title: St. George, Utah

text: St. George area high schools—Crimson Cliffs, Dixie, Desert Hills, Pine View, and Snow Canyon—all play in 4A state competition as part of 4A Region10 with nearby Hurricane High School in Hurricane and Cedar high school in Cedar City. Utah Tech University participates in the NCAA Division I Western Athletic Conference. In January 2019, Dixie State announced they were reclassifying to NCAA Division I and joining the Western Athletic Conference. Former DSU athletes include Corey Dillon, Anton Palepoi, Reno Mahe, and Scott Brumfield, who all later played in the NFL and Marcus Banks, Lionel Hollins, Keon Clark, and Mo Baker were Dixie players who later played in the NBA. Utah Tech athletes are called Trailblazers (formerly The Rebels and Red Storm), and former Trailblazers Bradley Thompson and Brandon Lyon later played in major league baseball while Bruce Hurst of Dixie High School later played for the Boston Red Sox a pitcher, and then ended up managing the now retired Zion Pioneerzz for its inaugural 1999 season (1999).


title: St. George, Utah

text: St. George has hosted Ironman and Ironman 70.3 events including the 2021 Ironman 70.3 World Championships. In May 2021, the Ironman World Championship hosted by the city due to the COVID-19 and the original venue, Kona, being unable to host. This was the first time that the Ironman World Championship has been hosted outside of Hawai'i.


title: St. George, Utah

text: The St. George parks division manages over 20 city parks and nearly 60 miles of paved urban trails interlinking neighborhoods, communities, parks and open space. The city also has over a dozen award-winning golf courses making the area a Southwestern golfing mecca. Major parks and sites include the Canyons Softball Complex; Little Valley Softball Complex; Pioneer Park; Tonaquint Nature Center; nationally-recognized Snake Hollow bike park; Thunder Junction All Abilities theme park; Red Hills Desert Garden - a public water-conservation garden displaying both native and exotic flora suited for the local climate; three local skate parks; Legacy Regional Park and fairgrounds is just east of the city in Hurricane. The St. George area has several public recreation centers; the St. George Rec Center; Washington City Rec Center and the Sand Hollow Aquatics Center. St. George is fast-becoming a popular rock climbing and mountain biking destination.


title: St. George, Utah

text: The city of St. George has a council-manager form of government, with five representatives elected from single-member districts. The mayor, elected at-large, also serves as a member on the City Council. The Council hires a city manager to deal with regular operations. , the mayor of St. George is Michele Randall. The city manager is Adam Lenhard.


title: St. George, Utah

text: Council members are Jimmy Hughes, Michele Randall, Dannielle Larkin, Gregg McArthur, and Bryan Smethurst. City Council meetings are held on the first and third Thursdays of each month at the City Council Chambers.


title: St. George, Utah

text: The U.S. Federal Courthouse, Washington County Justice Court, Juvenile Court and the Fifth District Courthouse are downtown.


title: St. George, Utah

text: The Southern Utah Center for Computer, Engineering, and Science Students (SUCCESS) is an early college high school located on the Utah Tech University campus.


title: St. George, Utah

text: The "Salt Lake Tribune", "Deseret News", "Las Vegas Review-Journal" and "Las Vegas Sun" are also widely distributed in St. George and offer home delivery.


title: St. George, Utah

text: Like other major cities in Utah, St. George is in the Salt Lake City market, so it has only one television station licensed to the city, KMYU, a MyNetworkTV affiliate. It is carried in HD on Dish Network and DirecTV, as well as on Comcast Ch. 643 in Salt Lake City, and on Ch. 20 on local cable, TDS Communications, formerly Baja Broadband. KMYU (known as My Utah TV) is sister station to KUTV-DT, and is operated out of KUTV's offices in Salt Lake City, although the station has a news bureau with a reporter and photographer based in St. George.


title: St. George, Utah

text: Also in St. George are the offices of Cedar City, Utah–licensed KCSG Channel 14, a MeTV affiliate, which broadcasts local news. The city also receives local TV channels from Salt Lake City with broadcast translators in the St. George area.


title: St. George, Utah

text: The Las Vegas NBC affiliate, KSNV-DT, has a local translator owned by Cherry Creek Radio, KVBT-LP channel 41, on which some of its programming airs two hours later than the same programming broadcast on Salt Lake City NBC affiliate KSL-TV.


title: St. George, Utah

text: St. George Regional Hospital is an Intermountain Health Care hospital and is the only 24-hour trauma center between Las Vegas and the Wasatch Front, serving the tri-state region of southern Utah, northwest Arizona and southeastern Nevada.


title: St. George, Utah

text: St. George is served by City of St. George Power, which serves most of the city, and Dixie Power, which serves southern areas of the city. Rocky Mountain Power serves parts of the greater St. George area. The municipal water department obtains its own water from wells located near Gunlock and in Snow Canyon State Park, Mountain Springs on Pine Valley Mountain. It also purchases wholesale water from the Washington County Water Conservancy District which is sourced from the Virgin River and purified at the Quail Creek Water Treatment Plant.


title: St. George, Utah

text: St. George Regional Airport is located in southeast St. George on Airport Parkway. The airport is served by American Airlines, Delta Air Lines, and United Airlines. As of 2020, two-way flights to Salt Lake City, Denver, Phoenix, Los Angeles and seasonal flights to Dallas–Fort Worth were available.


title: St. George, Utah

text: SunTran is the local public transit system and operates seven fixed-routes serving most areas of St. George, Washington and Ivins.


title: St. George, Utah

text: Greyhound serves St. George on its Denver-Las Vegas and Salt Lake City-Las Vegas routes. Greyhound connects with Amtrak's California Zephyr in Salt Lake City. St. George is also served by the bus company Tufesa and the shuttle companies Salt Lake Express and St. George Shuttle.


title: Chinese remainder theorem

text: In mathematics, the Chinese remainder theorem states that if one knows the remainders of the Euclidean division of an integer "n" by several integers, then one can determine uniquely the remainder of the division of "n" by the product of these integers, under the condition that the divisors are pairwise coprime (no two divisors share a common factor other than 1).


title: Chinese remainder theorem

text: For example, if we know that the remainder of "n" divided by 3 is 2, the remainder of "n" divided by 5 is 3, and the remainder of "n" divided by 7 is 2, then without knowing the value of "n", we can determine that the remainder of "n" divided by 105 (the product of 3, 5, and 7) is 23. Importantly, this tells us that if "n" is a natural number less than 105, then 23 is the only possible value of "n".


title: Chinese remainder theorem

text: The earliest known statement of the theorem is by the Chinese mathematician Sun-tzu in the "Sun-tzu Suan-ching" in the 3rd century CE.


title: Chinese remainder theorem

text: The Chinese remainder theorem is widely used for computing with large integers, as it allows replacing a computation for which one knows a bound on the size of the result by several similar computations on small integers.


title: Chinese remainder theorem

text: The Chinese remainder theorem (expressed in terms of congruences) is true over every principal ideal domain. It has been generalized to any ring, with a formulation involving two-sided ideals.


title: Chinese remainder theorem

text: The earliest known statement of the theorem, as a problem with specific numbers, appears in the 3rd-century book "Sun-tzu Suan-ching" by the Chinese mathematician Sun-tzu:


title: Chinese remainder theorem

text: Sun-tzu's work contains neither a proof nor a full algorithm. What amounts to an algorithm for solving this problem was described by Aryabhata (6th century). Special cases of the Chinese remainder theorem were also known to Brahmagupta (7th century), and appear in Fibonacci's Liber Abaci (1202). The result was later generalized with a complete solution called "Da-yan-shu" () in Ch'in Chiu-shao's 1247 "Mathematical Treatise in Nine Sections" (, "Shu-shu Chiu-chang") which was translated into English in early 19th century by British missionary Alexander Wylie.


title: Chinese remainder theorem

text: The notion of congruences was first introduced and used by Carl Friedrich Gauss in his "Disquisitiones Arithmeticae" of 1801. Gauss illustrates the Chinese remainder theorem on a problem involving calendars, namely, "to find the years that have a certain period number with respect to the solar and lunar cycle and the Roman indiction." Gauss introduces a procedure for solving the problem that had already been used by Leonhard Euler but was in fact an ancient method that had appeared several times.


title: Chinese remainder theorem

text: Let "n", ..., "n" be integers greater than 1, which are often called "moduli" or "divisors". Let us denote by "N" the product of the "n".


