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Didgeridoo
FromWikipedia,thefreeencyclopedia

Thedidgeridoo(/ddridu/)(alsoknownasa
didjeridu)isawindinstrumentdevelopedbyIndigenous
AustraliansofnorthernAustraliapotentiallywithinthe
last1,500yearsandstillinwidespreadusetodaybothin
Australiaandaroundtheworld.Itissometimesdescribed
asanaturalwoodentrumpetor"dronepipe".
Musicologistsclassifyitasabrassaerophone.[1]
Therearenoreliablesourcesstatingthedidgeridoo's
exactage.ArchaeologicalstudiesofrockartinNorthern
AustraliasuggestthatthepeopleoftheKakaduregionof
theNorthernTerritoryhavebeenusingthedidgeridoofor
lessthan1,000years,basedonthedatingofpaintingson
cavewallsandsheltersfromthisperiod.[2]Aclearrock
paintinginGingaWardelirrhmeng,onthenorthernedge
oftheArnhemLandplateau,fromthefreshwater
period[3](thatwasbegun1500yearsago)[4]showsa
didgeridooplayerandtwosongmenparticipatinginan
UbarrCeremony.[5]
Amoderndidgeridooisusuallycylindricalorconical,
andcanmeasureanywherefrom1to3m(3to10ft)
long.Mostarearound1.2m(4ft)long.Generally,the
longertheinstrument,theloweritspitchorkey.
However,flaredinstrumentsplayahigherpitchthan
unflaredinstrumentsofthesamelength.

Didgeridoo

A,BandC:Threedidgeridoosthatwerecrafted
anddecoratedbytraditionalcustodiansofthe
instrument
D:TypicalnontraditionalAboriginaldidgeridoo
madefortouristtradewithnontraditional
decorations
E:AdidgeridoomadebynonAboriginalsin
Australia,notdecorated
Brassinstrument
Classification

HornbostelSachs
classification

Contents
1 Namesandetymology

Wind
Aerophone

(Aerophonesoundedbylip
movement)

Playingrange
Writtenrange:

2 Construction
3 Decoration
4 Playingthedidgeridoo
5 Physicsandoperation
6 Culturalsignificance
6.1 Genderprohibition

https://en.wikipedia.org/wiki/Didgeridoo

Relatedinstruments
Trumpet,Flugelhorn,Cornet,Bugle,
Naturaltrumpet,Posthorn,Romantuba,Bucina,
Shofar,Conch,Lur,Baritonehorn,BronzeAge
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6.1 Genderprohibition

IrishHorn

7 Inpopularculture
8 Healthbenefits
9 Seealso
10 Selectedbibliography
11 References
12 Externallinks

Namesandetymology
TherearenumerousnamesfortheinstrumentamongtheAboriginal
DidgeridooandClapstickplayers
peoplesofnorthernAustralia,noneofwhichcloselyresemblethe
performingatNightcliff,Northern
word"didgeridoo"(seebelow).Manydidgeridooenthusiastsand
Territory
somescholarsadvocatereservinglocalnamesfortraditional
instruments,andthispracticehasbeenendorsedbysomeAboriginal
communityorganisations.[6]However,ineverydayconversation,bilingualAboriginalpeoplewilloftenuse
theword"didgeridoo"interchangeablywiththeinstrument'snameintheirownlanguage.
"Didgeridoo"isconsideredtobeanonomatopoeticwordofWesterninvention.Theearliestoccurrencesof
thewordinprintincludea1919issueofSmith'sWeeklywhereitwasreferredtoasan"infernaldidjerry"
which"producedbutonesound(phonic)didjerry,didjerry,didjerryandsoonadinfinitum",the1919
AustralianNationalDictionary,TheBulletinin1924andthewritingsofHerbertBasedowin1926.
Arivalexplanation,thatdidgeridooisacorruptionoftheIrishlanguage(Gaelic)phraseddairedubhor
didiredth,iscontroversial.[7]Ddaire/didireisanounthatmaymean,dependingonthecontext,
"trumpeter","hummer","crooner","longneckedperson","puffer","eavesdropper",or"chainsmoker",
whiledubhmeans"black"anddthmeans"native".
Yiaki(sometimesspeltyirdaki)isoneofthemostcommonlyusednames,althoughstrictlyspeakingit
referstoaspecifictypeofinstrumentmadeandusedbytheYolngupeopleofnortheastArnhemLand.
However,sincethepassing,inearly2011,ofaManggaliliclanmanwhosenamesoundssimilartoyiaki,
Yolnguthemselvesnowusethesynonymmandapultorefertotheinstrument,outofrespectforthe
deceased.
Therearenumerousother,regionalnamesforthedidgeridoo.Thefollowingaresomeofthemorecommon
ofthese.[8]

