". The bulk of the sessions occurred during May, when the group recorded "Time is Passing", "Pure and Easy", "Love Ain't for Keeping" (which had been reworked from a rock track into an acoustic arrangement), "Behind Blue Eyes", "The Song Is Over", "Let's See Action" and "Baba O'Riley". Nicky Hopkins guested on piano, while Dave Arbus was invited by Moon to play violin on "Baba O'Riley". John Entwistle's "My Wife" was added to the album at the last minute late in the sessions, and was originally intended for a solo album.
In contrast to the Record Plant and Young Vic sessions, recording with Johns went well as he was primarily concerned about creating a good sound, whereas Lambert had always been more preoccupied about the group's image. Townshend recalled, "we were just getting astounded at the sounds Glyn was producing". Townshend used the early synthesizers and modified keyboard sounds in several modes: as a drone effect on several songs, notably "Baba O'Riley" and "Won't Get Fooled Again", as well as on "Bargain", "Going Mobile" and "The Song Is Over". The synthesizer was used as an integral part of the sound, as opposed to providing gloss as was the case on other artists' albums up to this point.  Moon's drumming had a distinctly different style from earlier albums, being more formal and less reliant on long drum fills – partly due to the synthesizer backing, but also due to the no-nonsense production techniques of Johns, who insisted on a good recording performance that only used flamboyancy when truly necessary. Johns was instrumental in convincing the Who that they should simply put a single studio album out, believing the songs to be excellent. The group gave him free rein to assemble a single album of whatever songs he wanted in any order. Despite Johns' key contributions, he only received an associate producer credit on the finished album, though he maintained he acted mainly in an engineering capacity and based most of the arrangements on Townshend's original demos.
ARP synthesizer similar to the one used on ''Who's Next''
The album opened with "Baba O'Riley", featuring piano and synthesizer-processed Lowrey organ by Townshend. The song's title pays homage to Townshend's guru, Meher Baba, and minimalist composer Terry Riley (and is informally known as "Teenage Wasteland" from a line in the lyrics). The organ track came from a longer demo by Townshend, portions of which were later included on a Baba tribute album ''I Am'', that was edited down for the final recording. Townshend later said this part had "two or three thousand edits to it". The opening lyrics to the next track, "Bargain", "I'd gladly lose me to find you", came from a phrase used by Baba. Entwistle wrote "My Wife" after having an argument with his wife and exaggerating the conflict in the lyrics. The track features several overdubbed brass instruments recorded in a single half-hour session. "Pure and Easy", a key track from ''Lifehouse'', did not make the final track selection, but the opening line was included as a coda to "The Song is Over".
"Behind Blue Eyes" featured three-part harmony by Daltrey, Townshend and Entwistle and was written for the main antagonist in ''Lifehouse'', Brick. Moon, uncharacteristically, did not appear on the first half of the track, which was later described by Who biographer Dave Marsh as "the longest time Keith Moon was still in his entire life." The closing track, "Won't Get Fooled Again", was critical of revolutions. Townshend explained, "a revolution is only a revolution in the long run and a lot of people are going to get hurt". The song features the Lowrey organ fed through an ARP synthesizer, which came from Townshend's original demo and was re-used for the finished track.
The cover artwork shows a photograph, taken at Easington Colliery, of the band apparently having just urinated on a large concrete piling protruding from a slag heap. The decision to shoot the picture came from Entwistle and Moon discussing Stanley Kubrick and the film ''2001: A Space Odyssey''. According to photographer Ethan Russell, most of the band members were unable to urinate, so rainwater was tipped from an empty film canister to achieve the desired effect. The rear cover showed the band backstage at De Montfort Hall, Leicester, amongst a debris of furniture.  In 2003, the television channel VH1 named ''Who's Nexts cover one of the greatest album covers of all time.