title: Chinese remainder theorem

text: The Chinese remainder theorem asserts that if the "n" are pairwise coprime, and if "a", ..., "a" are integers such that 0 ≤ "a" < "n" for every "i", then there is one and only one integer "x", such that 0 ≤ "x" < "N" and the remainder of the Euclidean division of "x" by "n" is "a" for every "i".


title: Chinese remainder theorem

text: between the ring of integers modulo "N" and the direct product of the rings of integers modulo the "n". This means that for doing a sequence of arithmetic operations in formula_5 one may do the same computation independently in each formula_6 and then get the result by applying the isomorphism (from the right to the left). This may be much faster than the direct computation if "N" and the number of operations are large. This is widely used, under the name "multi-modular computation", for linear algebra over the integers or the rational numbers.


title: Chinese remainder theorem

text: The theorem can also be restated in the language of combinatorics as the fact that the infinite arithmetic progressions of integers form a Helly family.


title: Chinese remainder theorem

text: The existence and the uniqueness of the solution may be proven independently. However, the first proof of existence, given below, uses this uniqueness.


title: Chinese remainder theorem

text: Suppose that and are both solutions to all the congruences. As and give the same remainder, when divided by , their difference is a multiple of each . As the are pairwise coprime, their product also divides , and thus and are congruent modulo . If and are supposed to be non-negative and less than (as in the first statement of the theorem), then their difference may be a multiple of only if .


title: Chinese remainder theorem

text: maps congruence classes modulo to sequences of congruence classes modulo . The proof of uniqueness shows that this map is injective. As the domain and the codomain of this map have the same number of elements, the map is also surjective, which proves the existence of the solution.


title: Chinese remainder theorem

text: This proof is very simple but does not provide any direct way for computing a solution. Moreover, it cannot be generalized to other situations where the following proof can.


title: Chinese remainder theorem

text: Existence may be established by an explicit construction of . This construction may be split into two steps, first solving the problem in the case of two moduli, and then extending this solution to the general case by induction on the number of moduli.


title: Chinese remainder theorem

text: implying that formula_18 The second congruence is proved similarly, by exchanging the subscripts 1 and 2.


title: Chinese remainder theorem

text: where the formula_1 are pairwise coprime. The two first equations have a solution formula_21 provided by the method of the previous section. The set of the solutions of these two first equations is the set of all solutions of the equation


title: Chinese remainder theorem

text: As the other formula_1 are coprime with formula_24 this reduces solving the initial problem of equations to a similar problem with formula_25 equations. Iterating the process, one gets eventually the solutions of the initial problem.


title: Chinese remainder theorem

text: For constructing a solution, it is not necessary to make an induction on the number of moduli. However, such a direct construction involves more computation with large numbers, which makes it less efficient and less used. Nevertheless, Lagrange interpolation is a special case of this construction, applied to polynomials instead of integers.


title: Chinese remainder theorem

text: Let formula_26 be the product of all moduli but one. As the formula_1 are pairwise coprime, formula_28 and formula_1 are coprime. Thus Bézout's identity applies, and there exist integers formula_30 and formula_31 such that


title: Chinese remainder theorem

text: where the formula_1 are pairwise coprime, and let formula_41 In this section several methods are described for computing the unique solution for formula_42, such that formula_43 and these methods are applied on the example


title: Chinese remainder theorem

text: It is easy to check whether a value of is a solution: it suffices to compute the remainder of the Euclidean division of by each . Thus, to find the solution, it suffices to check successively the integers from to until finding the solution.


title: Chinese remainder theorem

text: Although very simple, this method is very inefficient. For the simple example considered here, integers (including ) have to be checked for finding the solution, which is . This is an exponential time algorithm, as the size of the input is, up to a constant factor, the number of digits of , and the average number of operations is of the order of .


title: Chinese remainder theorem

text: The search of the solution may be made dramatically faster by sieving. For this method, we suppose, without loss of generality, that formula_45 (if it were not the case, it would suffice to replace each formula_46 by the remainder of its division by formula_1). This implies that the solution belongs to the arithmetic progression


title: Chinese remainder theorem

text: By testing the values of these numbers modulo formula_49 one eventually finds a solution formula_50 of the two first congruences. Then the solution belongs to the arithmetic progression


title: Chinese remainder theorem

text: Testing the values of these numbers modulo formula_52, and continuing until every modulus has been tested gives eventually the solution.


title: Chinese remainder theorem

text: This method is faster if the moduli have been ordered by decreasing value, that is if formula_53 For the example, this gives the following computation. We consider first the numbers that are congruent to 4 modulo 5 (the largest modulus), which are 4, , , ... For each of them, compute the remainder by 4 (the second largest modulus) until getting a number congruent to 3 modulo 4. Then one can proceed by adding at each step, and computing only the remainders by 3. This gives


title: Chinese remainder theorem

text: This method works well for hand-written computation with a product of moduli that is not too big. However, it is much slower than other methods, for very large products of moduli. Although dramatically faster than the systematic search, this method also has an exponential time complexity and is therefore not used on computers.


title: Chinese remainder theorem

text: The constructive existence proof shows that, in the case of two moduli, the solution may be obtained by the computation of the Bézout coefficients of the moduli, followed by a few multiplications, additions and reductions modulo formula_54 (for getting a result in the interval formula_55). As the Bézout's coefficients may be computed with the extended Euclidean algorithm, the whole computation, at most, has a quadratic time complexity of formula_56 where formula_57 denotes the number of digits of formula_58


title: Chinese remainder theorem

text: For more than two moduli, the method for two moduli allows the replacement of any two congruences by a single congruence modulo the product of the moduli. Iterating this process provides eventually the solution with a complexity, which is quadratic in the number of digits of the product of all moduli. This quadratic time complexity does not depend on the order in which the moduli are regrouped. One may regroup the two first moduli, then regroup the resulting modulus with the next one, and so on. This strategy is the easiest to implement, but it also requires more computation involving large numbers.


title: Chinese remainder theorem

text: Another strategy consists in partitioning the moduli in pairs whose product have comparable sizes (as much as possible), applying, in parallel, the method of two moduli to each pair, and iterating with a number of moduli approximatively divided by two. This method allows an easy parallelization of the algorithm. Also, if fast algorithms (that is, algorithms working in quasilinear time) are used for the basic operations, this method provides an algorithm for the whole computation that works in quasilinear time.


title: Chinese remainder theorem

text: On the current example (which has only three moduli), both strategies are identical and work as follows.


title: Chinese remainder theorem

text: for a solution of the two first congruences, the other solutions being obtained by adding to −9 any multiple of . One may continue with any of these solutions, but the solution is smaller (in absolute value) and thus leads probably to an easier computation


title: Chinese remainder theorem

text: The system of congruences solved by the Chinese remainder theorem may be rewritten as a system of linear Diophantine equations:


title: Chinese remainder theorem

text: where the unknown integers are formula_42 and the formula_65 Therefore, every general method for solving such systems may be used for finding the solution of Chinese remainder theorem, such as the reduction of the matrix of the system to Smith normal form or Hermite normal form. However, as usual when using a general algorithm for a more specific problem, this approach is less efficient than the method of the preceding section, based on a direct use of Bézout's identity.


title: Chinese remainder theorem

text: In , the Chinese remainder theorem has been stated in three different ways: in terms of remainders, of congruences, and of a ring isomorphism. The statement in terms of remainders does not apply, in general, to principal ideal domains, as remainders are not defined in such rings. However, the two other versions make sense over a principal ideal domain : it suffices to replace "integer" by "element of the domain" and formula_66 by . These two versions of the theorem are true in this context, because the proofs (except for the first existence proof), are based on Euclid's lemma and Bézout's identity, which are true over every principal domain.


title: Chinese remainder theorem

text: However, in general, the theorem is only an existence theorem and does not provide any way for computing the solution, unless one has an algorithm for computing the coefficients of Bézout's identity.


title: Chinese remainder theorem

text: The statement in terms of remainders given in cannot be generalized to any principal ideal domain, but its generalization to Euclidean domains is straightforward. The univariate polynomials over a field is the typical example of a Euclidean domain which is not the integers. Therefore, we state the theorem for the case of the ring formula_67 for a field formula_68 For getting the theorem for a general Euclidean domain, it suffices to replace the degree by the Euclidean function of the Euclidean domain.