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People

Region

Localname

Anindilyakwa

GrooteEylandt

ngarrriralkpwina

Arrernte

AliceSprings

Ilpirra

Djinang

ArnhemLand

Yirtakki

Gagudju

ArnhemLand/Kakadu

garnbak

Gupapuygu

ArnhemLand

Yiraka

Iwaidja

CobourgPeninsula

artawirr

Jawoyn

Katherine/Nitmiluk/Kakadu Gunbarrk

Kunwinjku

ArnhemLand/Kakadu

Mako

Mayali

AlligatorRivers

martba

Ngarluma

Roebourne,W.A.

Kurmur

NyulNyul

Kimberleys

ngaribi

Pintupi

CentralAustralia

paampu

Warray

AdelaideRiver

bambu

Yolngu

ArnhemLand

Mandapul(Yidaki)

Construction
AuthenticAboriginaldidgeridoosareproducedintraditionally
orientedcommunitiesinNorthernAustraliaorbymakerswhotravel
toCentralandNorthernAustraliatocollecttherawmaterials.They
areusuallymadefromhardwoods,especiallythevariouseucalyptus
speciesthatareendemictotheregion.[9]Generallythemaintrunkof
thetreeisharvested,thoughasubstantialbranchmaybeused
instead.Aboriginaldidgeridoocraftsmenhuntforsuitablyhollow
livetreesinareaswithobvioustermiteactivity.Termitesattack
theselivingeucalyptustrees,removingonlythedeadheartwoodof
thetree,asthelivingsapwoodcontainsachemicalthatrepelsthe
Awaxmouthpiececansoftenduring
insects.[10]Varioustechniquesareemployedtofindtreeswitha
play,formingabetterseal.
suitablehollow,includingknowledgeoflandscapeandtermite
activitypatterns,andakindoftaporknocktest,inwhichthebark
ofthetreeispeeledback,andafingernailorthebluntendofatool,suchasanaxeisknockedagainstthe
woodtodetermineifthehollowproducestherightresonance.[11]
Onceasuitablyhollowtreeisfound,itiscutdownandcleanedout,thebarkistakenoff,theendstrimmed,
andtheexteriorisshapedthisresultsinafinishedinstrument.Thisinstrumentmaybepaintedorleft
undecorated.Arimofbeeswaxmaybeappliedtothemouthpieceend.Traditionalinstrumentsmadeby
AboriginalcraftsmeninArnhemLandaresometimesfittedwitha"sugarbag"mouthpiece.Thisblack
beeswaxcomesfromwildbeesandhasadistinctivearoma.

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NontraditionaldidgeridooscanalsobemadefromPVCpiping,nonnativehardwoods(typicallysplit,
hollowedandrejoined),glass,fiberglass,metal,agave,clay,hemp(intheformofabioplasticnamedzelfo),
andevencarbonfibre.Thesedidgestypicallyhaveanupperinsidediameterofaround1.25"downtoabell
endofanywherebetweentwotoeightinchesandhavealengthcorrespondingtothedesiredkey.The
mouthpiececanbeconstructedofbeeswax,hardwoodorsimplysandedandsizedbythecraftsman.In
PVC,anappropriatelysizedrubberstopperwithaholecutintoitisequallyacceptable,ortofinelysand
andbufftheendofthepipetocreateacomfortablemouthpiece.
ModerndidgeridoodesignsaredistinctfromthetraditionalAustralianAboriginaldidgeridoo,andare
innovationsrecognizedbymusicologists.[12][13]Didgeridoodesigninnovationstartedinthelate20th
centuryusingnontraditionalmaterialsandnontraditionalshapes.

Decoration
Manydidgeridoosarepaintedusingtraditionalormodernpaintsbyeithertheirmakeroradedicatedartist,
howeveritisnotessentialthattheinstrumentbedecorated.Itisalsocommontoretainthenaturalwood
grainwithminimalornodecoration.Somemodernmakersdeliberatelyavoiddecorationiftheyarenotof
IndigenousAustraliandescent,orleavetheinstrumentblankforanIndigenousAustralianartisttodecorate
itatalaterstage.

