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The Unforgettable Fire

The Unforgettable Fire is the fourth studio album by Irish rock band U2. It was produced by Brian Eno and Daniel Lanois, and released on 1 October 1984 by Island Records. The band wanted to pursue a new musical direction following the harder-hitting rock of their previous album, War (1983). As a result, they employed Eno and Lanois to produce and assist in their experimentation with a more ambient sound. The resulting change in direction was at the time the band's most dramatic. The album's title is a reference to "The Unforgettable Fire", an art exhibit about the atomic bombing of Hiroshima.

Recording began in May 1984 at Slane Castle, where the band lived, wrote, and recorded to find new inspiration. The album was completed in August 1984 at Windmill Lane Studios. It features atmospheric sounds and lyrics that lead vocalist Bono describes as "sketches". "Pride (In the Name of Love)" and "MLK" are lyrical tributes to Martin Luther King Jr.

The Unforgettable Fire received generally favourable reviews from critics and produced the band's biggest hit at the time, "Pride (In the Name of Love)", as well as the live favourite "Bad". A 25th anniversary edition of the album was released in October 2009.

Background
U2 feared that following the overt rock of their 1983 album War and the War Tour, they were in danger of becoming another "shrill", "sloganeering arena-rock band". Following their concert at Dublin's Phoenix Park Racecourse in August 1983, one of the final dates of the War Tour, lead vocalist Bono spoke in metaphors about the group breaking up and reforming with a different direction. In the 10th issue of U2 Magazine, released in February 1984, Bono hinted at radical changes on the next album saying that he could not "sleep at night with the thought of it all" and that they were "undertaking a real departure". As bassist Adam Clayton recalls, "We were looking for something that was a bit more serious, more arty."

After completing the War Tour in Japan late that year, U2 rehearsed at Bono's seaside home in a Martello tower in Bray, County Wicklow. During this time, early versions of the songs "Pride (In the Name of Love)", "The Unforgettable Fire", and "A Sort of Homecoming" were composed.

U2 had recorded their first three albums at Windmill Lane Studios but decided to find a new location for their next studio album. Clayton lamented the lack of a live room in which the band could play together at Windmill Lane, while the band's manager Paul McGuinness said the studio had barely enough space for people to work. He set to finding a new location and came up with Church Hall in Ranelagh, but he found it overpriced. The band's tour manager Dennis Sheehan also searched for suitable locations and found Slane Castle in County Meath. The building's owner, Lord Henry Mountcharles, offered to lease it to the group for less than half the cost of Church Hall, and also offered lodging and dining for the band and crew on-premises. The castle's Gothic ballroom, which was originally built for music and had a 30-foot high domed ceiling, also attracted the band, as they were looking to capture the natural acoustics of a room in their recordings.

After working with producer Steve Lillywhite on their first three albums, the band sought experimentation rather than to create the "son of War". Both Lillywhite and the group agreed that it was time for a change of producers and that they should not "repeat the same formula". For their next studio album, the band considered hiring Conny Plank, whose previous production credits included Can, Kraftwerk, and Ultravox. U2 also met with Roxy Music producer Rhett Davies, but Clayton said that it "didn't really go anywhere". They also considered Jimmy Iovine, who had produced their live album Under a Blood Red Sky in 1983, but they found their early musical ideas for the new album to be too "European" for an American producer. Iovine thought that he was in line for the job and went so far as to hold a meeting about recording logistics at Slane Castle with his engineer Shelly Yakus and with another engineer Randy Ezratty, whose mobile recording studio U2 would be using once again. However, at the last minute, McGuinness informed Ezratty that they would be proceeding with different producers.

U2 instead had turned their attention to hiring musician/producer Brian Eno. Guitarist the Edge had long admired Eno's music, particularly his ambient and "weird works". The group were also fond of his collaborations with Talking Heads. Eno was hesitant to work with a rock band and when contacted by U2, he told them he was considering retiring from music production to become a video artist. Reluctantly, Eno agreed to meet with the band in Dublin and brought along his engineer Daniel Lanois with the intention of recommending he work with them instead; Lanois had his own ambitions of producing a rock band. When the band played Under a Blood Red Sky to Eno, his eyes "glazed over". The Edge said of him: "I think he was intimidated by the lack of irony in what we were doing. He'd come from Talking Heads, the Rhode Island School of Design, living in New York, and here was this Irish band hitting everything full on, completely earnest, hearts on sleeves, no irony at all." Eno also thought that the group were "frightened of being overpowered by some softness". His doubts were resolved by Bono's persuasiveness and his increasing perception of what he called "U2's lyrical soul in abundance". Eno was impressed by how they spoke, which was not in terms of music or playing, but in terms of their contributions to the "identity of the band as a whole". The band's discussion about pursuing different recording techniques and capturing the ambience of a recording space also piqued his interest. Ultimately, Eno and Lanois agreed to produce the record with the understanding that if Eno's working relationship with U2 was not fruitful, they would still have a solid producer in Lanois on which they could fall back.

Island Records founder Chris Blackwell initially tried to talk U2 out of hiring Eno, believing that just when they were about to achieve the highest levels of success, Eno would "bury them under a layer of avant-garde nonsense". Nick Stewart, also of Island Records, thought the band were "mad". Blackwell instructed him to dissuade U2 from working with Eno; Stewart recalled Blackwell telling him, "You better sort your band out because they're going in a very odd direction." Stewart was unable to change their minds, prompting Blackwell to fly to Dublin to meet with the group. Ultimately, Blackwell too was convinced by Bono's persuasiveness and the band's enthusiasm for the collaboration. Stewart said that in hindsight, the group's decision to stretch themselves and find an extra dimension became the "turning point in their career".

Recording and production
The band arrived at Slane Castle on 7 May 1984 for a month-long recording session. A makeshift control room was set up in the castle's drawing room. Ezratty's company Effanel Music, which recorded U2's concerts in Boston and at Red Rocks Amphitheatre the previous year, was hired to provide their then-unique portable 24-track recording system. The equipment, which came in wheeling flight cases with removable lids, was described by Lanois as a "heavily modified Sound Workshop mixing console with a Stevens [sic] tape recorder". He said it was not the "ultimate technical system" but that the priority was to capture the feeling of the band's music. Ezratty's equipment was set up in the castle's library, dubbed the Chinese Room, with cables running into the adjacent ballroom where the band played. The band and crew lived at the castle during the sessions, helping to foster a camaraderie among them. The site provided a relaxed and experimental atmosphere.

U2 worked long days at the castle, sometimes starting at 10 a.m. and finishing at 1 a.m. Eno, who worked on a more "executive schedule" than other members of the creative team, was focused on creative ideas and conceptual aspects, while Lanois handled the production duties. In Bill Graham's words, Eno's task was to "help [U2] mature a new, more experimental and European musical vocabulary". Eno was glad that the group began the sessions with only rough sketches of songs, as he was more interested in encouraging experimentation and improvisation than refining their ideas. To that end, he often created atmospheric compositions on a synthesiser that were intended to inspire U2 and Lanois to play along with. Bono and the Edge, who the singer described as the "more cerebral" members of the band, were particularly drawn to Eno's ideas. The band's experiments produced 15 additional pieces of music. The Edge said that they "didn't object to [Eno] taking liberties with what [they] had achieved up to that point", adding: "We were eager to learn and not precious at all about our sound or the way we worked. We threw ourselves wholeheartedly into this different approach." According to the Edge, Eno's points of reference were philosophy and contemporary art, and he was not beholden to the standard schools of thought in rock music. The producer encouraged U2 to work on their more unconventional material, "champion[ing] the songs that didn't seem very U2-ish or things that had strong beginnings but no clear destination". As a result, he did not take much interest in songs like "Pride (In the Name of Love)" or "The Unforgettable Fire". Lanois would "cover for him" such that the two balanced each other out.

Since U2 had primarily been interested in working with Eno, Lanois was initially viewed as an "interloper", which caused tension at the start of the sessions, according to Ezratty. Once the band realised his musical talents, they embraced him as a fellow collaborator. As a songwriter and multi-instrumentalist, Lanois understood musical notation and was able to simplify the songwriting process for them. Drummer Larry Mullen Jr. in particular enjoyed working with Lanois, as the producer took an interest in the band's rhythm section, which Mullen felt had been neglected on their past recordings. Mullen called himself "not technically proficient" and appreciated Lanois spending time to develop his skills and encourage different approaches to playing drums. The producer convinced Mullen to utilise timbales and two types of snare drums (one being a piccolo snare) in his drum kit, and he explained how to use brushes and tom-toms on various drum parts. The crew also experimented with distant miking of his drum kit, placing microphones up to 60 feet away. Mullen eschewed wearing headphones while playing and instead used monitor speakers, which caused audio spill issues with other microphones in the recording space.

The Edge said that the band's plan for recording at Slane was rather than working in the "dead, acoustic atmosphere" of a studio and "trying to revitalise the recorded work using effects and reverberation and all the standard music trappings, we would go into a very live room and try to do the opposite—try and tame what would be a wild sound". Lanois originally intended for the band to record entirely in the ballroom, which he described as a "beautiful very tall room with big mirrors, chandeliers and windows overlooking the river". Shortly after their arrival, the team realised that the ballroom had too much natural reverberation, necessitating the addition of sound absorption materials such as drapes to the walls. Lanois said the room was only suitable for songs with "openness but not good for tracks that were quick and required punch", while crew member Stephen Rainford said, "Okay for chamber music, but no good for rock and roll". Consequently, most of the recording took place in the library, which was smaller, rectangular, filled with books, and provided improved sound quality. Lanois said the room helped them "achieve a denser more powerful sound" on their recordings. Adding to the recording challenges was the water wheel generator on River Boyne that powered the building. During low tide or periods of no rain, there was not sufficient power to keep their recording equipment operational. Ezratty said, "When that stupid river started to run low, the voltage would go down and it would beat the crap out of my equipment." As a backup, the team were forced to make use of an old diesel generator, which at times broke down or caught fire.