title: Chinese remainder theorem

text: The Chinese remainder theorem for polynomials is thus: Let formula_69 (the moduli) be, for formula_70, pairwise coprime polynomials in formula_67. Let formula_72 be the degree of formula_69, and formula_74 be the sum of the formula_75


title: Chinese remainder theorem

text: If formula_76 are polynomials such that formula_77 or formula_78 for every , then, there is one and only one polynomial formula_79, such that formula_80 and the remainder of the Euclidean division of formula_79 by formula_69 is formula_83 for every .


title: Chinese remainder theorem

text: The construction of the solution may be done as in or . However, the latter construction may be simplified by using, as follows, partial fraction decomposition instead of the extended Euclidean algorithm.


title: Chinese remainder theorem

text: The partial fraction decomposition of formula_88 gives polynomials formula_89 with degrees formula_90 such that


title: Chinese remainder theorem

text: This solution may have a degree larger that formula_96 The unique solution of degree less than formula_74 may be deduced by considering the remainder formula_98 of the Euclidean division of formula_99 by formula_100 This solution is


title: Chinese remainder theorem

text: A special case of Chinese remainder theorem for polynomials is Lagrange interpolation. For this, consider monic polynomials of degree one:


title: Chinese remainder theorem

text: They are pairwise coprime if the formula_103 are all different. The remainder of the division by formula_69 of a polynomial formula_79 is formula_106


title: Chinese remainder theorem

text: Now, let formula_107 be constants (polynomials of degree 0) in formula_68 Both Lagrange interpolation and Chinese remainder theorem assert the existence of a unique polynomial formula_109 of degree less than formula_110 such that


title: Chinese remainder theorem

text: Lagrange interpolation formula is exactly the result, in this case, of the above construction of the solution. More precisely, let


title: Chinese remainder theorem

text: and the numerator is equal to one, as being a polynomial of degree less than formula_117 which takes the value one for formula_110 different values of formula_119


title: Chinese remainder theorem

text: Hermite interpolation is an application of the Chinese remainder theorem for univariate polynomials, which may involve moduli of arbitrary degrees (Lagrange interpolation involves only moduli of degree one).


title: Chinese remainder theorem

text: The problem consists of finding a polynomial of the least possible degree, such that the polynomial and its first derivatives take given values at some fixed points.


title: Chinese remainder theorem

text: More precisely, let formula_121 be formula_110 elements of the ground field formula_123 and, for formula_124 let formula_125 be the values of the first formula_126 derivatives of the sought polynomial at formula_103 (including the 0th derivative, which is the value of the polynomial itself). The problem is to find a polynomial formula_79 such that its "j" th derivative takes the value formula_129 at formula_130 for formula_131 and formula_132


title: Chinese remainder theorem

text: This is the Taylor polynomial of order formula_134 at formula_103, of the unknown polynomial formula_136 Therefore, we must have


title: Chinese remainder theorem

text: Conversely, any polynomial formula_138 that satisfies these formula_110 congruences, in particular verifies, for any formula_140


title: Chinese remainder theorem

text: therefore formula_69 is its Taylor polynomial of order formula_143 at formula_103, that is, formula_79 solves the initial Hermite interpolation problem.


title: Chinese remainder theorem

text: The Chinese remainder theorem asserts that there exists exactly one polynomial of degree less than the sum of the formula_146 which satisfies these formula_110 congruences.


title: Chinese remainder theorem

text: There are several ways for computing the solution formula_136 One may use the method described at the beginning of . One may also use the constructions given in or .


title: Chinese remainder theorem

text: The Chinese remainder theorem can be generalized to non-coprime moduli. Let formula_149 be any integers, let formula_150; formula_151, and consider the system of congruences:


title: Chinese remainder theorem

text: If formula_153, then this system has a unique solution modulo formula_154. Otherwise, it has no solutions.


title: Chinese remainder theorem

text: This defines an integer, as divides both and . Otherwise, the proof is very similar to that for coprime moduli.


title: Chinese remainder theorem

text: The Chinese remainder theorem can be generalized to any ring, by using coprime ideals (also called comaximal ideals). Two ideals and are coprime if there are elements formula_157 and formula_158 such that formula_159 This relation plays the role of Bézout's identity in the proofs related to this generalization, which otherwise are very similar. The generalization may be stated as follows.


title: Chinese remainder theorem

text: Let be two-sided ideals of a ring formula_160 and let be their intersection. If the ideals are pairwise coprime, we have the isomorphism:


title: Chinese remainder theorem

text: where "formula_164" denotes the image of the element formula_42 in the quotient ring defined by the ideal formula_166


title: Chinese remainder theorem

text: Moreover, if formula_160 is commutative, then the ideal intersection of pairwise coprime ideals is equal to their product; that is


title: Chinese remainder theorem

text: be the isomorphism defined above. Let formula_172 be the element of formula_173 whose components are all except the  th which is , and formula_174


title: Chinese remainder theorem

text: The formula_175 are central idempotents that are pairwise orthogonal; this means, in particular, that formula_176 and formula_177 for every and . Moreover, one has formula_178 and formula_179


title: Chinese remainder theorem

text: In summary, this generalized Chinese remainder theorem is the equivalence between giving pairwise coprime two-sided ideals with a zero intersection, and giving central and pairwise orthogonal idempotents that sum to .


title: Chinese remainder theorem

text: The Chinese remainder theorem has been used to construct a Gödel numbering for sequences, which is involved in the proof of Gödel's incompleteness theorems.


title: Chinese remainder theorem

text: The prime-factor FFT algorithm (also called Good-Thomas algorithm) uses the Chinese remainder theorem for reducing the computation of a fast Fourier transform of size formula_54 to the computation of two fast Fourier transforms of smaller sizes formula_9 and formula_10 (providing that formula_9 and formula_10 are coprime).


title: Chinese remainder theorem

text: Most implementations of RSA use the Chinese remainder theorem during signing of HTTPS certificates and during decryption.


title: Chinese remainder theorem

text: The Chinese remainder theorem can also be used in secret sharing, which consists of distributing a set of shares among a group of people who, all together (but no one alone), can recover a certain secret from the given set of shares. Each of the shares is represented in a congruence, and the solution of the system of congruences using the Chinese remainder theorem is the secret to be recovered. Secret sharing using the Chinese remainder theorem uses, along with the Chinese remainder theorem, special sequences of integers that guarantee the impossibility of recovering the secret from a set of shares with less than a certain cardinality.


title: Chinese remainder theorem

text: The range ambiguity resolution techniques used with medium pulse repetition frequency radar can be seen as a special case of the Chinese remainder theorem.


title: Chinese remainder theorem

text: Given a surjection formula_185 of finite abelian groups, we can use the Chinese remainder theorem to give a complete description of any such map. First of all, the theorem gives isomorphisms


title: Chinese remainder theorem

text: from the original surjection, we have formula_189 and formula_190 since for a pair of primes formula_191, the only non-zero surjections


title: Chinese remainder theorem

text: These observations are pivotal for constructing the ring of profinite integers, which is given as an inverse limit of all such maps.


title: Chinese remainder theorem

text: Dedekind's theorem on the linear independence of characters. Let be a monoid and an integral domain, viewed as a monoid by considering the multiplication on . Then any finite family of distinct monoid homomorphisms is linearly independent. In other words, every family of elements satisfying


title: Chinese remainder theorem

text: Proof. First assume that is a field, otherwise, replace the integral domain by its quotient field, and nothing will change. We can linearly extend the monoid homomorphisms to -algebra homomorphisms , where is the monoid ring of over . Then, by linearity, the condition


title: Chinese remainder theorem

text: Next, for the two -linear maps and are not proportional to each other. Otherwise and would also be proportional, and thus equal since as monoid homomorphisms they satisfy: , which contradicts the assumption that they are distinct.


title: Chinese remainder theorem

text: Therefore, the kernels and are distinct. Since is a field, is a maximal ideal of for every in . Because they are distinct and maximal the ideals and are coprime whenever . The Chinese Remainder Theorem (for general rings) yields an isomorphism:


title: Streets of Fire

text: Streets of Fire is a 1984 American neo-noir rock musical film directed by Walter Hill and co-written by Hill and Larry Gross. It is described in the opening credits and posters as "A Rock & Roll Fable" and is a mix of various movie genres with elements of retro-1950s woven into then-current 1980s themes. The film stars Michael Paré, Diane Lane, Rick Moranis, Amy Madigan, Willem Dafoe, E.G. Daily, and Deborah Van Valkenburgh.