Playingthedidgeridoo
Thedidgeridooisplayedwithcontinuouslyvibratinglipstoproduce
thedronewhileusingaspecialbreathingtechniquecalledcircular
breathing.Thisrequiresbreathinginthroughthenosewhilst
simultaneouslyexpellingstoredairoutofthemouthusingthe
tongueandcheeks.Byuseofthistechnique,askilledplayercan
replenishtheairintheirlungs,andwithpracticecansustainanote
foraslongasdesired.Recordingsexistofmoderndidgeridoo
playersplayingcontinuouslyformorethan40minutesMarkAtkins
onDidgeridooConcerto(1994)playsforover50minutes
continuously.

AnAboriginalmanplayingthe
didgeridoo

FellowoftheBritishSocietyAnthonyBaineswrotethatthe
didgeridoofunctions"...asanauralkaleidoscopeoftimbres"[14]andthat"theextremelydifficultvirtuoso
techniquesdevelopedbyexpertperformersfindnoparallelelsewhere."[14]
Moremodernapproachestoplayingthedidgeridooarestartingtoshowupinperformancesandlessons
aroundtheWorld.Oneofthesetechniquesinvolvescombiningbeatboxingwithplayingthedidgeridoo.It
wasfeaturedontheBritishchildren'sTVseriesBluePeter.[15]

Physicsandoperation
Atermiteboreddidgeridoohasanirregularshapethat,overall,usuallyincreasesindiametertowardsthe
lowerend.Thisshapemeansthatitsresonancesoccuratfrequenciesthatarenotharmonicallyspacedin
frequency.Thiscontrastswiththeharmonicspacingoftheresonancesinacylindricalplasticpipe,whose
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resonantfrequenciesfallintheratio1:3:5etc.Thesecondresonanceofadidgeridoo(thenotesoundedby
overblowing)isusuallyaroundan11thhigherthanthefundamentalfrequency(afrequencyratiosomewhat
lessthan3:1).
Thevibrationproducedbytheplayer'slipshasharmonics,i.e.,ithas
frequencycomponentsfallingexactlyintheratio1:2:3etc.
However,thenonharmonicspacingoftheinstrument'sresonances
meansthattheharmonicsofthefundamentalnotearenot
systematicallyassistedbyinstrumentresonances,asisusuallythe
caseforWesternwindinstruments(e.g.,inaclarinet,the1st3rd
and5thharmonicsofthereedareassistedbyresonancesofthebore,
atleastfornotesinthelowrange).

DidgeridoostreetplayerinSpain

Sufficientlystrongresonancesofthevocaltractcanstrongly
influencethetimbreoftheinstrument.Atsomefrequencies,whosevaluesdependonthepositionofthe
player'stongue,resonancesofthevocaltractinhibittheoscillatoryflowofairintotheinstrument.Bandsof
frequenciesthatarenotthusinhibitedproduceformantsintheoutputsound.Theseformants,andespecially
theirvariationduringtheinhalationandexhalationphasesofcircularbreathing,givetheinstrumentits
readilyrecognizablesound.
Othervariationsinthedidgeridoo'ssoundcanbemadebyaddingvocalizationstothedrone.Mostofthe
vocalizationsarerelatedtosoundsemittedbyAustraliananimals,suchasthedingoorthekookaburra.To
producethesesounds,theplayerssimplyhavetousetheirvocalfoldstoproducethesoundsoftheanimals
whilstcontinuingtoblowairthroughtheinstrument.Theresultsrangefromveryhighpitchedsoundsto
muchlowergutturalvibrations.Addingvocalizationsincreasesthecomplexityoftheplaying.