The Edge was encouraged by Eno to think of the studio as an instrument and to expand the range of his guitar tones, resulting in experiments with his equipment and guitar playing techniques. The producer processed the Edge's guitar through an AMS harmonizer effects unit, a Lexicon Prime Time delay unit, and a reverb chamber; Lanois at times confused the guitar sounds for keyboards. The Edge also used an EBow, a slide with echo, alternative guitar tunings, and a "zero sustain" technique that muted his strings with tape across the bridge. He experimented with the placement and miking of his guitar amplifier. At times, it was situated outside on the balcony encircling the castle, with close miking and, when it rained, a plastic cover to shield it. This placement was originally done for sound isolation purposes, but ended up producing a good sound. Other times, his amplifier was placed at the bottom of a staircase, with one microphone there and another placed at the top of the staircase.

A Fairlight CMI synthesiser was used during the demoing phase out of convenience to help fill in placeholder textures and string ideas, marking the first time the instrument had been used on a U2 album. These textures were later replaced with actual string arrangements, although the Fairlight CMI was kept on one song. Clayton said the synthesiser "was only really used as a means to an end, to see if an idea worked". Eno contributed synthesiser parts on a Yamaha DX7, while he and the Edge also played a Yamaha CP-70 electric grand piano.

Bono recorded his vocals on Neumann U47 and U67 and AKG C-12 microphones. Lanois said that they captured a warm sound and a "bottom end and depth" to Bono's vocals. For "Promenade", one of the first songs for which vocals were recorded, Lanois encouraged Bono to sing quieter by increasing the volume of his vocals in his headphones. By doing so, the producer was able to force Bono to "draw on the fine points of the voice".

The band finished recording at Slane Castle on 5 June and began a second phase of the recording sessions at Windmill Lane Studios the following day. Their original intent was to record the backing tracks at Slane before overdubbing and mixing at Windmill Lane. Clayton said this was because the mobile recording equipment did not offer them as many options or treatment possibilities as a traditional studio mixing console would. However, the group ended up crafting their songs at Windmill Lane more than they originally anticipated, including re-recording "Pride (In the Name of Love)". The Edge reflected that when recording at a new location such as Slane, it took them a few weeks to "get in to the momentum of the new creative surrounding". Lanois said that in hindsight the recording sessions were "split in a slightly off-balanced fashion", with too much time being dedicated to experimenting and not enough to fundamental recording. Within the band, there were concerns that their material recorded at Slane was too skeletal to consider completing yet, prompting them to re-evaluate and in some cases re-record it. Eno, on the other hand, was more interested in recording as few takes as possible and preserving the rough, spontaneous nature of the music. Clayton said that Eno would get easily bored if he had nothing to do, while Mullen said he was impatient with U2's creative process. Tension grew between them and the production team, largely because the band "weren't at a point where [they] could finish anything".

Throughout the recording sessions, Bono had been ad-libbing his vocals, without completing lyrics. Mullen explained that the group's reliance on Bono to help complete the musical composition of their songs took time away from him to work on the lyrics independently: "While recording, we seemed to do our best work when we were in the room together. We depended on Bono to be there, every step of the way. He had to be singing something, anything, to get the song finished. When Bono came in and strapped on a guitar or started to sing, the band responded... A song recorded in the room with Bono and a song recorded without him could be very different animals altogether." Whereas Bono wanted to finalise the lyrics, Eno, Lanois, and the Edge advocated preserving the improvised nature of his vocals, telling the singer, "Why write lyrics?... I'm getting the feeling from this." In retrospect, Bono lamented leaving the lyrics to songs like "Bad" and "Pride (In the Name of Love)" as incomplete "sketches".

Twelve days before the deadline to complete the record, Bono told his bandmates he did not think he would be able to finish the lyrics in time, creating a panic internally. McGuinness reminded the group of their commitment to tour Australia and New Zealand in less than a month, and that the producers and studio would not be available afterwards. To complete the album, the band worked 20-hour days for the final two weeks; Eno worked the first half of days, while Lanois worked the second half. Eno departed before the album was completed, leaving Lanois to oversee the final mixes. On their final day in the studio, the band worked overnight to complete the album by 7–8 a.m. on 5 August. As Lanois was preparing to depart for London with the album tapes for mastering, Bono expressed interest in recording another take of his vocals for "A Sort of Homecoming". With his taxi to the airport waiting outside, Lanois cued up the tapes for Bono to record one final vocal take. Lanois told the band he would mix it in London and then departed, delivering the tapes for mastering in the basement of Blackwell's offices.

Portions of the recording sessions were filmed by Barry Devlin and his crew for an RTÉ-TV documentary. The 30-minute programme, The Making of The Unforgettable Fire, was released in 1985 on VHS as part of The Unforgettable Fire Collection. Devlin said that he did not think the band and crew had thought through the logistics and access required for a film crew to document the making of the album. He often encountered "No Entry" signs on doors and windows when attempting to film the group, forcing him to take a more artful, impressionistic approach to the documentary.

Composition
A far more atmospheric album than the previous War, The Unforgettable Fire was at the time the band's most dramatic change in direction. It has a rich and orchestrated sound and was the first U2 album with a cohesive sound. Under Lanois's direction, Mullen's drumming became looser, funkier and more subtle, and Clayton's bass became more subliminal, such that the rhythm section no longer intruded, but flowed in support of the songs. Eno's atmospheric production, along with more experimental song structures, lent the album an "art-rock sensibility" and "atmospheric rock" style that departed from U2's "hard-hitting post-punk roots", according to Paste magazine's Luke Larson. Both Stereogum and Entertainment Weekly also observed art rock on the album, while The Austin Chronicle's Christopher Gray said "the rich textures, impressionistic tableaux, and cinematic landscapes" may not be "art rock per se", but still "served to distance U2 even further from their post-punk peers".

The opening track, "A Sort of Homecoming", immediately shows the change in U2's sound. Like much of the album, the hard-hitting martial drum sound of War was replaced with a subtler polyrhythmic shuffle, and the guitar was no longer as prominent in the mix. Typical of the album, the track "The Unforgettable Fire", with a string arrangement by Noel Kelehan, has a rich, symphonic sound built from ambient guitar and driving rhythm, along with a lyrical "sketch" that is an "emotional travelogue" with a "heartfelt sense of yearning". The band cited a travelling Japanese art exhibit of the same name as inspiration for both the song and album title. The exhibition, which the band attended in Chicago, commemorated the victims of the bombing of Hiroshima. However, the open-ended lyric, which Bono says "doesn't tell you anything", does not directly reference nuclear warfare. Rather, the lyrics are about travelling to Tokyo.

The album's lyrics are open to many interpretations, which alongside its atmospheric sounds, provides what the band often called a "very visual feel". Bono had recently been immersing himself in fiction, philosophy and poetry, and came to realise that his song writing mission—which up to that point had been a reluctant one on his behalf—was a poetic one. Bono felt songs like "Bad" and "Pride (In the Name of Love)" were best left as incomplete "sketches", and he said that "The Unforgettable Fire was a beautifully out-of-focus record, blurred like an impressionist painting, very unlike a billboard or an advertising slogan."

The melody and the chords to "Pride (In the Name of Love)" originally came out of a 1983 War Tour sound check in Hawaii. The song was originally intended to be about Ronald Reagan's pride in America's military power, but Bono was influenced by Stephen B. Oates's book about Martin Luther King Jr. titled Let The Trumpet Sound: A Life of Martin Luther King, Jr. and a biography of Malcolm X to ponder the different sides of the civil rights campaigns, the violent and the non-violent. Bono would revise the lyrics to pay tribute to King. "Pride" went through many changes and re-recordings, as captured in a documentary included on The Unforgettable Fire Collection video. "Pride" is the most conventional song on the album—Tony Fletcher of Jamming! magazine said at the time it was the most commercial song U2 had written—and it was chosen as the album's first single.

On "Wire" Bono tried to convey his ambivalence to drugs. It is a fast-paced song built on a light funk drum groove. The song shows the influence of Talking Heads, with whom Eno had worked. Much of the song was improvised by Bono at the microphone.

The ambient instrumental "4th of July" came about almost entirely through a moment of inspiration from Eno. At the end of a studio session, Eno overheard Clayton improvising a simple bass figure and recorded it "ad hoc" as it was being played. The Edge happened to join in, improvising a few guitar ideas over the top of Clayton's bass; neither knew they were being recorded. Eno added some treatments and then transferred the piece straight to two-track master tape—and that was the song finished, with no possibility of further overdubs.

Bono tried to describe the rush and then come down of heroin use in the song "Bad".

"Elvis Presley and America" is an improvisation, based on a slowed-down backing track from "A Sort of Homecoming", that takes the album's emphasis on feeling over clarity to its furthest extreme. Another song, "Indian Summer Sky", was a social commentary on the prison-like atmosphere of cities rather than living in a world of natural forces.

The sparse, dreamlike "MLK" was written as an elegy to King.

Release and promotion
The Unforgettable Fire was released on 1 October 1984. The album took its name and much of its inspiration from a Japanese travelling exhibition of paintings and drawings at The Peace Museum in Chicago by survivors of the atomic bombs at Hiroshima and Nagasaki, Japan. The band spent a few days driving around Ireland with photographer Anton Corbijn looking for potential locations. The castle depicted on the cover is Moydrum Castle. The band liked the image's ambiguity and the Irish mysticism they saw in it. The photograph, however, was a virtual copy of a picture on the cover of a 1980 book In Ruins: The Once Great Houses of Ireland by Simon Marsden. It was taken from the same spot and used the same photographic techniques, but with the addition of the four band members. For this copyright infringement, the band had to pay an unknown sum to Marsden.

"Pride (In the Name of Love)" was released as the album's lead single in September 1984, and it was at that point the band's biggest hit. It cracked the UK Top 5 and the U.S. Top 40 and would ultimately become the group's most frequently played song in concerts.

"The Unforgettable Fire" was released as the second single in April 1985. The song became the band's third Top 10 hit in the UK, reaching number six on the UK Singles Chart and number 8 on the Dutch singles chart, but did not perform as well in the U.S.

Critical reception
Upon its release, reviews were generally favorable. Paul Du Noyer of NME praised the album and the new Eno–Lanois production team. The review said: "The old four-square rock unit has been deconstructed. In its place there's a panoramic soundscape, multiple textures, subtle shifts in emphasis." Tony Fletcher from Jamming! said it was not "an album full of hits. [It is however] a forceful collection of atmospheric ideas and themes, forgettable at first but strangely haunting and soon firmly implanted." Fletcher added that Eno's production removed some of the "heavy metal" from U2 and replaced "emotion [as] the driving force". Hot Press hailed the arrival of producer Brian Eno as "a bold move". Reviewer Liam Mackey said that the album was "rich and rewarding".