Other suggestions for the cover included the group urinating against a Marshall Stack and an overweight nude woman with the Who's faces in place of her genitalia. An alternative cover featuring Moon dressed in black lingerie and a brown wig, holding a whip, was later used for the inside art for the 1995 and 2003 CD releases. Some of the photographs taken during these sessions were later used as part of Decca's United States promotion of the album.
The Who playing in Charlotte, North Carolina, shortly after ''Who's Next'' was released
The lead single, "Won't Get Fooled Again" (edited down to three and a half minutes), was released on 25 June 1971 in the UK and in July in the US ahead of the album. It reached #9 and #15 in the charts respectively. The album was released in August in the US and on 27 August in the UK. It became the only album by the Who to top the UK charts.
The Who starting touring the US just before the album was released. The group used the ''Lifehouse'' PA, though soundman Bob Pridden found the technical requirements of the equipment to be over-complicated. The set list was revamped, and while it included a smaller selection of numbers from ''Tommy'', several new numbers from the new album such as "My Wife", "Baba O'Riley" and "Won't Get Fooled Again" became live favourites. The latter two songs involved the band playing to a backing track containing the synthesizer parts. The tour moved to the UK in September, including a show at The Oval, Kennington in front of 35,000 fans, and the opening gig at the Rainbow Theatre in Finsbury Park, before going back to the US, ending in Seattle on December 15. The group then took eight months off touring, the longest break of their career at that point.
Several additional songs recorded at the ''Who's Next'' sessions were released later as singles or on compilations. "Let's See Action" was released as a single in 1971, followed by "Join Together" in June 1972 and "Relay" in November. "Pure and Easy", "Put The Money Down" and "Too Much of Anything" were released on the album ''Odds & Sods'', while "Time is Passing" was added to the 1998 CD version. A cover of "Baby Don't You Do It" was recorded and the longest version currently available is on the deluxe edition of the album.
The album has been re-issued remastered several times using tapes from different sessions. The master tapes for the Olympic sessions are believed to be lost, as Virgin Records threw out a substantial number of old recordings when they purchased the studio in the 1980s. Video game publisher Harmonix wanted to release ''Who's Next'' as downloadable, playable content for the music video game series ''Rock Band'', but were unable to do so due to difficulty finding the original multi track recordings. Instead, a compilation of Who songs dubbed "The Best of The Who," which includes three of the album's songs ("Behind Blue Eyes", "Baba O'Riley", and "Going Mobile"), was released as downloadable content, in lieu of the earlier-promised ''Who's Next'' album. The 16-track tapes to "Won't Get Fooled Again" and the 8-track tapes to the other material except "Bargain" and "Getting In Tune" have since been discovered.
In a contemporary review for ''The Village Voice'', music critic Robert Christgau called ''Who's Next'' "the best hard rock album in years" and said that, while their previous recordings were marred by a thin sound, the group now "achieves the same resonant immediacy in the studio that it does live". Billy Walker from ''Sounds'' highlighted the songs "Baba O'Riley", "My Wife", and "The Song Is Over", and wrote, "After the unique brilliance of ''Tommy'' something special had to be thought out and the fact that they settled for a straight-forward album rather than an extension of their rock opera, says much for their courage and inventiveness." ''Rolling Stone'' magazine's John Mendelsohn felt that, despite some amount of seriousness and artificiality, the album's brand of rock and roll is "intelligently-conceived, superbly-performed, brilliantly-produced, and sometimes even exciting". At the end of 1971, the record was voted the best album of the year in the Pazz & Jop, an annual poll of American critics published by ''The Village Voice''.