Culturalsignificance
Traditionallyandoriginally,thedidgeridoowasprimarilyplayedasan
accompanimenttoceremonialdancingandsinging.However,itwasalso
commonfordidgeridoostobeplayedforsoloorrecreationalpurposes
outsideofceremonialgatherings.ForsurvivingAboriginalgroupsof
northernAustralia,thedidgeridooisstillanintegralpartofceremoniallife,
asitaccompaniessingersanddancersinculturalceremoniesthatcontinue.
Today,themajorityofdidgeridooplayingisforrecreationalpurposesin
bothIndigenousAustraliancommunitiesandelsewherearoundtheworld.
Pairsticks,sometimescalledclapsticksorbilma,establishthebeatforthe
songsduringceremonies.Therhythmofthedidgeridooandthebeatofthe
clapsticksareprecise,andthesepatternshavebeenhandeddownformany
generations.IntheWanggagenre,thesongmanstartswithvocalsandthen
introducesblimatotheaccompanimentofdidgeridoo.[16]

Genderprohibition

AnIndigenousAustralian
manplayingadidgeridoo

Traditionally,onlymenplaythedidgeridooandsingduringceremonial
occasions,althoughbothmenandwomenmaydance.Femaledidgeridooplayersdoexist,buttheirplaying
takesplaceinaninformalcontextandisnotspecificallyencouragedbyAboriginalelders.LindaBarwick,
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anethnomusicologist,saysthatthoughtraditionallywomenhavenotplayedthedidgeridooinceremony,in
informalsituationsthereisnoprohibitionintheDreamingLaw.[17]Forexample,JemimaWimalu,aMara
womanfromtheRoperRiverisveryproficientatplayingthedidgeridoo
andisfeaturedontherecordAboriginalSoundInstrumentsreleasedin
1978.In1995,musicologistSteveKnopoffobservedYirrkalawomen
performingdjatpangarrisongsthataretraditionallyperformedbymenand
in1996,ethnomusicologistElizabethMacKinleyreportedwomenofthe
Yanyuwagroupgivingpublicperformances.On3September2008,
however,publisherHarperCollinsissuedapublicapologyforitsbook"The
DaringBookforGirls"whichopenlyencouragedgirlstoplaythe
instrumentafterAboriginalacademicsaccusedHarperCollinsof"extreme
culturalinsensitivity".MarkRose,headoftheVictorianAboriginal
EducationAssociation,saidthatencouraginggirlstoplaytheinstrument
was"anextremefauxpas...partofageneralignorancethatmainstream
AustraliahasaboutAboriginalculture."[2][18][19]
Whilethereisnoprohibitionintheareaofthedidgeridoo'sorigin,such
MusicianplayingaTravelor
restrictionshavebeenappliedbyotherIndigenouscommunities.The
ReticulatedDidgeridoo
didgeridoowasintroducedtotheKimberleysalmostacenturyagobutitis
onlyinthelastdecadethatAboriginalmenhaveshownadversereactionsto
womenplayingtheinstrumentandprohibitionsareespeciallyevidentintheSouthEastofAustralia.The
beliefthatwomenareprohibitedfromplayingiswidespreadamongnonAboriginalpeopleandisalso
commonamongAboriginalcommunitiesinSouthernAustraliasomeethnomusicologistsbelievethatthe
disseminationoftheTaboobeliefandothermisconceptionsisaresultofcommercialagendasand
marketing.Touristsgenerallyrelyonshopemployeesforinformationwhenpurchasingadidgeridoo.
Additionally,themajorityofcommercialdidgeridoorecordingsavailablearedistributedbymultinational
recordingcompaniesandfeaturenonAboriginalsplayingaNewAgestyleofmusicwithlinernotes
promotingtheinstrument'sspiritualitywhichmisleadsconsumersaboutthedidgeridoo'ssecularrolein
traditionalAboriginalculture.[2]
TheTaboobeliefisparticularlystrongamongmanyIndigenousgroupsintheSouthEastofAustralia,
whereitisforbiddenandconsidered"culturaltheft"fornonIndigenouswomen,andespeciallyperformers
ofNewAgemusicregardlessofgender,toplayoreventouchadidgeridoo.[2]

Inpopularculture
Thedidgeridooalsobecamearoleplayinginstrumentintheexperimentalandavantgardemusicscene.
IndustrialmusicbandslikeTestDepartmentgeneratedsoundsfromthisinstrumentandusedthemintheir
industrialperformances,linkingecologytoindustry,influencedbyethnicmusicandculture.
ItisveryoftenusedinthemusicprojectNaakhumwhichcombinesExtremeMetalandEthnicmusic.
TheacidjazzbandJamiroquaiwereknownfortheirdidgeridooplayerWallisBuchanan.Intheearlydays
oftheband,manysongsexploredthethemeofecologyandthoseofnativeculturesmarginalizedby
colonisation.Anotablesongfeaturingadidgeridooistheband'sfirstsingle"WhenYouGonnaLearn",