In Melody Maker, Adam Sweeting said "The Unforgettable Fire is the other side of the coin from War. Where the latter opened with the shattering paramilitary drumbeat of 'Sunday Bloody Sunday',... Fire launches into the long shimmer of 'A Sort Of Homecoming,' whose sort-of-mystical lyric adorns the romantic maroon-and-gold sleeve. The fact is, if you bring your established conception of U2 to this record, you'll be disappointed." Kurt Loder was more critical in Rolling Stone: "U2 flickers and nearly fades, its fire banked by a misconceived production strategy and occasional interludes of soggy, songless self-indulgence. This is not a 'bad' album, but neither is it the irrefutable beauty the band's fans anticipated." The Village Voice critic Robert Christgau felt Bono's moralizing and "wild romantic idealism" proved careless, specifically on "Pride" and "Elvis Presley and America", but concluded that those qualities work well enough for him throughout the rest of the album "to make a skeptic believe temporarily in miracles". At the end of 1984, it was voted the 29th best record of the year in the Pazz & Jop, an annual poll of American critics published in The Village Voice.

Touring
In support of the album, the band embarked on a worldwide concert tour, the Unforgettable Fire Tour, which saw U2 shows moving into indoor arenas in the United States. Consisting of six legs and 112 shows, the tour commenced in New Zealand in August 1984 where translating the elaborate and complex textures of the new studio-recorded tracks to live performance proved to be a serious challenge. One solution was programmed sequencers, which the band had previously been reluctant to use. Sequencers were prominently used on songs like "The Unforgettable Fire" and "Bad"; sequencers are now used on the majority of U2 songs in live performances. Songs criticised as being "unfinished", "fuzzy" and "unfocused" on the album made more sense on stage. Rolling Stone magazine, for example, critical of the album version of "Bad", described its live performance as a "show stopper".

In March 1985, a Rolling Stone cover story called U2 the "Band of the 80's," saying that "for a growing number of rock-and-roll fans, U2 have become the band that matters most, maybe even the only band that matters." In July 1985, U2 participated in the Live Aid benefit concert at Wembley Stadium for Ethiopian famine relief. Their performance was one of the show's most memorable; during a 12-minute performance of the song "Bad", Bono climbed down from the stage to embrace and dance with a female fan he had picked out of the crowd. The length of the song's performance cut their set short by a song. Although the group initially believed they had "blown it", it was, in fact, a breakthrough moment for them, showing a television audience of millions the personal connection that Bono could make with fans. All of U2's previous albums returned to the charts in the UK after their performance.

Legacy
Retrospectively, Bill Graham of Hot Press wrote in 1996 that The Unforgettable Fire was U2's most pivotal album and that it was "their coming of age that saved their lives as a creative unit." Niall Stokes, also of Hot Press, said that "one or two tracks were undercooked" due to the deadline crush but that it was the group's "first album with a cohesive sound" on which "U2 were reborn". By contrast, it was also included in the 1991 book The Worst Rock and Roll Records of All Time. In 2009, reviewing the album's deluxe edition, Will Hermes of Rolling Stone dubbed the album a "transitional, hit-or-miss set", but noted, "When things click, it bridges [War]'s fight-the-power arena rock with the texture fetishism of... The Joshua Tree." Ryan Dombal of Pitchfork praised The Unforgettable Fire as "a transitional album of the highest magnitude" which "ebbs and flows along the spectrum between the spiky, post-punk U2 of old and the impressionistic, Eno-assisted U2 they were yearning to become." In 2023, Robert Crawford of American Songwriter ranked The Unforgettable Fire U2's fourth-best album, calling it "soft-hued and shimmering, balanced equally between moody song sketches and sharply-written singles" and crediting the change in producers for contributing to the band's development.

Track listing
Notes In 1995, Mobile Fidelity Sound Lab remastered the album and released it as a special gold CD. This edition has slightly different running times, most notably an extended 2:39 version of the instrumental "4th of July".

In 1985, the band also released the supplementary Wide Awake in America EP, which offers live performances of "Bad" and "A Sort of Homecoming" along with two B-sides (previously unavailable in North America).

Personnel
U2
 * Bono – lead vocals, guitar
 * The Edge – guitar, keyboards, backing vocals
 * Adam Clayton – bass guitar
 * Larry Mullen Jr. – drums

Additional musicians
 * Brian Eno – additional vocals, instruments, treatments
 * Daniel Lanois – additional vocals, instruments, treatments
 * Paul Barrett – Fairlight
 * Chrissie Hynde – backing vocals on "Pride (In the Name of Love)" (thanked as "Mrs. Christine Kerr" on the record sleeve)
 * Peter Gabriel – vocals on "A Sort of Homecoming" (Daniel Lanois Remix)

Technical
 * Daniel Lanois – production, engineering
 * Brian Eno – production, engineering
 * Kevin Killen – additional engineering
 * Randy Ezratty – assistant engineering
 * Noel Kelehan – string arrangements
 * Steve Averill – sleeve design
 * Anton Corbijn – sleeve design, photography

The Unforgettable Fire Collection
In 1985, The Unforgettable Fire Collection was released. The 51-min VHS compilation contained the album's music videos and a 30-minute making-of documentary of the album. James Morris is credited as producer. The documentary was later included as a bonus feature on the band's live video release, U2 Go Home: Live from Slane Castle, as the site of the concert film—Slane Castle—was also depicted in the documentary.

 * 1) "The Unforgettable Fire" – directed by Meiert Avis
 * 2) "Bad" (Live Video) – directed by Barry Devlin
 * 3) "Pride (In the Name of Love)" (Sepia Version) – directed by Donald Cammell
 * 4) "A Sort of Homecoming" (Live Video) – directed by Barry Devlin
 * 5) The Making of the Unforgettable Fire documentary – directed by Barry Devlin
 * 6) "Pride (In the Name of Love)" (Slane Castle Version) - directed by Barry Devlin

25th anniversary edition
The record's 25th anniversary was marked by the release of a remastered edition on 27 October 2009 through Mercury Records. The album's remastering was directed by the Edge, who also directed the remastering of the band's previous releases. Four physical editions of the album were made available, two of which contain a bonus CD, and one with a DVD. The bonus CD features B-sides from the album, live tracks and two previously unreleased songs: "Disappearing Act" and "Yoshino Blossom". The DVD features the same material as the original VHS version.

The four editions are as follows:
 * CD format – Remastered album on CD
 * Deluxe Edition – Remastered album on CD, bonus CD, and 36-page booklet
 * Limited Edition Box Set – Remastered album on CD, bonus CD, DVD, 56-page hardback book, and five photographs
 * 12" vinyl format – Remastered album on a gramophone record and 16-page booklet

Bonus DVD
In addition to the music videos and documentary from The Unforgettable Fire Collection, the DVD includes:
 * U2 live at Amnesty International's A Conspiracy of Hope concert – Giants Stadium, New Jersey, United States – Sunday 15 June 1986
 * 1) "MLK"
 * 2) "Pride (In the Name of Love)"
 * 3) "Bad"
 * U2 live at Live Aid – Wembley Stadium, London, United Kingdom – Saturday 13 July 1985
 * 1) "Sunday Bloody Sunday"
 * 2) "Bad"
 * "Pride (In the Name of Love)" Sepia music video, directed by Donald Cammell
 * "11 O'Clock Tick Tock" – Bootleg version, live from Croke Park, 29 June 1985

title: The Unforgettable Fire


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Thomas Willing

Thomas Willing (December 19, 1731 – January 19, 1821) was an American merchant, politician and slave trader who served as mayor of Philadelphia and was a delegate from Pennsylvania to the Continental Congress. He also served as the first president of the Bank of North America and the First Bank of the United States. During his tenure there he became the richest man in America.

Early life
Thomas Willing was born in Philadelphia, the son of Charles Willing (1710–1754), who twice served as mayor of Philadelphia, and Anne Shippen (1710-1791), granddaughter of Edward Shippen, who was the second mayor of Philadelphia. His brother, James Willing, was a Philadelphia merchant who later served as a representative of the Continental Congress and led a 1778 military expedition to raid holdings of British loyalists in Natchez, Mississippi.

Thomas completed preparatory studies in Bath, England, then studied law in London at the Inner Temple.

Career
In 1749, after studying in England, he returned to Philadelphia, where he engaged in mercantile pursuits in partnership with Robert Morris. They established the firm Willing, Morris and Company in 1757, which exported flour, lumber and tobacco to Europe while importing sugar, rum, molasses, and slaves from the West Indies and Africa. Their partnership continued until 1793. Willing himself owned slaves, three in 1779, but none in 1782.

He was elected to the revived American Philosophical Society in 1768. According to Pennsylvania tax records, Willing owned three enslaved people in 1769, but none as of 1782.

Political career
A member of the common council in 1755, he became an alderman in 1759, associate justice of the city court on October 2, 1759, and then justice of the court of common pleas February 28, 1761. Willing then became Mayor of Philadelphia in 1763. In 1767, the Pennsylvania Assembly, with Governor Thomas Penn's assent, had authorized a Supreme Court justice (always a lawyer) to sit with local justices of the peace (judges of county courts, but laymen) in a system of Nisi Prius courts. Governor Penn appointed two new Supreme Court justices, John Lawrence and Thomas Willing. Willing served until 1767, the last under the colonial government.

A member of the Committee of Correspondence in 1774 and of the Committee of Safety in 1775, he served in the Continental Congress. In 1775 and 1776 he voted against the Declaration of Independence, but later subscribed £5,000 to supply the revolutionary cause.

Banker
From 1781 to 1791, Willing served as president of the Bank of North America, preceding John Nixon. In 1791, President George Washington appointed Willing along with two others as commissioners of the newly created First Bank of the United States. He was elected president of the bank later that year, and during his tenure, he became the richest man in America. In August 1807, Willing suffered a slight stroke, and within a few months, he resigned his position with the bank for health reasons.