title: Streets of Fire

text: "Streets of Fire" was released in the United States on June 1, 1984, by Universal Pictures. The film was a box office bomb, grossing $8 million against a production budget of $14.5 million.


title: Streets of Fire

text: In Richmond, a city district in a time period that resembles the 1950s (referred to within the film as "'another time, another place"'), Ellen Aim, lead singer of Ellen Aim and the Attackers, has returned home for a concert. The Bombers, a biker gang from another part of town named the Battery, led by Raven Shaddock, crash the concert and kidnap Ellen.


title: Streets of Fire

text: Witnessing this is Reva Cody, who asks her brother Tom, an ex-soldier and Ellen's ex-boyfriend, to come home and rescue her. Upon his return, Tom defeats a small gang of greasers and takes their car. When Reva fails to convince Tom to rescue Ellen, he checks out the local tavern, the Blackhawk. He is annoyed by a tomboyish ex-soldier named McCoy, a mechanic who "could drive anything" and who is good with her fists. They leave the bar and Tom lets McCoy stay with him and Reva. That night, Tom agrees to rescue Ellen, but for $10,000 to be paid by Ellen's manager and current boyfriend, Billy Fish.


title: Streets of Fire

text: While Reva and McCoy go to a diner to wait for Billy, Tom acquires a cache of weapons, including a pump action shotgun, a revolver, and a lever action rifle. Tom and Billy meet at the diner, and Billy agrees to pay Tom, but Tom requires that Billy accompany him into the Battery to get Ellen, since he used to live there; after some negotiation, Billy agrees to go, and McCoy talks Tom into cutting her in for 10% in exchange for her help.


title: Streets of Fire

text: In the Battery, they visit Torchie's, where Billy used to book bands. They wait until nightfall under an overpass, watching bikers come and go. Raven has Ellen tied up in an upstairs bedroom. As Tom, Billy, and McCoy approach, Tom directs Billy to get the car and be out front in fifteen minutes.


title: Streets of Fire

text: McCoy enters and is stopped by one of the "Bombers". Pretending to like him, McCoy follows him to his special "party room", close to where Raven is playing poker. McCoy then knocks him out. Tom finds a window and, as a distraction, starts shooting the gas tanks on the gang's motorcycles; he then reaches Ellen's room, cuts her free and, with McCoy's help, escapes just as Billy arrives at the front door.


title: Streets of Fire

text: Riding in the convertible, Tom sends his crew off to meet at the Grant Street Overpass, and leaves to blow up the gas pumps outside a bar. Raven appears out of the flames to confront Tom. After learning who he is, Raven warns he will be coming for Ellen and for him, too. Tom escapes on the one intact motorcycle. Billy persuades Ellen the only reason Tom rescued her was for money. Tom returns, as McCoy explains to Billy that Tom used to be Ellen's boyfriend.


title: Streets of Fire

text: Ellen follows Tom, while Billy and McCoy go back and forth once again about Tom and Ellen's love affair. Ellen and Tom also have an argument. When they all meet up on the street, they are in the Battery. The group is joined by "Baby Doll", a fan of Ellen's, who warns them that the police are looking for whoever caused the fight at Torchie's. In an attempt to escape undetected, the group boards the tour bus of a band called The Sorels. The Sorels try to convince Ellen to let them open for her, and when the bus is stopped by the police, McCoy and Billy masquerade as the band's driver and manager, respectively. The charade almost fools the police, but ultimately the crew (now including the members of the Sorels) has to escape on foot and take a train back to The Richmond. They return Ellen safely home, where she initially rejects her home town as well as Tom. Later, he goes to the hotel where Ellen and Billy are staying, to collect his reward. He takes only McCoy's cut and throws the rest back at Billy. He then tells Ellen that there was a time he would have done anything for her, but no more. As Tom storms out, Ellen follows and the two embrace in the rain.


title: Streets of Fire

text: Meanwhile, Raven informs Officer Ed Price, the head of the police department, that he wants Tom to meet him alone. If he agrees, he will leave the Richmond alone. Price warns Tom to get out of town. Tom, Ellen, and McCoy leave on a train, but Tom knocks out Ellen and returns to town for a climactic sledgehammer duel with Raven. Tom defeats Raven and the defeated gang carries their leader away. Later that night, Tom bids a final goodbye to Ellen as she performs on stage, and he rides off with McCoy.


title: Streets of Fire

text: The concept for "Streets of Fire" came together during the making of "48 Hrs.", and reunited director Walter Hill with producers Lawrence Gordon and Joel Silver, and screenwriter Larry Gross, all of whom worked together on that production. Gross later recalled:


title: Streets of Fire

text: "Streets of Fire" began in the euphoria of knowing that Paramount really liked "48" and wanted to be in business with us if they could. What happened was that after we screened that cut for Paramount, Larry looked at Walter and said, "Paramount is pregnant; let's get something and set it up right away." Walter knew what he meant—that we were in a great position here—so he said, "We can do this two ways: present an idea now and get a deal done, or write a script on spec and get a lot more money." Walter proudly considers himself a capitalist, so he suggested we do the latter.


title: Streets of Fire

text: According to Hill, the film's origins came out of a desire to make what he thought was a perfect film when he was a teenager, and put in all of the things that he thought were "great then and which I still have great affection for: custom cars, kissing in the rain, neon, trains in the night, high-speed pursuit, rumbles, rock stars, motorcycles, jokes in tough situations, leather jackets and questions of honor".


title: Streets of Fire

text: According to Gross, Hill wanted to make a film about the hero of the comic book, but since he did not like "any of the comic books" he had read he wanted it to be an original character. "He wanted to create his own "comic book movie", without the source material actually being a comic book", said Gross, which led to the creation of Tom Cody.


title: Streets of Fire

text: The four men began planning "Streets of Fire" while completing "48 Hrs". Gross published a diary from the shoot of "48 Hours" which had an entry dated 12 August 1982, the night before filming on that movie started:


title: Streets of Fire

text: Walter presents me with a page of notes he's prepared for a new script. It will be the first in a series of adventures of an action hero he's had it in his mind to create for a long time. The character's name is Tom Cody. And Walter has it in his head to create a franchise about him...introducing him as The Stranger. He asks me if I'm interested in writing the script with him...I ask him is the Pope Catholic? Larry [Gordon] and Joel [Silver] would be along on this ride. Suits me.


title: Streets of Fire

text: During "48 Hours" Gross said he thought that Hill had received "a bum rap on the woman question" over the years. "People think that he doesn't like women and he knows that's not true. I think that's going to be demonstrated even more clearly in his next films. He told me he's going to do this new thing: he's going to put a female character right in the centre of the narrative."


title: Streets of Fire

text: Larry Gross later said they were affected "as everyone was at the time" by the success of "Flashdance" and they decided during writing that the film would be a musical:


title: Streets of Fire

text: We said this movie is a stylized movie, it's not so different from the world of a musical. And there were a few other things that contributed to that direction. One was the decision on Universal's part, a crazy decision, to shoot the movie almost entirely in the studio under a tarpaulin. They built this gigantic tarpaulin, and the Battery and all these other places were built as real places. The Richlands. And just so you know, this is the early ’80s and you had stylized films—like "New York City"—that were all done on set and that idea was in the air. That idea of a totally artificial universe. The point is that we had in mind one sentence inspired by George Lucas: "in a galaxy long ago", a futuristic past. That was in our heads...there's the past and there's the future, sort of.


title: Streets of Fire

text: Walter Hill thought "the audience will go with you when you set up an abstract world with teenage values and play out a drama within this. It was kind of real but it wasn't really. I always said whenever someone says fantasy they immediately think of more Disney--esque. The idea of a hard hitting drama in a fantasy world, that was kind of different at the time... I always thought of it as a musical. They kind of saw it worked in the world of an MTV video.


title: Streets of Fire

text: We were in the universe of the teenage movie. Teenage reality. So we said here's what's going to be weird about the world of our movie: No one's going to be over 30. The world is a high school, essentially. And Tom Cody will be the football hero. And Willem Dafoe is the greaser. Remember: You had John Hughes at the time, and then you had Coppola making two high school movies: "The Outsiders" and "Rumble Fish". So Walter said we’re going to make a high school movie that's also going to be a comic book and also going to be a musical.