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whichfeaturesprominentdidgeridooplayinginboththe
introductionandsolosections.WhenWallisBuchananlefttheband
in1999,thebandchosenottoreplacehim,andsimplyabandoned
theuseoftheinstrumentintheirmusic.
TheinstrumentiscommonlyusedbyambientartistSteveRoachas
acomplementtohisproducedsoundscapes,inbothliveand
recordedformats.Itfeaturesprominentlyinhiscollaborativework
Australia:SoundoftheEarth(withAustralianAboriginalartist
DavidHudsonandcellistSarahHopkins)aswellasDreamtime
Return.

AprotesteratOccupyWallStreet
playingtheinstrument,September
2011

ItisusedintheIndiansong"JaaneKyon"fromthefilmDilChahta
Hai.
ChrisBrooks,leadsingeroftheNewZealandhardrockbandLikea
Stormusesthedidgeridooinsomeoftheband'ssongsincluding
"LovetheWayYouHateMe"fromtheiralbumChaosTheory:Part
1.
KateBushmadeextensiveuseofthedidgeridoo(playedby
AustralianmusicianRolfHarris)onheralbumTheDreaming,
whichwaswrittenandrecordedafteraholidayinAustralia.

TheinstrumentatOccupyEugene

Healthbenefits
A2005studyintheBritishMedicalJournalfoundthatlearningandpractisingthedidgeridoohelped
reducesnoringandobstructivesleepapneabystrengtheningmusclesintheupperairway,thusreducing
theirtendencytocollapseduringsleep.Inthestudy,interventionsubjectsweretrainedinandpracticed
didgeridooplaying,includingcircularbreathingandothertechniques.Controlsubjectswereaskednotto
playtheinstrument.Subjectsweresurveyedbeforeandafterthestudyperiodtoassesstheeffectsof
intervention.[20]

Seealso
AboriginalCentreforthePerformingArts
Alphorn
Erke
IndigenousAustralianmusic
Listofdidgeridooplayers

Selectedbibliography
AhCheeNgala,P.,CowellC.(1996):HowtoPlaytheDidgeridooandhistory.ISBN0646328409
Chaloupka,G.(1993):JourneyinTime.Reed,Sydney.
Cope,Jonathan(2000):HowtoPlaytheDidgeridoo:apracticalguideforeveryone.ISBN095398110X.

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Jones,T.A.(1967):"Thedidjeridu.Somecomparisonsofitstypologyandmusicalfunctionswithsimilar
instrumentsthroughouttheworld".StudiesinMusic1,pp.2355.
Kaye,Peter(1987):HowtoPlaytheDidjeriduoftheAustralianAboriginalANewcomer'sGuide.
Kennedy,K.(1933):"InstrumentsofmusicusedbytheAustralianAborigines".Mankind(Augustedition),
pp.147157.
Lindner,D.(ed)(2005):TheDidgeridooPhenomenon.FromAncientTimestotheModernAge.Traumzeit
Verlag,Germany.
Moyle,A.M.(1981):"TheAustraliandidjeridu:Alatemusicalintrusion".inWorldArchaeology,12(3),321
31.
Neuenfeldt,K.(ed)(1997):Thedidjeridu:FromArnhemLandtoInternet.Sydney:J.Libbey/PerfectBeat
Publications.