Personal life
In 1763, Willing married Anne McCall (1745–1781), daughter of Samuel McCall (1721–1762) and Anne Searle (1724–1757). Together, they had thirteen children, including:
 * Anne Willing (1764–1801), who married William Bingham (1752–1804)
 * Thomas Mayne Willing (1767–1822), who married Jane Nixon (1775–1823)
 * Elizabeth Willing (1768–1858), who married William Jackson (1759–1828)
 * Mary Willing (1770–1852), who married Henry Clymer (1767–1830)
 * Dorothy Willing (1772–1842), who married Thomas Willing Francis, a cousin
 * George Willing (1774–1827), who married Rebecca Harrison Blackwell (1782–1852)
 * Richard Willing (1775–1858), who married Eliza Moore (1786–1823)
 * Abigail Willing (1777–1841), who married Richard Peters (1780–1848).

Willing died in 1821 in Philadelphia, where he is interred in Christ Church Burial Ground.

Descendants
Willing was the great-uncle of John Brown Francis (1791–1864), who was a governor and United States Senator from Rhode Island.

Willing was also the grandfather of Ann Louisa Bingham (b. 1782), who married Alexander Baring, 1st Baron Ashburton (1774–1848), in 1798, and Maria Matilda Bingham (1783–1849), who was briefly married to Jacques Alexandre, Comte de Tilly, a French aristocrat and later married her sister's brother-in-law, Henry Baring (1777–1848), until their divorce in 1824. Maria later married the Marquis de Blaisel in 1826. Their brother, and Willing's grandson, William Bingham (1800–1852) married Marie-Charlotte Chartier de Lotbiniere (1805–1866), the second of the three daughters and heiresses of Michel-Eustache-Gaspard-Alain Chartier de Lotbinière by his second wife Mary, daughter of Captain John Munro, in 1822.

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

title: Thomas Willing


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Tillman

Tillman is a surname and given name of English origin and an Americanized spelling of Tillmann. Other variants of the name include Tilman and Dillman. Notable people with the name Tillmann include:

Surname

 * Albert Tillman (1928–2004), American educator, underwater diver, and author
 * Alex Tillman (born 1991), Canadian football player
 * Andre Tillman (born 1952), American football player
 * Andy Tillman (born 1952), Oregon llama rancher, businessman, and author
 * Barrett Tillman (born 1948), military historian and author
 * Benjamin Tillman (1847–1918), governor and U.S. Senator from South Carolina
 * Bob Tillman (1937–2000), American baseball player
 * Cedric Tillman (disambiguation), multiple people
 * Charles Tillman (born 1981), American football player
 * Charles Davis Tillman (1861–1943), gospel musician
 * Chris Tillman (born 1988), American baseball pitcher
 * Darryl Tillman (born 1967), American football player
 * Dick Tillman (1936–2020), American sailor
 * Dorothy Tillman (born 1947), American politician and civil rights activist
 * Emma Tillman (1892–2007), American supercentenarian
 * Eric Tillman (born 1957), Canadian football general manager
 * George D. Tillman (1826–1902), South Carolina politician, brother of Benjamin
 * Georgeanna Tillman (1944–1980), American singer
 * Harrel Tillman (1925–1998), American actor, lawyer and judge
 * Harold Tillman (born 1945), English retail entrepreneur and investor
 * Henry Tillman (born 1960), American boxer
 * James Tillman (disambiguation)
 * James Tillman (baseball) (1919–2009), Negro league baseball player
 * James Calvin Tillman, American former prisoner, exonerated of the crime for which he was imprisoned
 * James D. Tillman (1841–1916), American Treasury official and politician
 * James Fount Tillman (1854–1899), American diplomat and politician
 * James H. Tillman (1869–1911), former Lieutenant Governor of South Carolina
 * Jerome Tillman (born 1987), American basketball player
 * Jerry W. Tillman (1940-2023), American politician
 * John Tillman (disambiguation)
 * John Tillman (athlete) (born 1965), American triple jumper
 * John Tillman (lacrosse) (born c. 1970), American lacrosse coach
 * John Tillman (policy), American nonprofit executive
 * John Tillman Lamkin (1811–1870), American politician
 * John N. Tillman (1859–1929), U.S. Representative from Arkansas
 * John T. Tilman (1845–1905), American politician in the Virginia House of Delegates
 * Johnny Tillman (1893–1964), Major League Baseball player
 * Josh Tillman (born 1981), American singer-songwriter
 * Juliann Jane Tillman, American preacher
 * Justin Tillman (born 1996), American basketball player
 * Katherine D. Tillman (1870–1923), American writer
 * Larry Tillman (fl. 1934–1950), an American professional wrestler and promoter
 * Lewis Tillman (1816–1886), American politician
 * Lynne Tillman (born 1947), novelist, short story writer, and cultural critic
 * Malik Tillman (born 2002), footballer
 * Martin Tillman (born 1964), Swiss cellist and composer
 * Mary Tillman Smith (1904–1995), American artist
 * Nancy Tillman (born 1954), American author and illustrator
 * Ontario Tillman, member of the Alabama House of Representatives
 * Pat Tillman (1976–2004), American football player and soldier
 * Paula Gately Tillman (born 1946), American photographer
 * Pete Tillman (1922–1998), American football coach
 * Richard J. Tillman (1911–1983), American politician
 * Rusty Tillman (1946–2021), American football player
 * Samuel Escue Tillman (1847–1942), American military educator and author
 * Spencer Tillman (born 1964), American football player
 * Thore Tillman (1915–2004)
 * Timothy Tillman (born 1999), footballer
 * Tony Tillman (born 1981), American musician
 * Travares Tillman (born 1977), American football player
 * Wheeler Mellette Tillman (born 1941), American politician
 * William Tillman (1830s–?), American mariner
 * Xavier Tillman (born 1999), American basketball player

Given name

 * Tillman Davis Johnson (1858–1953), United States District Judge for the District of Utah
 * Tillman Sease (1916–1988), American football and baseball coach

title: Tillman


text: User talk:81.153.41.60

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text: User talk:203.202.144.223

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Skate or Die

Skate or Die may refer to:
 * Skate or Die!, a 1987 video game
 * Skate or Die (film), a 2008 French action film
 * Gleaming the Cube, a 1989 film also known as Skate or Die
 * "Skate or Die", a 2009 episode of Law and Order

title: Skate or Die


text: User talk:4.65.10.181

title: User talk:4.65.10.181


text: User talk:65.197.217.182

title: User talk:65.197.217.182


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USS Kilty

USS Kilty (DD–137) was a Wickes-class destroyer in the United States Navy. She was the first ship named for Admiral Augustus Kilty.

Kilty was launched 25 April 1918 by the Mare Island Navy Yard, Vallejo, California; sponsored by Miss Elizabeth Harrison Shapley; and commissioned 17 December 1918.

Service history
After a Caribbean shakedown and a European cruise during the summer of 1919, Kilty returned to San Diego and operated there until she decommissioned 5 June 1922.

World War II
Kilty recommissioned 18 December 1939, and in April 1940 sailed on Neutrality Patrol out of San Diego. During the summer, she conducted reserve training cruises and resumed her patrols early in September. The destroyer continued these operations until the United States entered World War II. Then, Kilty intensified ASW patrols, trained armed-guard crews for merchantmen, and escorted coastal convoys throughout 1942.

Reclassified APD-15 on 2 January 1943, Kilty cleared Mare Island 2 March for the South Pacific. After arriving Noumea 8 April with a Marine Raiders battalion, the transport steamed toward Guadalcanal as an ASW screen 28 April. She made similar cruises until June when she reported for patrol and escort duty in the Solomons. Kilty played a vital role in the conquest of the Solomons, landing troops of the 37th Division on New Georgia Island 30 June and 4 July. Continuing operations in the area, she made three reinforcement runs up the "Slot" during July and landed troops on Vella Lavella Island 15 August.

As Allied operations built up momentum, Kilty moved on to the Treasury Islands Campaign. She successfully landed New Zealand troops on Stirling Island 27 October and a Marine force on Bougainville 9 days later, enabling Allied Forces to bypass Rabaul. Kilty effectively aided this campaign in three more landings before sailing for Brisbane 21 November.

Returning Milne Bay in mid-December, the transport began preparing for the assault on the Bismarck Archipelago. Kilty landed units of the 7th Marine Regiment for the initial attack on Cape Gloucester, New Britain 26 December. Following two more landings there, she sent troops ashore at Saidor 2 January 1944 to take an air strip which would help the Air Force patrol and support Cape Gloucester. Kilty's next objective was Green Island, where she landed troops on 15 and 20 February before returning to Port Purvis on Florida Island in the Solomons.

Following an unopposed assault on Emirau Island 20 March, the transport prepared for the Hollandia campaign. Completing landings at Aitape 22 April, Kilty then participated in New Guinea landings, including Wakde 17 May and Biak 10 days later before putting into Humboldt Bay 28 May.

After a minor overhaul at Milne Bay, she landed troops on Cape Sansopor 30 July before sailing to Sydney. Returning to Humboldt Bay 30 August, Kilty landed troops on Morotai 15 September to complete her operations in New Guinea area. Kilty departed Hollandia 12 October as part of the spearhead for the giant Leyte assault that bore down on the enemy like a typhoon. In the advance assault force she landed rangers on Dinagat in the entrance to Leyte Gulf 17 October to pave the way for the main Philippine invasion. While Kilty was returning to Hollandia 23 October, the U.S. Fleet was crushing the Japanese Navy in the famous battle for Leyte Gulf.

During another cruise to Leyte in mid-November, the transport splashed two Aichi D3A "Vals" before they could crash into American LSTs. Continuing operations in the strategic Philippines, Kilty landed troops 15 December in the invasion of Mindoro, and on 11 January 1945 supported the Luzon landings. She made additional landings at Nasugbu 31 January and at Corregidor in mid-February before sailing for Ulithi 25 February for overhaul.

Battle-proven Kilty cleared Ulithi 2 April as escort to four escort carriers ferrying planes to the Okinawa beachhead. During May she made another escort cruise from Saipan to Okinawa, and on the 4th rescued survivors from USS Luce (DD-522) sunk during a kamikaze attack. With the Okinawa campaign well under way, Kilty departed Guam 17 May and arrived San Diego 18 June for overhaul. Redesignated DD-137 on 20 July 1945, Kilty was still in the yard as the war came to an end. The veteran destroyer decommissioned 2 November 1945, and was sold 26 August 1946 to the National Metal & Steel Corporation for scrapping.

Awards
Kilty received ten battle stars for World War II service.