title: Streets of Fire

text: Gross says Hill did not want the film to be especially violent – there would be no blood and no one would die. "He'd say it would be inappropriate to direct this movie if there were any blood", said Gross. "We’re in the world of Cocteau, we’re in the world of "Beauty and the Beast". This is a fairy tale. Now...he neglected to mention that some fairy tales are very violent."


title: Streets of Fire

text: Gross and Hill would work out their ideas in detail. Gross would do a draft and Hill would rewrite it. "He did not love creating scripts from scratch; he loved rewriting." However, by this stage Gross and Hill had worked together so closely Gross says "I began to develop a strong sense for knowing how to sound like he did."


title: Streets of Fire

text: When the script was finished, they sent it to Paramount. Gross says that Jeff Berg (Walter's agent), Larry Gordon and Michael Eisner, head of production at Paramount, "got into some kind of a fight when the script was finished. We learned later that, I believe, Eisner rejected it on the grounds that it was too similar to Indiana Jones. Conceptually. So they didn't pull the trigger and Berg ended up selling it to Universal."


title: Streets of Fire

text: They submitted the script to Universal executive Bob Rehme on a Friday (in January 1983) and by the end of the weekend, the studio had given them the go-ahead to make the film. This was the fastest ever greenlight Hill had received and he put it down to the box office success of "48 Hours".


title: Streets of Fire

text: The film's title came from a song written and recorded by Bruce Springsteen on his 1978 album "Darkness on the Edge of Town". Negotiations with Springsteen for rights to the song delayed production several times. Originally, plans were made for the song to be featured on the film's soundtrack, to be sung by Ellen Aim at the end of the film, but when Springsteen was told that the song would be re-recorded by other vocalists, he withdrew permission for the song to be used. Jim Steinman was brought in to write the opening and closing songs, and "Streets of Fire" was replaced by "Tonight Is What It Means to Be Young". The studio claimed that they replaced Springsteen's song because it was a "downer".


title: Streets of Fire

text: When it came to casting the movie, Hill wanted to go with a young group of relative unknowns. Gross says "There was always the idea that we were going to discover a new Steve McQueen, you know? A young, white guy who would ride a motorcycle and have a carbine over his shoulder and be a mainstream icon."


title: Streets of Fire

text: Among the actors they saw for the role of Tom Cody were Eric Roberts, Tom Cruise and Patrick Swayze. Gross says they wanted Tom Cruise and made him an offer, but he had already accepted another role


title: Streets of Fire

text: Hill heard about Michael Paré from the same agent who recommended Eddie Murphy to him for "48 Hrs" (his then-girlfriend and later wife Hildy). At the time he was cast in March 1983, Paré had appeared in two films, "Eddie and the Cruisers" and "Undercover", which had not yet been released. For Hill, Paré "had the right quality. He was the only actor I found who was right for the part ...a striking combination of toughness and innocence." Paré said of his character, "He's someone who can come in and straighten everything out."


title: Streets of Fire

text: The character of Ellen Aim was written as a 28-year-old woman. Gross says they wanted Daryl Hannah but were unable to do a deal in time. Diane Lane read for the part when she was 18. Hill was reluctant to cast her because he felt that she was too young for the role. Hill met Lane in New York City and she auditioned for him in black leather pants, a black mesh top and high-heeled boots. He was surprised with her "total commitment to selling herself as a rock 'n' roll star". The actress had been in more than 10 films by the time she did "Streets of Fire". She described her character as "the first glamorous role I've had". Hill was so impressed with her work on the film that he wrote additional scenes for her during the shoot.


title: Streets of Fire

text: "We were very excited about Diane Lane because she was starring in two excitedly hyped Francis Ford Coppola pictures that were being done in Oklahoma", says Gross. "So we had the approval of sort of picking the person that Francis Ford Coppola picked."


title: Streets of Fire

text: Amy Madigan originally read for Reva, Cody's sister, and told Hill and Silver that she wanted to play the role of McCoy which, she remembers, "was written to be played by an overweight male who was a good soldier and really needed a job. It could still be tough and strong and have a woman do it without rewriting the part." Hill liked the idea and cast her.


title: Streets of Fire

text: Willem Dafoe was recommended by Kathryn Bigelow, who had just made a film with him. Bigelow was dating David Giler, a collaborator and friend of Hill at the time. Gross later said he thought Dafoe "may have been the best thing about the film."


title: Streets of Fire

text: Production began on location in Chicago in April 1983, then moved to Los Angeles for 45 days, and finally two weeks at a soap factory in Wilmington, California, with additional filming taking place at Universal Studios. Shooting wrapped on August 18, 1983. All 10 days of filming in Chicago were exteriors at night, on locations that included platforms of elevated subway lines and the depths of Lower Wacker Drive. For Hill, the subways and their look was crucial to the world of the film and represented one of three modes of transportation—the other two being cars and motorcycles.


title: Streets of Fire

text: While shooting in Chicago, the production was plagued by inclement weather that included rain, hail, snow, and a combination of all three. The subway scenes were filmed on location in Chicago at many locations, including: LaSalle Street (Blue line), Lake Street (Green line), Sheridan Road (Red, Purple lines), and Belmont Avenue (Red, Brown, and Purple lines). The Damen Avenue stop (Blue Line, at Damen, North, and Milwaukee avenues) was used.


title: Streets of Fire

text: Production designer John Vallone and his team constructed an elevated train line on the backlot of Universal Studios that perfectly matched the ones in Chicago. The film crew tarped-in the New Street and Brownstone street sets to double for the Richmond District setting, completely covering them so that night scenes could be filmed during the day. This tarp measured 1,240 feet long by 220 feet wide over both sets, and cost $1.2 million to construct. However, this presented unusual problems. The sound of the tarp flapping in the wind interfered with the actors’ dialogue. Birds who had nested in the tarp provided their own noisy interruptions.


title: Streets of Fire

text: The exterior of the Richmond Theater where Ellen Aim sings at the beginning of the film was shot on the backlot, with the interior done in the Wiltern Theater in L.A. for two weeks. The factory scenes that take place in the Battery were filmed at a rotting soap factory in Wilmington, California, for ten nights. The Ardmore Police roadblock was filmed near 6th street in East Los Angeles, near the flood basin. Although three districts are seen, the city has a total of five districts: the Richmond, the Strip, the Battery, the Cliffside, and the Bayside. An additional district, Ardmore, also appears in the film, but it may be a separate municipality as it is not prefaced with "the".


title: Streets of Fire

text: The production employed 500 extras to play the citizens of the Richmond District. Cinematographer Andrew Laszlo shot the film with very low light, giving the images a stark, "low-tech" quality. The choreography for the two songs Ellen Aim sings and the one by the Sorels was done by Jeffrey Hornaday. The lighting for these concert scenes were done by Mark Brickman, who also lit concerts for Bruce Springsteen and Pink Floyd. In addition, 12 1950 and 1951 model Studebakers were used as police cars. More than 50 motorcycles and their drivers were featured as the Bombers, and were chosen from 200 members of real L.A.-based clubs like The Crusaders and The Heathens.


title: Streets of Fire

text: According to cinematographer Andrew Laszlo, the film's style was dictated by the story. The Richmond's look was very soft and the colors did not call attention to themselves. The light in The Battery was contrasting and harsh, with vivid colors. Argyle prints and plaids are used in the Parkside District, and neon lights color the Strip.


title: Streets of Fire

text: I think I thought I could handle things. Didn't know how to shoot music. Music had been important in my films, it was usually post production. This was tough stuff to shoot. I already had a great respect for people like Minnelli. I just couldn't seem to work it out without just putting up multiple cameras and shooting an awful lot of film... I later realized or talked to people about this and MGM in the old days everybody was on contract and they would rehearse for weeks. We don't get that. We would stage it and shoot it. We got the songs a lot of times just a few days before we shoot. We only get the final song. The structural advantage of the old studio system we didn't have. It made a very inefficient shoot. I don't think there was any other way to do it given the circumstances.


title: Streets of Fire

text: Due to the choreography and setups in between takes of every scene, the climactic 4-minute showdown between Cody and Raven took a considerable time to shoot. Paré estimated it as four weeks:


title: Streets of Fire

text: Willem and I shot that for two weeks, and then Walter shot it for another two week with the stunt guys. That whole scene was a Walter thing. He had to do something like that, especially after what he had done in "Hard Times" (1975).