References
1. BrassInstruments,BBC(http://www.bbc.co.uk/dna/h2g2/A9567723)
2. TheDidjeridu:FromArnhemlandtotheInternetPerfectBeatPublishersPg.8998ISBN186462003X
3. KakaduNationalParkRockartstyles(http://www.environment.gov.au/parks/kakadu/culture
history/art/styles.html)
4. Sayers,Andrew(2001)[2001].AustralianArt(OxfordHistoryofArt)(paperback).OxfordHistoryofArt.
OxfordUniversityPress,USA(published19July2001).p.19.ISBN9780192842145.
5. GeorgeChaloupka,JourneyinTime,p.189.
6. "Are"Didjeridu"and"Yidaki"thesamething?".YidakiDhawuMiwatjnurunydja.BukuLarrngayMulkaCentre.
Retrieved14July2011.
7. "It'sasIrishaserdidgeridoo".FlindersJournal.FlindersUniversity.1023June2002.Archivedfromthe
originalon19August2002.Retrieved30October2012.
8. TheDidgeridooandAboriginalCulture(http://aboriginalart.com.au/didgeridoo/what_is.html)Aboriginal
AustraliaArtandCultureCentreofAliceSprings
9. TaylorR.,CloakeJ,andFornerJ.(2002)HarvestingratesofaYolgnuharvesterandcomparisonofselectionof
didjeridubytheYolnguandJawoyn,HarvestingofdidjeridubyAboriginalpeopleandtheirparticipationinthe
industryintheNorthernTerritory(ed.R.Taylor)pp.2531.ReporttoAFFAAustralia.NorthernTerritory
ParksandWildlifeService,DepartmentofInfrastructure,PlanningandEnvironment,Palmerston,NT.
10. McMahon,Charlie.(2004)TheEcologyofTermitesandDidjeridus,TheDidgeridoo:FromAncientTimestothe
ModernAge(ed.DavidLindner)Schnau:TraumzeitVerlag
11. "HowisaYidakiMade?".YidakiDhawuMiwatjnurunydja.BukuLarrngayMulkaCentre.Retrieved14July
2011.
12. WadeMatthews,M.,Thompson,W.,TheEncyclopediaofMusic,2004,pp184185.ISBN0760762430
13. WadeMatthews,M.,AnIllustratedEncyclopediaofMusicalInstruments,2003,LorenzBooks,p95.ISBN978
0754811824
14. ABaines,TheOxfordCompaniontoMusicalInstrumentsOUP1992
15. "DidgeridooBeatboxing".BluePeter(BBC).Retrieved31July2013.
16. Elkin,A.P.(1979)[1938].TheAustralianAborigines.Angus&Robertson.Sydney,NSW.p.290.ISBN0
20713863X.QuotedatManikay.Com(http://www.manikay.com/didjeridu/styles.shtml).Retrieved17April
2011.
17. Womencanplaydidgeridootabooincitessales
(http://www.bushcrafts.com.au/Info_pages/Can_women_play_didgeridoo.html)
18. DidgeridoobookupsetsAborigines,BBC(http://news.bbc.co.uk/1/hi/world/asiapacific/7595515.stm)
19. 'DaringBookforGirls'breaksdidgeridootabooinAustralia
(http://www.independent.co.uk/news/world/australasia/daringbookforgirlsbreaksdidgeridootabooin
australia917751.html)
20. PuhanMA,SuarezA,LoCascioCetal.(2005)."Didgeridooplayingasalternativetreatmentforobstructive
sleepapneasyndrome:randomisedcontrolledtrial".BMJ332(7536):26670.
doi:10.1136/bmj.38705.470590.55.PMC1360393.PMID16377643.
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Externallinks
iDIDJAustralianDidgeridooCulturalHub
WikimediaCommonshas
(http://www.ididj.com.au/)
mediarelatedto
TheDidjeriduW3Server(http://www.dreamtime
Didgeridoos.
didjeriduw3server.com/)
Thephysicsofthedidj(http://www.phys.unsw.edu.au/~jw/dij/dij.html)
Didgeridooacoustics(http://www.phys.unsw.edu.au/jw/didjeridu.html)fromtheUniversityofNew
SouthWales
DatabaseofaudiorecordingsoftraditionalArnhemLandmusic,samplesincluded,manywith
didgeridoo(http://www.manikay.com)
TheDidjeridu:AGuide(http://www.gwiztraining.com/Didj%20Book.pdf)ByJoeChealGeneral
infoonthedidgeridoo,withcitationsandreferences
BioloDidje(http://www.biolodidje.com)(translationsavailable)
YidakiwuyDhawuMiwatjngurunydja(http://www.yidakistory.com/)comprehensivesiteby
traditionalownersoftheinstrument
Retrievedfrom"https://en.wikipedia.org/w/index.php?title=Didgeridoo&oldid=692769996"
Categories: AustralianAboriginalmusic AustralianEnglish Australianmusicalinstruments
Circularbreathing Naturalhorns
Thispagewaslastmodifiedon28November2015,at05:08.
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apply.Byusingthissite,youagreetotheTermsofUseandPrivacyPolicy.Wikipediaisa
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