As of 2009, no other ship in the United States Navy has borne this name.

title: USS Kilty


text:
Talk:Newbury Street

Old discussion
Newbury street was not considered worthy of mention in Edwin M. Bacon's 1903 Boston: A Guide-Book, nor in Rand McNally's 1924 Boston Guide to Places of Interest in the City and Environs. [[User:Dpbsmith|Dpbsmith (talk)]]
 * because when those books were written, YOU COULDN'T MISS THE STREET, and in the Rand McNally book, go look up the famous "exeter theater", one of the country's most famous theaters (built in 1910(?)).
 * 1914, apparently. I saw at least one movie there when I was in college. [[User:Dpbsmith|Dpbsmith (talk)]] 19:47, 19 Oct 2004 (UTC)

Donlyn Lyndon?
It should be explained who this person is seeing that they are given such a huge amount of space for their quote. This article needs a good amount of work.Dough007 (talk) 05:08, 15 February 2008 (UTC).

I believe...
Doesn't Newbury Street continue beyond Mass Ave? I recall reading about this, most people ignore the part past Mass Ave because the southern half of the road was blown a away when they built the Pike. --Jeremy (blah blah • I did it!) 05:26, 28 July 2009 (UTC)

title: Talk:Newbury Street


text:
Sixth Dynasty of Egypt

The Sixth Dynasty of ancient Egypt (notated Dynasty VI), along with the Third, Fourth and Fifth Dynasty, constitutes the Old Kingdom of Dynastic Egypt.

Pharaohs
Known pharaohs of the Sixth Dynasty are listed in the table below. Manetho accords the dynasty 203 regnal years from Teti to Nitocris, while the Turin Canon assigns 181 regnal years, but with three additional kings concluding with Aba – discounting the reigns of the added Eighth Dynasty kings, this is reduced to 155 regnal years. This estimate varies between both scholar and source.

History
The Sixth Dynasty is considered by many authorities as the last dynasty of the Old Kingdom, although The Oxford History of Ancient Egypt includes Dynasties VII and VIII as part of the Old Kingdom. Manetho writes that these kings ruled from Memphis, since their pyramids were built at Saqqara, very close one to another.

By the Fifth Dynasty, the religious institution had established itself as the dominant force in society; a trend of growth in the bureaucracy and the priesthood, and a decline in the pharaoh's power had been established during Neferirkare Kakai's reign. During Djedkare Isesi's rule, officials were endowed with greater authority—evidenced by the opulent private tombs they constructed—eventually leading to the creation of a feudal system in effect. These established trends—decentralization of authority, coupled with growth in bureaucracy—intensified during the three decades of Unas's rule, which also witnessed economic decline. This continued on into Sixth Dynasty, leading into the First Intermediate Period.

Teti
Teti is identified as the first king of the Sixth Dynasty by Manetho, after the conclusion of the reign of Unas. He acceded to the throne in the 23rd century BC.

Teti is assigned a regnal duration of 30 or 33 years by Manetho — improbably long as the celebration of a Sed festival is not attested to, and the latest date recorded corresponds to the sixth cattle count, 12 or 13 years into his reign. The Royal Canon of Turin (RTC) gives another unlikely estimate of seven months. The archaeologist Hartwig Altenmüller mediates between Manetho and the record of the cattle count to offer a reign length of around 23 years. The Egyptologists Peter Clayton and William Smith accord 12 years to his reign.

The relationship between Teti and his predecessors remains unclear, but his wife Iput is thought to be a daughter of Unas. This would mean that Teti ascended to the throne as Unas's son-in-law. His inauguration solved a potential succession crisis, Unas had died without a male heir. Teti adopted the Horus name Seheteptawy (meaning "He who pacifies the Two Lands") to establish his reign as one of renewed political unity. The transition appears to have occurred smoothly, and Teti retained officials from his predecessors of the Fifth Dynasty, such as viziers Mehu and Kagemni who had begun their careers under Djedkare Isesi. Despite this, the RTC too inserts a break between Unas and Teti, which the Egyptologist Jaromìr Malek contends relates to a "change of location of the capital and royal residence". The capital migrated from "White Wall" to the populous suburbs further south to "Djed-isut"—derived from the name of Teti's pyramid and pyramid town, and located east of the monument. The royal residence might have been yet further south, in the valley away and across a lake from the city, east of South Saqqara—where the pyramids of Djedkare Isesi and Pepi I were built.

Teti had his daughter, Sesheshet, married to one of his viziers and later chief priest, Mereruka, a clear sign of his interest in co-operating with the noble class. Mereruka was buried close to Teti's pyramid, in a lavish tomb in North Saqqara. As part of his policy of pacification, Teti issued a decree exempting the temple at Abydos from taxation. He was the first ruler to be closely associated with the cult of Hathor at Dendera. Abroad, Teti maintained trade relations with Byblos and Nubia.

Teti commissioned the construction of a pyramid at North Saqqara. His pyramid follows the standard set by Djedkare Isesi, with a base length of 78.5 m converging to the apex at ~53° attaining a peak height of 52.5 m. The substructure of the pyramid was very similar to Unas's and Djedkare Isesi's; it had a descending corridor and horizontal passage guarded at about the middle by three granite portcullises, leading to an antechamber flanked to its east by the serdab with its three recesses and to its west by the burial chamber containing the sarcophagus. The walls of the chambers and a section of the horizontal passage were inscribed with Pyramid Texts, as in Unas' pyramid. The mortuary temple, with the exception of its entrance, conforms to the same basic plans as his predecessors. The complex contained a cult pyramid to the south-east of the pyramid with base length 15.7 m. The causeway connecting to the mortuary temple is yet to be excavated, while the valley temple and pyramid town are entirely missing. Teti's pyramid became the site of a large necropolis, and included the pyramids of his wives Neith and Iput, mother of Pepi I. Iput's skeleton was discovered buried in her pyramid in a wooden coffin.

Manetho claims that Teti was assassinated by a bodyguard, but no contemporary sources confirm this. The story, if true, might explain the references to the ephemeral ruler Userkare, proposed to have briefly reigned between Teti and Pepi I. Userkare is attested to in the Royal Turin Canon and Abydos king-list, and is mentioned in several contemporaneous documents.

Pepi I
During this dynasty, expeditions were sent to Wadi Maghara in the Sinai Peninsula to mine for turquoise and copper, as well as to the mines at Hatnub and Wadi Hammamat. The pharaoh Djedkara sent trade expeditions south to Punt and north to Byblos, and Pepi I sent expeditions not only to these locations, but also as far as Ebla in modern-day Syria.

Pepi II
The most notable member of this dynasty was Pepi II, who is credited with a reign of 94 years.

Nitiqret
Also known by the Greek name Nitocris, this woman is believed by some authorities to have been not only the first female pharaoh but the first queen in the world, although it is currently accepted that her name is actually a mistranslation of the king Neitiqerty Siptah.

The rise of the nobility
With the growing number of biographical inscriptions in non-royal tombs, our knowledge of the contemporary history broadens. For example, we hear of an unsuccessful plot against Pepi I. We also read a letter written by the young king Pepi II, excited that one of his expeditions will return with a dancing pygmy from the land of Yam, located to the south of Nubia.

These non-royal tomb inscriptions are but one example of the growing power of the nobility, which further weakened the absolute rule of the king. As a result, it is believed that on the death of the long-lived Pepi II his vassals were entrenched enough to resist the authority of his many successors, which may have contributed to the rapid decline of the Old Kingdom.

title: Sixth Dynasty of Egypt


text: Category:Olympic rowers by year

title: Category:Olympic rowers by year


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Girsberg Tunnel

The Girsberg Tunnel is a motorway tunnel in Switzerland. The tunnel lies in the northeastern part of the canton of Thurgau, and forms part of the A7 motorway from Winterthur to Kreuzlingen and the border to Germany. The tunnel was completed in 2002, and is 1770 m in length.

The tunnel essentially winds its way down a hill in a clockwise direction (heading into Kreuzlingen). Despite all this winding, there is no actual difficulty in driving through the tunnel. The eastern end of the tunnel is less than half a kilometre away from the terminus of the toll portion of the A7 motorway, which takes the form of a rarely seen motorway roundabout.

title: Girsberg Tunnel


text:
Category:Radio stations in Connecticut

This category is for AM and FM broadcast radio stations in the U.S. state of Connecticut.

title: Category:Radio stations in Connecticut


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Talk:St. Albans (disambiguation)

Red link
Is the redlink under the "see also" St. Alban a place name, or another reference to the saint? Joyous 01:47, Oct 18, 2004 (UTC)
 * I don't know. My feeling is that we should remove it (and move Saint Alban, France back up a tab level) unless there's a good reason to keep it. As there's already a reference to Alban, and it doesn't mention a location, this link currently seems to serve no purpose. --David Edgar 12:02, 10 Jan 2005 (UTC)

title: Talk:St. Albans (disambiguation)


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Category:Radio stations in Florida

This category is for AM and FM broadcast radio stations in the U.S. state of Florida.

title: Category:Radio stations in Florida


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Talk:Big Sioux River

Untitled
The Big Sioux River is a tributary of the Missouri River in the upper Midwest of the United States.

Its headwaters are in Pelican Lake in northeastern South Dakota, near the town of Watertown in the Coteau des Prairies.

This information is not correct. The Big Sioux River's headwaters are miles north of Pelican Lake. The Sioux flows into Lake Kampeska at an inlet/outlet at the north side of that lake. You can trace the Big Sioux further north of Watertown on any map to correct your information on this site.

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title: Talk:Big Sioux River


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Immortal Technique

Felipe Andres Coronel (born February 19, 1978), better known by the stage name Immortal Technique, is an American rapper and activist. His lyrics are largely commentary on issues such as politics, religion, institutional racism, and government conspiracies.

Immortal Technique seeks to retain control over his production, and has stated in his music that record companies, not artists themselves, profit the most from mass production and marketing of music. He claimed in an interview to have sold close to a combined total of 200,000 copies of his first three official releases.

Early life
Coronel was born in a military hospital in Lima. He is of mostly Amerindian descent, and also has Spanish, French and African ancestry. His family immigrated to Harlem, New York, in 1980 to escape the Peruvian Civil War. During his teenage years, he was arrested multiple times due in part to what he has said was "selfish and childish" behavior. He attended Hunter College High School on the Upper East Side of Manhattan, where his classmates included Chris Hayes and Lin-Manuel Miranda, whom he bullied, although the two later became friends. Shortly after enrolling in Pennsylvania State University, he was arrested and charged with assault-related offenses due to his involvement in an altercation between fellow students; the charges stemming from this incident led to him being incarcerated for a year.