title: Streets of Fire

text: You gotta realize that, out of the whole cast, nobody was over thirty. Diane Lane was, I think, eighteen. It was an enormous Hollywood production. My manager had me hire a limousine to pick me up at home and take me to work. I was like, "Jesus, this is incredible. This is... Hollywood. The real Hollywood. The Hollywood they make movies about." ... It was scary. And Walter isn't the kind of guy who works well with kids. He's a cowboy. He's like John Ford. "Don't ask me how to act! I'm a director!" (Laughs)


title: Streets of Fire

text: Rick Moranis drove me out of my mind. There's this whole wave of insult comedy. In the real world, if someone insults you a couple of times, you can smack them. Or punch them. You can't do that on a movie set. And these comedians walk around, and they can say whatever they want. I'm just not that handy with that. Comedians are a special breed. They can antagonize you and say whatever they...want, and you can't do anything to stop them...He's this weird looking little guy who couldn't get laid in a whore house with a fistful of fifties. He would imitate me. The first thing he says to me is "Do you just act cool, or are you really cool?" That was the first sentence out of his mouth to me in Joel Silver's office. And I was like, "Oh...this is not going to go well." But he was one of Joel's dear friends, and he ended up making a bunch of movies for Disney. I just wasn't that sharp. I wasn't ready for that kind of crap.


title: Streets of Fire

text: Paré said that the original draft of the script had Tom Cody kill Raven with a knife. "Walter really liked the idea because it had Tom Cody winning at all costs." However, this was changed to a fair fight in order to get a PG rating.


title: Streets of Fire

text: I think Walter is a writer at heart. Writers aren't always that good at communicating in person. He's also a tough son-of-a-bitch. He's like a cowboy. His director's chair was made out of leather and on the back of it read "Lone Wolf". He used to frequent gun clubs and he wasn't a very delicate guy...We were doing a love scene. When they said "We need to ADR the love scene." I really freaked out. I had never done a love scene before...I really needed help to get through it. I panicked, and Joel Silver, called Walter and somehow persuaded him to come over and direct me through the ADR. "Streets of Fire" was a big picture for me, and I was overwhelmed. I think that bothered Walter. I think he thought that I was a needy guy. He was used to working with actors who had experience like Nick Nolte or David Carradine. I've always wondered why Walter has never wanted to work with me again. I think he was too much of gentlemen to tell me that I was too needy at the time.


title: Streets of Fire

text: E.G. Daily who played Baby Doll says it was "a very frustrating thing for me" to not sing in the film "Because Diane Lane was singing, and I remember thinking "Ah!" It was so frustrating for me. It was painful. Because I wanted to be on that stage singing with those guys...But back then I always played those quirky characters. I didn't get those fancy leads. I got those best friend of the leads, quirky, funny characters. Hookers with a heart of gold. Weirdos."


title: Streets of Fire

text: Gross and Hill met with the editors on the weekends and looked at footage. Gross recalls that about five weeks into the 14-week shoot:


title: Streets of Fire

text: I turned to Walter and said "This movie is somewhat weirder than we thought...We just didn't anticipate what the combination of elements was going to be. We had a very conscious design concept of the movie, but I think we didn't fully grasp how strong it would be, in terms of the combination of elements. In a way, I think "Streets of Fire" was about expanding "The Warriors" concept to a bigger stage. But when expanding it to a bigger scale, it changed. The movie's bigness of size—compositionally—changed the meaning of things and made it more of a fairy tale..."The Warriors", it was bewoven with a unique sense of realism. The fact that they made a deal with real gangs to be extras in the film. There was a true Godardian dialectic going on between artifice and reality. It's a very real-world film, in some respects, but it's very artificial at the same time... We did that again, but we put the emphasis on the artifice. And we didn't fully...I want to say we had too much integrity. We went further with that, perhaps, than we should have. I don't know. I can't put everything together about what didn't work, but the most damaging thing is that we didn't have the right actor for Tom Cody. Maybe if we'd had Tom Cruise, we might have had a success. But our commitment to be stylized was thorough and conscious and maybe too extreme for the mainstream audience.


title: Streets of Fire

text: Gross also wrote that "there was a chance of something great, but early fundamental disappointment with key personnel (in that case the star, Michael Paré) steeled all of us to face the chance that it might not turn out that way."


title: Streets of Fire

text: Jimmy Iovine produced five of the songs for the film and the soundtrack album. For Ellen's singing voice, he combined the voices of Laurie Sargent and Holly Sherwood, billing them as 'Fire Incorporated'. The Attackers were the real-life (Face to Face) bandmates of Sargent, who provided the lead vocals on Ellen's songs "Nowhere Fast", "Never Be You" and "Sorcerer", and supporting vocals on "Tonight Is What It Means to Be Young". The version of "Sorcerer", composed by Stevie Nicks, that was featured on the actual soundtrack album was performed by Marilyn Martin. The version of "Never Be You" that was featured on the soundtrack album was performed by Maria McKee.


title: Streets of Fire

text: Two songs written by Jim Steinman were part of the soundtrack: "Tonight Is What It Means to Be Young" and "Nowhere Fast", both performed by 'Fire Incorporated', with Holly Sherwood providing lead vocals on the former and Laurie Sargent on the latter. The title of the former was used as the tagline on some promotional materials for the film. Dan Hartman's selection "I Can Dream About You" is the most successful song from the movie, and became a "Billboard" top 10 hit in 1984 (also from his studio album of the same name). In the movie, the song is performed on stage at the end of the film by 'The Sorels', a fictional doo-wop style group consisting of actors Stoney Jackson, Grand L. Bush, Mykelti Williamson, and Robert Townsend. However, the song was actually sung for the film by Winston Ford, whose vocals were lip-synched by Jackson in the movie. While there are thus two versions of the song, only Hartman's version was released commercially.


title: Streets of Fire

text: Steinman later recalled thinking the script was 'terrible', but he thought the film was going to be a big hit, in part because of the enthusiasm of Joel Silver:


title: Streets of Fire

text: [He said] this movie is about visuals. It's about excitement, it's about thrills. Don't worry about the script... Then we go to the first edit, the first cut of the movie in the screening room and it's [Jimmy] Iovine and me and Joel Silver... And about 20 minutes into the movie Jimmy turns to me and he goes... this movie is really shitty isn't it? It's really bad. I said, yeah, it's a really bad script... Joel's on the other side going, what am I gonna do next? There's gotta be a next project, and they're sitting there and there's so many lessons I learned during that movie. It went $14 million over budget, I think and I kept saying to Joel, how are they allowing this? 'Cause they kept screaming at us, it's over the budget. I said, how, and they, you've gotta understand, they built all, Walter Hill didn't want to go to Chicago. The story took place in Chicago, so they built Chicago in LA.


title: Streets of Fire

text: Steinman has said the filmmakers were convinced they would have the rights to the Bruce Springsteen song "Streets of Fire", and filmed an ending using it. However, when they realised they would not get it in time, they asked Steinman for a song, which he wrote in two days.


title: Streets of Fire

text: So I wrote this song that I loved and I sent it to them and he and Joel, I remember, left me a great message saying, I hate you, you bastard, I love this song. We're gonna have to do it. We're gonna have to re-build the Wiltern Theater, which they had taken down, it was a million dollars to re-do the ending... and I felt all his hostility for Universal. A guy named Sean Daniels, who was head of production, one day said to me, well there is hostility because we understand you waited about eight months to come up with that final song and you never did it. I said, where'd you hear that? I did it in two days. He said, Jimmy Iovine. So I went to Jimmy Iovine and I said all that to his, yeah it's true, I know. I blamed you but you can't be upset with me. I'm not like a writer. I've gotta make my way with these people. I had to have a scapegoat.


title: Streets of Fire

text: The Blasters, who turned down the chance to appear in Hill's "48 Hours", appear in the film performing two songs.


title: Streets of Fire

text: Walter Hill had worked with Ry Cooder several times previously but Cooder did not do the original score. Hill was unhappy with that score and liked music Cooder had written for "Stroker Ace" which the director of that film had not wanted to use.