Since then, ''Who's Next'' has often been viewed as the Who's best album. In a retrospective review for AllMusic, Stephen Thomas Erlewine said its music was more genuine than ''Tommy'' or the aborted ''Lifehouse'' project because "those were art – ''Who's Next'', even with its pretensions, is rock & roll." BBC Music's Chris Roberts cited it as the band's best record and "one of those carved-in-stone landmarks that the rock canon doesn't allow you to bad-mouth." ''Mojo'' claimed its sophisticated music and hook-laden songs featured innovative use of rock synthesizers that did not weaken the Who's characteristic "power-quartet attack". In ''The Encyclopedia of Popular Music'' (1998), Colin Larkin said it raised the standards for both hard rock and the Who, whose "sense of dynamics" was highlighted by the contrast between their powerful playing and a counterpoint produced at times from acoustic guitars and synthesizer obbligatos. Christgau, on the other hand, was less enthusiastic about the record during the 1980s when the Who became what he felt was "the worst kind of art-rock band", writing that ''Who's Next'' revealed itself to be less tasteful in retrospect because of Daltrey's histrionic singing and "all that synth noodling".
According to Acclaimed Music, ''Who's Next'' is the 35th most ranked record in critics' lists of the all-time greatest albums. In 2003, ''Rolling Stone'' ranked it 28th on its list of the 500 greatest albums of all time. The album appeared at number 15 on Pitchfork Media's list of the 100 best records from the 1970s. It was also included in the book ''1001 Albums You Must Hear Before You Die'' (2005). The ''Classic Albums'' BBC documentary series aired an episode on ''Who's Next'', initially on radio in 1989, and then on television in 1998, which was released in 2006 on DVD as ''Classic Albums: The Who&nbsp;– Who's Next''. That year, the album was chosen by ''Time'' as one of their 100 best records of all time. In 2007, it was inducted into the Grammy Hall of Fame for "lasting qualitative or historical significance".
豪華版的第一盤包含來自原始專輯的九張曲目并包含了原版混音，接下來六個片段中包含了以前未發行的“Getting in Tune”and“Won't Get Fooled Again”。六個片段之中每個片段都在工作重新開始之前的1971年5月在英國Record Plant的一段時間錄制。
第二盤的曲目是在1971年4月26日倫敦Young Vic Theatre現場錄制的，所有曲目除了“Water”和“Naked Eye”都在先前未曾發行。
* Roger Daltrey – 主唱
* Keith Moon – 鼓，敲擊樂器
* John Entwistle – 貝斯，銅管樂器，主唱，“My Wife”之中的鋼琴
* Pete Townshend – 吉他，，風琴，A.R.P. 合成器，主唱，“Baba O'Riley”之中的鋼琴
* Dave Arbus – “Baba O'Riley”之中的小提琴
* Nicky Hopkins – “The Song Is Over”和“Getting in Tune”之中的鋼琴
* Al Kooper – alternate version版本的“Behind Blue Eyes”之中的風琴
* Leslie West – “Baby, Don't You Do It”之中的主吉他
* Glyn Johns – 助理制作，錄制，混音
* Doug Sax – 母帶制作
* Kit Lambert – 執行制作
* Chris Stamp – 執行制作
* Pete Kameron – 執行制作
* John Kosh – 專輯設計
* Ethan Russell – 拍攝
榜單 (1971)
加拿大 ''RPM''100 Albums
英國 （Top 40 Albums）
法國 （InfoDisc）
荷蘭 （Top 100 Albums）
法國 （Top 200 Albums）
US ''Billboard'' Top Pop Catalog
* Classic Albums: The Who - Who's Next'', DVD, Eagle Vision (Classic albums series).
* ''Who's Next''在Acclaimed Music上
* Who's Next liner notes
三氰基甲烷是一種，為三個氰基取代甲烷的衍生物。它于2015年9月被成功制得。
三氰基甲烷是一種酸，其稀溶液和鹽在很久之前便已得到。它是碳負離子強酸之一，其p''K''a的預測值為-5.1（水中）及5.1（乙腈中）。硫酸和三氰基甲烷鈉的反應（H. Schmidtmann，1896）被認為是不準確的。反應會生成水合物(NC)3C?H3O+，或者是(''Z'')-3-