After being paroled, he took political science classes at Baruch College in New York City for two semesters at the behest of his father, who allowed Coronel to live with him on the condition that he went to school. Honing his rapping skills in jail, and unable to find decent wage-paying employment after his release, he began selling his music on the streets of New York and battling with other MCs. This, coupled with his victories in numerous freestyle rap competitions of the New York underground hip hop scene such as Rocksteady Anniversary and Braggin Rites, led to his reputation as a ferocious Battle MC.

2000–2005: Revolutionary Vol. 1 and Revolutionary Vol. 2
In 2001, Immortal Technique released his first album Revolutionary Vol. 1 without the help of a record label or distribution, instead using money earned from his rap battle triumphs. He also battled but lost to Posta Boy in 106 & Park's Freestyle Friday. Revolutionary Vol. 1 also contained the underground classic "Dance with the Devil". In November 2002, he was listed by The Source in its "Unsigned Hype" column, highlighting artists that are not signed to a record label. The following year, in September 2003, he received the coveted "Hip Hop Quotable" in The Source for a song entitled "Industrial Revolution" from his second album. Immortal Technique is the only rapper in history to have a "Hip Hop Quotable" while being unsigned. He released his second album Revolutionary Vol. 2 in 2003, which featured an intro and a spoken-word piece by death row inmate Mumia Abu-Jamal. In 2004 and 2005, Viper Records and Babygrande Records, respectively, re-released Immortal Technique's debut, Revolutionary Vol. 1, to make it available to a wider audience. "Point of No Return" from Revolutionary Vol 2 was used as the entrance theme for Rashad Evans during the UFC 88 Main Event between Chuck Liddell and Rashad Evans.

2005–present: The 3rd World, The Martyr and The Middle Passage
Between 2005 and 2007 Immortal Technique began working on The Middle Passage and The 3rd World, the two albums that would serve a follow-up to Revolutionary Vol. 2. The 3rd World, produced by DJ Green Lantern, was released in 2008. Emilee Woods, writing for RapReviews.com, reviewed the album positively, praising its "earnestly and skillfully delivered" material, and claiming that Technique had "finally found a comfort zone in the balance between lyricism and message."

He was also featured on several movie soundtracks and video game soundtracks, all the while touring relentlessly. In October 2011, Immortal Technique released The Martyr, a free compilation album of previously unreleased material and new tracks.

In an interview in 2020 with Latino USA, Immortal Technique discussed that he was working on writing a book. He also mentioned that he was in the process of creating a new album, but had faced setbacks because of the COVID-19 pandemic.

Collaborations
The summer of 2005 saw the release of "Bin Laden", a vinyl single 12" featuring Mos Def and DJ Green Lantern. The single also contained a remix of the song featured Chuck D of Public Enemy and KRS-One. In early 2006, the song "Impeach the President", featuring Dead Prez and Saigon turned up in the mixtape "Alive on Arrival" DJ Green Lantern. This is a simple version of The Honeydrippers, 1973, in which Immortal Technique urged fans to organize a vote of censure against George W. Bush. In April 2009, a new song leaked on the internet named "Democratie Fasciste (Article 4)" by Brazilian-French rapper Rockin' Squat which featured Immortal Technique. The official release of the song and Rockin' Squat's album Confessions D'un Enfant Du Siècle Volume 2 was on May 12, 2009. The instrumental from the song was sampled from Wendy Rene's "After Laughter". The song expresses the inequalities of the Third World and revolutionary events throughout history against tyranny and oppression.

The song contains lyrics in English (Immortal Technique), French (Rockin' Squat) and brief shout outs in Spanish (Immortal Technique). This song is Immortal Technique's first official international collaboration. In early 2009, it was announced that there would be a collaboration between Technique and UK underground artist Lowkey, on a single called "Voices of the Voiceless". On September 11, 2009, a "snippet" of the song was released on YouTube. The preview was released ahead of its September 21 launch on iTunes, as part of a web-campaign that included updates, promotion and links on forums, E-Magazines and several social networking sites. The song's lyrics cover a broad range of issues that are familiar to listeners of both artists – racism, world revolution, war, socialism, government control, rape, famine, colonialism, Classism, self-determination and the war in Iraq.

Activism
Immortal Technique visits prisons to speak to youth and working with immigrant-rights activists, and raising money for children's hospitals overseas. He created a writing grant program for high-school students as well.

In June 2008, Immortal Technique partnered with Omeid International, a non-profit human rights organization, and dubbed the work as "The Green Light Project". With the profits of the album The 3rd World, he traveled to Kabul, Afghanistan to help Omeid build an orphanage, the Amin Institute, without corporate or external funding.

Films
Immortal Technique featured in Ice-T's documentary Something from Nothing: The Art of Rap.

The (R)evolution of Immortal Technique
A documentary about Immortal Technique was released in September 2011 and premiered at the Harlem Film Festival. It was released on DVD on July 10, 2012.

This Revolution
Immortal Technique appeared as himself in a docudrama film entitled This Revolution, which was recorded during the 2004 Republican National Convention in New York. The tape contains the protests surrounding the convention in the form of a documentary. It also featured Viper Records affiliates Akir and producer SouthPaw in roles.

Since then, Immortal Technique has taken control of Viper Records and has signed a distribution deal with Babygrande Records / E1 Entertainment to vent to their next album. SouthPaw has managed to establish himself as A&R of Viper Records.

title: Immortal Technique


text:
Alleluia

Alleluia is a phrase in Christianity used to give praise to God. (The term Christian as it used here, is most often referring to Catholics and the many Protestants denominations that have evolved from her and those offshoot religious systems over the years; and will seldom include the beliefs of non-denominational churches. There is important and remarkable differentiation in spiritual applications and implications between these systems.) In Christian worship, Alleluia is used as a liturgical chant in which that word is combined with verses of scripture, usually from the Psalms. This chant is commonly used before the proclamation of the Gospel. In Western Christianity, congregations commonly cease using the word Alleluia during the period of Lent but restore it into their services at Easter. The form of praise "Alleluia" is used by Christians to thank and glorify God; it finds itself present in many prayers and hymns, especially those related to Eastertide, such as "Christ the Lord is Risen Today".

History
The Hebrew word Hallelujah as an expression of praise to God was preserved, untranslated, by the Early Christians as a superlative expression of thanksgiving, joy, and triumph. Thus it appears in the ancient Greek Liturgy of St. James, which is still used to this day by the Patriarch of Jerusalem and, in its Syriac recension is the prototype of that used by the Maronites. In the Liturgy of St. Mark, we find this rubric: "Then follow let us attend, the Apostle, and the Prologue of the Alleluia." The "Apostle" is the usual ancient Eastern title for the Epistle reading, and the "Prologue of the Alleluia" would seem to be a prayer or verse before Alleluia was sung by the choir. It has been suggested that the acclamation arises from and is an onomatopoeic rendition of the ancient tradition of ululation.

Byzantine Rite
In the Eastern Orthodox, as well as Byzantine Rite Eastern Catholic and Eastern Lutheran Churches, after reading the Apostle (Epistle) at the Divine Liturgy, the Reader announces which of the Eight Tones the Alleluia is to be chanted in. The response of the choir is always the same: "Alleluia, alleluia, alleluia." What differs is the tone in which it is sung, and the stichera (psalm verses) which are intoned by the Reader.

The Alleluia is paired with the Prokeimenon which preceded the reading of the Apostle. There may be either one or two Alleluias, depending upon the number of Prokeimena (there may be up to three readings from the Apostle, but never be more than two Prokeimena and Alleluia).

In the Russian/Slavic order, the Alleluia is intoned in one of the two following manners, depending upon the number of Prokeimena (The Antiochian/Byzantine practice is slightly different):

One Alleluia

 * Deacon: "Let us attend."
 * Reader: "Alleluia in the ____ Tone."
 * Choir: "Alleluia, alleluia, alleluia."
 * The Reader then chants the first sticheron of the Alleluia.
 * Choir: "Alleluia, alleluia, alleluia."
 * The Reader then chants the second sticheron of the Alleluia.
 * Choir: "Alleluia, alleluia, alleluia."

Two Alleluias

 * Deacon: "Let us attend."
 * Reader: "Alleluia in the ____ Tone:" Then he immediately chants the first sticheron of the first Alleluia.
 * Choir: "Alleluia, alleluia, alleluia."
 * The Reader then chants the second sticheron of the first Alleluia.
 * Choir: "Alleluia, alleluia, alleluia."
 * Reader: "In the ____ Tone:" And he chants the first sticheron of the second Alleluia.
 * Choir: "Alleluia, alleluia, alleluia."

Lenten Alleluia
Among the Orthodox, the chanting of Alleluia does not cease during Lent, as it does in the West. This is in accordance with the Orthodox approach to fasting, which is one of sober joy. During the weekdays of Great Lent and certain days during the lesser Lenten seasons (Nativity Fast, Apostles' Fast, and Dormition Fast), the celebration of the Divine Liturgy on weekdays is not permitted. Instead, Alleluia is chanted at Matins. Since this chanting of Alleluia at Matins is characteristic of Lenten services, Lenten days are referred to as "Days with Alleluia."

The Alleluia at Matins is not related to scripture readings or Prokeimena; instead, it replaces "God is the Lord..." It is sung in the Tone of the Week and is followed by the Hymns to the Trinity (Triadica) in the same tone (see Octoechos for an explanation of the eight-week cycle of tones).

"God is the Lord..." would normally be intoned by the deacon, but since the deacon does not serve on days with Alleluia, it is intoned by the priest. He stands in front of the icon of Christ on the Iconostasis, and says:

 * Priest: "Alleluia in the ____ Tone: Out of the night my spirit waketh at dawn unto Thee, O God, for Thy commandments are a light upon the earth."
 * Choir: "Alleluia, alleluia, alleluia."
 * Priest: "Learn righteousness, ye that dwell upon the earth."
 * Choir: "Alleluia, alleluia, alleluia."
 * Priest: "Zeal shall lay hold upon an uninstructed people."
 * Choir: "Alleluia, alleluia, alleluia."
 * Priest: "Add more evils upon them, O Lord, lay more evils upon them that are glorious upon the earth."
 * Choir: "Alleluia, alleluia, alleluia."