title: Streets of Fire

text: We all knew in our hearts that Michael was disappointing. We felt that we had compensated adequately in making a fun, exciting, stylized world. You know, I was disappointed in one aspect: a voiceover from Tom's sister that we had, which Walter later decided to cut. Um, there were a couple of things in the narrative that I felt went out that probably should have stayed in. At the same time, I was myself knocked out by what Walter and (cinematographer) Andy Laszlo and our editor were doing visually on the film. And I felt, as I watched the post-production process going on, I just saw the film getting better and better. More impressive. To the point where I thought it was going to do well. And I thought that we had done what we set out to do. Created the world that we set out to create... It was a movie that was built to succeed. It's funny. The movie screened very, very well. I remember, after the first screenings, people told me that I was going to be rich for life. There was tremendous love and confidence.


title: Streets of Fire

text: "Streets of Fire" fared poorly at the box office, opening in 1,150 theaters on June 1, 1984, and grossing $2.4 million during its first weekend. After 10 days, it made $4.5 million, while fellow opener "" grossed $34.8 million in the same time.


title: Streets of Fire

text: Gross says Hill was making "Brewster's Millions" at the time. "Joel got off the phone with Universal and said, "We're dead." We sat down, I remember, in a little park. In downtown LA. And we started giggling, in that way people do when things are terrible...there's the song in the movie called "Tonight Is What It Means to Be Young". And I remember, in the park, Joel saying, 'Today Is What It Means to be Dead'."


title: Streets of Fire

text: The film went on to make a total of $8 million in North America, compared to a production budget of $14.5 million.


title: Streets of Fire

text: "I was shattered when the film didn't perform", said Gross. "That broke my heart...I hoped, by the time the movie finished, that it would be whipped into a shape and design that would have a real impact. And then it didn't, and that was sad."


title: Streets of Fire

text: Janet Maslin of "The New York Times" criticized the film's screenplay as being misogynistic and "problematically crude."


title: Streets of Fire

text: Gary Arnold wrote in "The Washington Post" that as "romantic leads, Paré and Lane are pretty much a washout", and that "most of the action climaxes are treated as such throwaways that you begin to wonder if they bored the director."


title: Streets of Fire

text: Jay Scott wrote in "The Globe and Mail" that "when "Streets of Fire" is speeding by like Mercury on methedrine, the rush left in its wake cancels out questions of content. But the minute the momentum slows, it's another story—a story about a movie with no story at all."


title: Streets of Fire

text: In an essay for "Film Comment", David Chute wrote "It's probably impossible not to enjoy the movie. No director holds a candle to Hill for sheer visceral expertise. But the moods didn't linger. It's such a hard-shelled picture that it barely has moods."


title: Streets of Fire

text: Roger Ebert wrote that "the language is strange, too: It's tough, but not with 1984 toughness. It sounds like the way really mean guys would have talked in the late 1950s, only with a few words different--as if this world evolved a slightly different language."


title: Streets of Fire

text: Whatever is good, bad or indifferent about "Streets of Fire", it had a huge impact on other filmmakers. The two movies that came out in the years after that are completely saturated in the iconography of "Streets of Fire" are "RoboCop" and "Se7en". "Se7en"s taking place in another world. It's not New York. It's not Chicago. A world where it's raining all the time. Always dark. Always night, just about. Those are two very successful movies that figured out how to do the stylization with the appropriate amount of gore that they hooked the audience. And I think that if we'd done more gore, our chances of hooking the audience would be greater.


title: Streets of Fire

text: "Streets of Fire" has a number of similarities to Capcom's hit 1989 beat 'em up video game "Final Fight". In a 2007 interview, "Retro Gamer" magazine asked the game's designer Akira Nishitani about the similarities. Nishitani said that, at the time, the team were not "aware of "Streets of Fire", but I've Googled it and there does indeed seem to be something familiar about it" but that "this style of story was very popular back then" and many "fighting games made use of it" so "I guess we were part of that crowd!"


title: Streets of Fire

text: "Streets of Fire" was intended to be the first in a projected trilogy titled "The Adventures of Tom Cody", with Hill's tentatively titling the two sequels "The Far City" and "Cody's Return".


title: Streets of Fire

text: The 'Streets of Fire' script concluded with the expectation that "Streets of Fire' will be followed by 'The Long Night,' Book Two in The Adventures of Tom Cody.'


title: Streets of Fire

text: They told me that it was going to be a trilogy. What happened was that all of the people that made "Streets of Fire" left Universal Studios and went to 20th Century Fox. It was made at Universal, so they owned the rights to the story. So it was left behind. I was told by Joel Silver that the sequel was going to be set in the snow, and the following film would be set in the desert.


title: Streets of Fire

text: However, the film's failure at the box office put an end to the project. In an interview, shortly after the film's release, Paré said, "Everyone liked it, and then all of a sudden they didn't like it. I was already worried about whether I should do the sequel or not."


title: Streets of Fire

text: An unofficial sequel titled "Road to Hell" was made in 2008, directed by Albert Pyun, and with Paré playing Tom Cody, and Deborah Van Valkenburgh playing his sister Reva Cody.


title: Google Authenticator

text: Google Authenticator is a software-based authenticator by Google that implements two-step verification services using the Time-based One-time Password Algorithm (TOTP; specified in RFC 6238) and HMAC-based One-time Password algorithm (HOTP; specified in RFC 4226), for authenticating users of software applications.


title: Google Authenticator

text: When logging into a site supporting Authenticator (including Google services) or using Authenticator-supporting third-party applications such as password managers or file hosting services, Authenticator generates a six- to eight-digit one-time password which users must enter in addition to their usual login details.


title: Google Authenticator

text: An official open-source fork of the Android app is available on GitHub. However, this fork has not been updated since 2020. Likewise, for old versions of the Google Authenticator apps for iOS and BlackBerry, the source code is also freely available. Yet this source code, too, has not been updated in years.


title: Google Authenticator

text: To use Authenticator, the app is first installed on a smartphone. It must be set up for each site with which it is to be used: the site provides a shared secret key to the user over a secure channel, to be stored in the Authenticator app. This secret key will be used for all future logins to the site.


title: Google Authenticator

text: To log into a site or service that uses two-factor authentication and supports Authenticator, the user provides a username and password to the site. The site then computes (but does not display) the required six-digit one-time password and asks the user to enter it. The user runs the Authenticator app, which independently computes and displays the same password, which the user types in, authenticating their identity.


title: Google Authenticator

text: With this kind of two-factor authentication, mere knowledge of username and password is insufficient to break into a user's account - the attacker also needs knowledge of the shared secret key, or physical access to the device running the Authenticator app. An alternative route of attack is a man-in-the-middle attack: if the computer used for the login process is compromised by a trojan, then username, password, and the one-time password can be captured by the trojan, which then can initiate its own login session to the site, or monitor and modify the communication between the user and the site.


title: Google Authenticator

text: During setup, the service provider generates an 80-bit secret key for each user (whereas RFC 4226 §4 requires 128 bits and recommends 160 bits). This is transferred to the Authenticator app as a 16, 26 or 32 character base32 string, or as a QR code.


title: Google Authenticator

text: Subsequently, when the user opens the Authenticator app, it calculates an HMAC-SHA1 hash value using this secret key. The message can be:


title: Google Authenticator

text: The Google Authenticator app for Android was originally open source, but later became proprietary. Google made earlier source for their Authenticator app available on its GitHub repository; the associated development page stated:


title: Google Authenticator

text: "This open source project allows you to download the code that powered version 2.21 of the application. Subsequent versions contain Google-specific workflows that are not part of the project."


title: Google Authenticator

text: Following Google Authenticator ceasing to be open source, a free-software clone was created, predominantly a fresh rewrite but including some code from the original. The currently-maintained fork of this clone is called FreeOTP+.


title: Frank Bruno

text: Franklin Roy Bruno, (born 16 November 1961) is a British former professional boxer who competed from 1982 to 1996. He had a highly publicised and eventful career, both in and out of the ring. The pinnacle of Bruno's boxing career was winning the WBC heavyweight title from Oliver McCall at a packed Wembley Stadium in 1995, in what was his fourth world championship challenge. Bruno faced multiple top-rated heavyweights throughout his career, including two defeats against Mike Tyson in 1989 and 1996, and a defeat against fellow Briton Lennox Lewis in 1993.


title: Frank Bruno

text: He was also known for his exceptional punching power, scoring 38 knockouts in 40 wins and giving him a 95% knockout-to-win ratio; his overall knockout percentage was 84.44%. Bruno has been ranked among BoxRec's 10 best heavyweights in the world 12 times, reaching his career-high ranking of world No.3 at the conclusion of 1984. Like Henry Cooper before him, Bruno has remained a popular celebrity with the British public following his retirement from boxing, including his well-documented struggles with mental health.