Alleluia for the departed
Alleluia is also chanted to a special melody at funerals, memorial services (Greek: Parastas, Slavonic: Panikhida), and on Saturdays of the Dead. Again, it is chanted in place of "God is the Lord...", but this time is followed by the Troparia of the Departed.

The Alleluia is intoned by the deacon (or the priest, if no deacon is available):

 * Deacon: "Alleluia, in the 8th tone: Blessed are they whom Thou hast chosen and taken unto Thyself, O Lord."
 * Choir: "Alleluia, Alleluia, Alleluia."
 * Deacon: "Their memory is from generation to generation."
 * Choir: "Alleluia, Alleluia, Alleluia."
 * Deacon: "Their souls will dwell amid good things."
 * Choir: "Alleluia, Alleluia, Alleluia."

On Saturdays of the Dead, which are celebrated several times throughout the year, the prokeimenon at Vespers is also replaced with Alleluia, which is chanted in the following manner:

 * Deacon: "Alleluia, in the 8th tone.
 * Choir: "Alleluia, Alleluia, Alleluia."
 * Deacon: "Blessed are they whom Thou hast chosen and taken unto Thyself, O Lord."
 * Choir: "Alleluia, Alleluia, Alleluia."
 * Deacon: "Their memory is from generation to generation."
 * Choir: "Alleluia, Alleluia, Alleluia."

Other uses
Gospel readings are appointed for other services as well, particularly those in the Trebnik. A number of these are preceded by an Alleluia, in the same manner as that chanted at the Divine Liturgy, though sometimes there are no stichera (psalm verses).

During the sacred mystery (Sacrament) of baptism, in addition to the Alleluia before the Gospel, the choir also chants an Alleluia while the priest pours the Oil of Catechumens into the baptismal font.

Roman Rite
In the Roman Rite the word Alleluia is associated with joy and is especially favoured in Paschal time, the time between Easter and Pentecost, perhaps because of the association of the hallel (Alleluia psalms) chanted at Passover. During this time, the word is added widely to verses and responses associated with prayers, to antiphons of psalms, and, during the Octave of Easter and on Pentecost Sunday, to the dismissal at the end of Mass ("Ite missa est").

On the other hand, the word Alleluia is excluded from the Roman liturgy during Lent, often euphemistically referred to during this time as the "A-word". In pre-1970 forms of the Roman Rite it is excluded also in the pre-Lenten Septuagesima period and in Masses for the Dead. The same word, which normally follows the Gloria Patri at the beginning of each hour of the Liturgy of the Hours and which in the present ordinary form of the Roman Rite is omitted during Lent, is replaced in pre-1970 forms by the phrase Laus tibi, Domine, rex aeternae gloriae (Praise to thee, O Lord, king of eternal glory) in Lent and the Septuagesima period.

The term Alleluia is used also to designate a chant beginning and ending with this word and including a verse of scripture, in particular a chant to greet and welcome the Lord whose word will be proclaimed in the Gospel reading. The choir or a cantor sings "Alleluia". The congregation repeats this. The choir or cantor then sings a verse taken from the Mass Lectionary or the Roman Gradual, after which the congregation again sings "Alleluia". In Lent the verse alone is sung or the word Alleluia is replaced by a different acclamation taken from the Gradual, or a tract is sung. If singing is not used, the Alleluia and its verse may be omitted at any season.

The complex plainchant setting in the Roman Gradual requires a high degree of skill and is mostly used only in monasteries and seminaries. This melismatic Gregorian chant opens with the cantor singing "Alleluia". The choir repeats it, adding to the final syllable a long melisma called a jubilus. (The Liber Usualis notates the repeat with the Roman numeral "ij" (2) and continues with the jubilus.) The cantor then sings the main part of the verse, and the choir joins in on the final line. The cantor then repeats the opening Alleluia, and the choir repeats only the jubilus. The music is generally ornate, but often within a narrow range. The Alleluia for Christmas Eve, for instance, has an ambitus of only a perfect fifth, a rather extreme example.

Alleluias were frequently troped, both with added music and text. It is believed that some early Sequences derived from syllabic text being added to the jubilus, and may be named after the opening words of the Alleluia verse. Alleluias were also among the more frequently used chants to create early organa, such as in the Winchester Troper.

The Alleluia and its verse is replaced during Lent and in the pre-1970 form of the Roman Rite Mass also during Septuagesima time by a Tract. On the other hand, during Eastertide the Gradual is replaced with an Alleluia chant, thus putting two such chants before the Gospel reading.

title: Alleluia


text:
Xiaoyue Tunnel

The Xiaoyue Tunnel is an expressway tunnel in Beijing, China, and forms part of the Western 5th Ring Road.

title: Xiaoyue Tunnel


text:
James Lovell (politician)

James Lovell (October 31, 1737 – July 14, 1814) was an educator and statesman from Boston, Massachusetts. He was a delegate for Massachusetts to the Continental Congress from 1777 to 1782. He was a signatory to the Articles of Confederation.

Early life
Lovell was born in Boston and had his preparatory education at the Boston Latin School. His father John Lovell (1710–1778) was the school's headmaster from 1738 until 1775. James attended Harvard and graduated in 1756. He then joined his father and taught at the Latin School, while continuing his own studies. He received a Master of Arts degree from Harvard in 1759. Father and son continued their work in the Latin School until it was closed in April 1775, during the Siege of Boston in the American Revolutionary War.

While the school produced a number of revolutionary leaders, including John Hancock and Samuel Adams, the approaching revolution split father and son. John wrote and endorsed Loyalist or Tory positions, while James became aligned with the Whigs and associated growing rebel sentiment. He was chosen to give an oration to the town the first year after the Boston Massacre, which he delivered at the Old South Church Following the Battle of Bunker Hill on June 17, 1775, the new military Governor William Howe, ordered the arrest of likely dissidents in Boston. James Lovell was picked up in the sweep and spent nine months in the Boston Stone Jail.

General Howe evacuated Boston in March 1776, taking all British troops and Loyalists. James was transported with the British fleet as a prisoner and taken to Halifax, Nova Scotia, where he spent nine months in the jail. His father also sailed with the British fleet to Halifax in March 1776, as part of the general exodus of Loyalists when British forces abandoned the city. In November 1776, James was exchanged for Colonel Philip Skene. When he got back to Boston in December, he was elected to be a delegate to the Continental Congress, to which he served until 1782.

Congressional career
Lovell served effectively in the Congress during the six years that were critical to the American Revolution. He was particularly important as a long-term member of the Committee of Foreign Correspondence and that of Secret Correspondence. He signed the Articles of Confederation, endorsing them for Massachusetts on July 9, 1778. During his appointment to the Committee for Foreign Affairs, he created and implemented ciphers for the country. The ciphers he created were somewhat difficult and complex to use as described and referenced by John Adams "I have letters from the president and from Lovell, the last unintelligible, in ciphers, but inexplicable by his own cipher." and Benjamin Franklin "If you can find the key & decypher it, I shall be glad, having myself try'd in vain." as expressed in their letters to Francis Dana of March 1781.

In one area his performance was controversial. In 1776 and 1777, there was a growing struggle for influence and command in the Continental Army. Lovell became a supporter of Horatio Gates in his lobbying quest for command. He encouraged Gates in reporting directly to Congress, in effect going over General Washington's head. This reached its peak when Gates was given command of the Northern Department, replacing Philip Schuyler in the summer of 1777. The controversy also extended into his family along political lines as he was a fervent Whig as opposed to his father who was a Loyalist.

Lovell was also a frequent correspondent with both John and Abigail Adams. In his correspondence to Abigail, he flirted wondering what John was doing with his private time in France. He also used Abigail's pet name of Portia in his correspondence.

Later events
After his term in Congress, Lovell returned to teaching but continued to hold various political offices. He was collector of taxes in Massachusetts from 1784 to 1788 and Customs Officer of Boston in 1778 and 1789. He was appointed as a naval officer of the port of Boston and Charlestown from 1789 and held that position until his death. He died in Windham, Maine (then part of Massachusetts) on July 14, 1814.

Family
His son, James Lovell (1758–1850) served in the Continental Army from 1776 to 1782. After graduating from Harvard in 1776, he joined the 16th Massachusetts regiment as a lieutenant and saw action at Battle of Monmouth and in Rhode Island. In 1779, he was assigned as adjutant and major to Light Horse Harry Lee's Southern Legion and fought in the southern campaigns. He is reported to have fought valiantly and was wounded several times.

Lovell's grandson was Joseph Lovell, who served as the first Surgeon General of the Army from 1818 until 1836.

title: James Lovell (politician)


text:
Bubenholz Tunnel

The Bubenholz Tunnel is a motorway tunnel in the Swiss canton of Zurich. It forms part of the A51 motorway, which links the A1 motorway with Zurich Airport. The tunnel is 550 m long.

The tunnel replaced several overpasses which existed until the early 2000s, with the intention of cutting noise in the nearby towns of Glattbrugg and Opfikon.

title: Bubenholz Tunnel


text:
Chris Lemmon

Christopher Boyd Lemmon (born June 22, 1954) is an American actor and author.

Early life and education
Lemmon was born in Los Angeles, California, the son of actress Cynthia Stone and actor Jack Lemmon. Lemmon attended the Verde Valley School in Sedona, Arizona. With a talent for music, he was encouraged by his father to study piano. Lemmon considered playing piano professionally after having graduated from the California Institute of the Arts, with degrees in classical piano and composition, and in theater.

Career
He appeared as an actor in numerous stage productions, including the west-coast tour of Barefoot in the Park, directed by Jerry Paris, the original West coast production of Shay by Anne Commire, and A. R. Gurney's Love Letters with Stephanie Zimbalist. He portrayed Richard Phillips in two situation comedies, Duet (1987) and Open House (1989), and also co-starred as Martin "Bru" Brubaker in the television series Thunder in Paradise alongside American professional wrestler Hulk Hogan. Lemmon is also a screenwriter and producer. Algonquin Books published Lemmon's tribute to his father, titled A Twist of Lemmon (2006), which was re-released in 2008 as a paperback by Applause Theatre and Cinema Books.

He appeared in three films with his father: Airport '77 (1977), That's Life! (1986), and Dad (1989).

Lemmon adapted his tribute to his father, A Twist of Lemmon to the stage in 2015. The show, which Lemmon has performed all around the United States, follows the relationship between Lemmon and his father as seen through his father's eyes.

Personal life
Lemmon has been married to actress Gina Raymond since 1988. The couple reside in Connecticut and have three children.

Health issues
On December 19, 2018, after an article was published several weeks prior in The San Diego Union-Tribune, Lemmon confirmed on Facebook that he had recently undergone a double-lung transplant due to idiopathic pulmonary fibrosis and was recovering.

Film

 * Airport '77 (1977)
 * Just Tell Me You Love Me (1980)
 * The Happy Hooker Goes Hollywood (1980)
 * Seems Like Old Times (1980)
 * C.O.D. (1981)
 * Just Before Dawn (1981)
 * Uncommon Valor (1983)
 * Swing Shift (1984)
 * Cannonball Run II (1984)
 * Yellow Pages (1985)
 * 'That's Life!' (1986)
 * Weekend Warriors (1986)
 * Dad (1989)
 * Corporate Affairs (1990)
 * Lena's Holiday (1991)
 * Firehead (1991)
 * Thunder in Paradise (1993)
 * Thunder in Paradise II (1994)
 * Thunder in Paradise III (1995)
 * Wishmaster (1997)
 * Best of the Best 4: Without Warning (1998)
 * Land of the Free (1999)
 * Just the Ticket (1999)
 * Blonde (2022)

Television

 * Brothers and Sisters (1979)
 * Mirror, Mirror (1979)
 * CHiPs (1981)
 * Too Close for Comfort (1981)
 * 9 to 5 (1983)
 * Fantasy (1982)
 * The Outlaws (1984)
 * Duet (1987–89)
 * Open House (1989)
 * Knots Landing (1990)
 * The Match Game (1990)
 * The Joint Is Jumpin' (1993)
 * Thunder in Paradise (1994) (22 episodes)
 * Basic Values: Sex, Shock & Censorship in the 90's (1993)
 * The Pretender (1998)
 * Magic Time: A Tribute to Jack Lemmon (2002)
 * The Hollywood Greats (Jack Lemmon) (2006)
 * 50 Films to See Before You Die (2006)

title: Chris Lemmon


text:
User:Defunkt/WelcomeMessage

Hello, and welcome to Wikipedia! If you want to learn more about the contribution process, definitely check out the tutorial. It's a really simple and easy explanation of all the basics.

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title: User:Defunkt/WelcomeMessage


text:
Milchbuck Tunnel

The Milchbuck Tunnel is a motor road tunnel in Switzerland, and forms part of the A1L motorway from Zürich Schwamendingen to Zürich Letten, where the tunnel's southern portal lies on Wasserwerkstrasse, which leads into central Zürich. Constructed in 1978, the tunnel is 1910 m in length.

A proposed second tunnel bore (to create two separate tunnels for two directions of traffic) was turned down. Now, only one lane handles traffic into downtown Zurich, one lane handle traffic leaving the city, with an emergency lane in the middle. By 2006, the emergency services in the tunnel has been upgraded, with the escape path being added. At the northern portal in the direction to the city, the entrance to Irchel underground car park is to the left of the lane.

At about the midpoint of the Milchbuck tunnel, the Weinberg rail tunnel passes beneath it.

title: Milchbuck Tunnel


text:
Pharmacophore

In medicinal chemistry and molecular biology, a pharmacophore is an abstract description of molecular features that are necessary for molecular recognition of a ligand by a biological macromolecule. IUPAC defines a pharmacophore to be "an ensemble of steric and electronic features that is necessary to ensure the optimal supramolecular interactions with a specific biological target and to trigger (or block) its biological response". A pharmacophore model explains how structurally diverse ligands can bind to a common receptor site. Furthermore, pharmacophore models can be used to identify through de novo design or virtual screening novel ligands that will bind to the same receptor.

Features

Typical pharmacophore features include hydrophobic centroids, aromatic rings, hydrogen bond acceptors or donors, cations, and anions. These pharmacophore points may be located on the ligand itself or may be projected points presumed to be located in the receptor.

The features need to match different chemical groups with similar properties, in order to identify novel ligands. Ligand-receptor interactions are typically "polar positive", "polar negative" or "hydrophobic". A well-defined pharmacophore model includes both hydrophobic volumes and hydrogen bond vectors.

Model development
The process for developing a pharmacophore model generally involves the following steps:

 * 1) Select a training set of ligands – Choose a structurally diverse set of molecules that will be used for developing the pharmacophore model. As a pharmacophore model should be able to discriminate between molecules with and without bioactivity, the set of molecules should include both active and inactive compounds.
 * 2) Conformational analysis – Generate a set of low energy conformations that is likely to contain the bioactive conformation for each of the selected molecules.
 * 3) Molecular superimposition – Superimpose ("fit") all combinations of the low-energy conformations of the molecules. Similar (bioisosteric) functional groups common to all molecules in the set might be fitted (e.g., phenyl rings or carboxylic acid groups). The set of conformations (one conformation from each active molecule) that results in the best fit is presumed to be the active conformation.
 * 4) Abstraction – Transform the superimposed molecules into an abstract representation. For example, superimposed phenyl rings might be referred to more conceptually as an 'aromatic ring' pharmacophore element. Likewise, hydroxy groups could be designated as a 'hydrogen-bond donor/acceptor' pharmacophore element.
 * 5) Validation – A pharmacophore model is a hypothesis accounting for the observed biological activities of a set of molecules that bind to a common biological target. The model is only valid insofar as it is able to account for differences in biological activity of a range of molecules.

As the biological activities of new molecules become available, the pharmacophore model can be updated to further refine it.

Applications
In modern computational chemistry, pharmacophores are used to define the essential features of one or more molecules with the same biological activity. A database of diverse chemical compounds can then be searched for more molecules which share the same features arranged in the same relative orientation. Pharmacophores are also used as the starting point for developing 3D-QSAR models. Such tools and a related concept of "privileged structures", which are "defined as molecular frameworks which are able of providing useful ligands for more than one type of receptor or enzyme target by judicious structural modifications", aid in drug discovery.

History
Historically, the modern idea of pharmacophore was popularized by Lemont Kier, who mentions the concept in 1967 and uses the term in a publication in 1971. Nevertheless, F. W. Shueler, in a 1960s book, uses the expression "pharmacophoric moiety" that corresponds to the modern concept.

The development of the concept is often erroneously accredited to Paul Ehrlich. However neither the alleged source nor any of his other works mention the term "pharmacophore" or make use of the concept.

title: Pharmacophore


text:
Paços de Ferreira

Paços de Ferreira is a city in the Porto District, in the north of Portugal. The population of the city in 2011 was 7491, while its municipality had 56,340 inhabitants, in an area of 70.99 km².

Sometimes referred to as the Capital do Móvel (capital of furniture), owing to the predominance of this industry within its territory, the municipality has around 5000 companies producing furniture and has the biggest exhibition and selling area (estimated in 2.5 million square meters) of furniture in Europe. It is also the location of IKEA's industrial operations within Portugal.

Its football team, FC Paços de Ferreira, participated for three times in European Competitions (Champions League and Europa League), finished runners-up of the Portuguese cup in 2008/2009 and of the Portuguese League Cup in 2010/2011.

History
The territory of the current municipality was occupied by humans since prehistory. In the parish of Sanfins de Ferreira, there is an important hillfort, the Citânia de Sanfins, that was one of the main settlements of the Celtic tribes who lived in northwest Iberian Peninsula (Gallaeci). In medieval times, this planaltic area had few population. The only centers of power were the monastery of Ferreira and the noble families concentrated in the parish of Frazão.

After the Portuguese Civil War, the new constitucional regime made important administrative changes, and, for the first time, granted administrative autonomy for the populations of the region, creating a municipality in 1836 and appointing the most central parish of the plateau, Santa Eulália de Paços de Ferreira, as capital.

Since then, the territory registered a remarkable development, and the population more than sextupled in 150 years.

In the beginnings of the 20th century, a local elementary school teacher, Albino de Matos, invented new tools and furniture which began to be used in schools all around the country, marking the beginning of the furniture industry in Paços de Ferreira. In the second half of the century, with the economic growth of the country, the carpenters of Paços de Ferreira started to make and sell furniture for houses, which allowed the industry to expand, becoming the most important activity of the population.

In 1993 the Portuguese parliament gave the title of city to Paços de Ferreira.

Geography
Administratively, the municipality is divided into 12 civil parishes (freguesias):

 * Carvalhosa
 * Eiriz
 * Ferreira
 * Figueiró
 * Frazão Arreigada
 * Freamunde [city]
 * Meixomil
 * Paços de Ferreira [city]
 * Penamaior
 * Raimonda
 * Sanfins Lamoso Codessos
 * Seroa

Climate
Paços de Ferreira has a warm-summer Mediterranean climate (Csb) with cool, very rainy winters and warm summers that are dry enough to avoid being classified as oceanic (Cfb).

Sport

 * F.C. Paços de Ferreira (Football)
 * S.C. Freamunde

Notable people

 * Sílvia Cardoso (1882–1950) a beatified Portuguese Roman Catholic apostolate for the poor in Brazil, she also funded a boarding school for girls and supported a hospital

Sport

 * Carlos Pinto (born 1973) a Portuguese former footballer with 378 club caps
 * Pedro Correia (born 1974), known as Pedro, a former football goalkeeper with 276 club caps
 * Joaquim Agostinho da Silva Ribeiro (born 1975), known as Agostinho, a retired footballer with 379 club caps
 * Carlos Carneiro (born 1975) a Portuguese former footballer with 367 club caps
 * Marisa Barros (born 1980), a Portuguese marathon runner, competed at the 2008 & 2012 Summer Olympics
 * Ricardo Manuel Ferreira Sousa (born 1981), known as Cadú, a footballer with over 480 club caps
 * André Leão (born 1985) a Portuguese professional footballer with over 360 club caps
 * Luís Pedro (born 1989), a Portuguese footballer with over 350 club caps

title: Paços de Ferreira


text:
Schöneich Tunnel

The Schöneich Tunnel is a motorway tunnel in Switzerland, and forms part of the A1L motorway in the city of Zürich between Zurich Schwamendingen and Zürich Letten.

The tunnel is around 600 metres long. The central part of the tunnel is not fully covered. Below the tunnel are tram lines and above are streets in the northeastern area of the city of Zürich.

title: Schöneich Tunnel