title: Frank Bruno

text: Bruno became a professional boxer in 1981, quickly achieving 21 consecutive wins by knockout. This streak caught the attention of international boxing magazines, such as "The Ring", "KO Magazine", "Boxing Illustrated" and "Ring En Español". During this period Bruno defeated former world title contender Scott LeDoux, the fringe contender Floyd Cummings who had was controversially stopped from gaining his own stoppage victory when the referee unfairly protected Bruno, Belgian champion Rudy Gauwe, British contenders Tony Moore and Eddie Nielson, and opponents such as Bill Sharkey, Walter Santemore and Ken Lakusta. However, in May 1984 the up-and-coming future world heavyweight champion, American James "Bonecrusher" Smith, halted that streak when he defeated Bruno by knockout in the tenth and final round of their bout, with Bruno leading clearly on all three judges' cards.


title: Frank Bruno

text: Bruno won his next six bouts against respected opposition. He won the European heavyweight title with a KO over Sweden's Anders Eklund, KO'd former European champion and world title contender Lucien Rodriguez in one round, was taken the distance for the first time by the useful world rated Phil Brown, and beat fringe fighters Larry Frazier and Jeff Jordan.


title: Frank Bruno

text: Bruno got back into title contention with an impressive one-round KO win over former WBA champion Gerrie Coetzee of South Africa, and, in July 1986, he challenged Tim Witherspoon for the WBA heavyweight title. After once again leading on the cards for most of the fight, he ran out of steam and was defeated by knockout in round eleven.


title: Frank Bruno

text: Bruno once again got himself back into title contention with wins over former contender James Tillis and journeymen Reggie Gross and Chuck Gardner. In October 1987 Bruno faced the veteran Joe Bugner in an all British match up. Bugner although long past his peak, was coming off impressive wins over Greg Page, James Tillis and David Bey. Bruno won by TKO in the 8th round, the referee stopping the bout, although it appeared the protesting Bugner could have continued.


title: Frank Bruno

text: In February 1989, Bruno challenged Mike Tyson for the undisputed world heavyweight title. In the opening moments, the fighters came together with huge punches. Bruno's legs buckled, and he took a big step back, inadvertently stepping off the ring apron. Most agree that he would have gone down, at least to a knee in any event, and this was called a knockdown. Bruno did not complain, and instead gathered himself to continue, ultimately rocking Tyson (for the first time in Tyson's career) with a left hook toward the end of the round. However, Tyson recovered and eventually beat Bruno when the referee stopped the contest in round five with Bruno taking heavy punishment, lying helpless on the ropes.


title: Frank Bruno

text: Bruno kept winning fights, helping him to retain his spot as one of the world's leading heavyweights. He defeated contender Carl Williams, and then journeymen such as Jose Ribalta, Pierre Coetzer, and Dutchman Jan Emmen.


title: Frank Bruno

text: In 1993 he had a third world title chance against young Lennox Lewis, who was making the second defence of the belt (his first of three championship reigns). The Lennox Lewis vs. Frank Bruno fight was the first time that two British boxers had fought for the world heavyweight title. Lewis beat Bruno on a stoppage in round seven, Bruno again failing to take his title chance after leading the contest on points up until what proved the final round.


title: Frank Bruno

text: Bruno again regrouped, dispatching trialhorse Jesse Ferguson in one round, and the fringe contenders Rodolfo Marin and Mike Evans equally easily.


title: Frank Bruno

text: On 2 September 1995, Bruno finally became world champion by outpointing WBC Champion Oliver McCall over twelve rounds. After an even start, Bruno built up a strong lead in the middle rounds, and seemed to run somewhat out of steam in the last couple: however, unlike Bonecrusher Smith and Tim Witherspoon earlier in Bruno's career, McCall was unable to find a way through Bruno's defences to force the late stoppage he needed, and a tired Bruno hung on to win unanimously on points, only the second time he had taken an opponent to the judges. Bruno did not last long as champion – the contract he signed to get McCall meant he had to face Mike Tyson in his first defence. Tyson beat Bruno on a stoppage in round three, Bruno performed unusually poorly in what turned out to be his last bout as a professional due to a severe eye injury caused by Tyson. Bruno was advised not to fight again to avoid running the risk of causing any more damage to it, which could result in permanent blindness. Bruno retired soon after the fight.


title: Frank Bruno

text: Bruno's publicist throughout most of his career was sports historian Norman Giller, who wrote three books with Bruno: "Know What I Mean", "Eye of the Tiger" and "From Zero to Hero". His manager for all but his last five fights was Terry Lawless, who signed him as a professional shortly after he had become ABA heavyweight champion at the age of eighteen.


title: Frank Bruno

text: On 22 September 2003, Bruno was taken from his home near Brentwood in Essex by medical staff assisted by police officers, under the provisions of the Mental Health Act 1983. He was taken to Goodmayes Hospital in Ilford, where he underwent psychological and psychiatric tests. He had been suffering from depression for several months beforehand. He was later diagnosed as having bipolar disorder. On 9 October 2005, Bruno admitted that cocaine use, which began in 2000, had contributed to his mental health problems. Media coverage of Bruno's problems raised controversy, the principal accusations being gross intrusion and insensitivity. Particular criticism was aimed at "The Sun", whose headline in the first editions the next day read "Bonkers Bruno Locked Up". Second editions retracted the headline and attempted to portray a more sympathetic attitude towards Bruno and mental health in general. As an attempt at atonement, the paper established a charity fund for people suffering from mental illness, although some mental health charities condemned "The Sun" latter action that day as being grossly cynical in the light of the former. On 24 February 2008, Bruno offered his support to former footballer Paul Gascoigne, who on 21 February had been sectioned under the Mental Health Act. Bruno also spoke on his own personal experiences in the mental health system at a conference run by Hari Sewell, on 22 June 2009. Bruno was sectioned again in 2012 and taken to St Andrew's Hospital in Northampton for five weeks. In December 2013, Bruno spoke to the "Daily Mirror" in support of their mental health campaign, stating: "Mental illness is a terrible thing to have to cope with but I’ve learnt it’s a fight you can win if you live your life the right way".


title: Frank Bruno

text: In December 2005, Bruno announced that he was to become a father for the fourth time since finding new romance with old friend Yvonne Clydesdale. The couple, who first met five years previously at a health resort, began dating months after bumping into each other at a wine bar near his home. Yvonne gave birth to baby Freya on 10 May 2006. On 10 October 2006, Bruno and Clydesdale were jointly awarded £50,000 damages for libel against "The People" newspaper and publishers MGN in respect of false claims made about their relationship. In 2006, Bruno published an autobiography "Frank: Fighting Back". It won the Best Autobiography category of the British Sports Book Awards. As of May 2012, Bruno was living in Glasgow with his new hairdresser girlfriend, Nina Coletta in the Gorbals area of the city.


title: Frank Bruno

text: Bruno has joined the Get Close and Personal Platform to raise funds to support The Frank Bruno Foundation, dedicated to improving the mental health of men around the world. Bruno offers one-to-one video calls with anybody wanting to discuss issues related to mental health and Bruno's own journey.


title: Frank Bruno

text: Bruno's image was enhanced by his relationship with the BBC boxing commentator Harry Carpenter, which, in their many interviews, was generated Bruno's best-known and most-quoted phrases "Know what I mean, Harry?", his appearances on Comic Relief programmes in the early-1980s and his frequent appearances thereafter on television and on stage (in pantomime).


title: Frank Bruno

text: In 1991, he opened "The Ultimate" at Lightwater Valley which was, at the time, the longest roller coaster in the world. He described the ride "scarier than Mike Tyson". In 1993, Bruno briefly appeared as a guest on CITV's "Finders Keepers" hosted by Neil Buchanan. The episode aired on Tuesday 30 March that year. He was the subject of a "This is Your Life" programme in 1993, when he was surprised by Michael Aspel. In 1995, the year of his world championship, he released a cover version of "Eye of the Tiger", the theme song of the movie "Rocky III". It reached No. 28 in the UK charts. In 1999, he featured on the celebrity special in the second season of "Fort Boyard".


title: Frank Bruno

text: In January 2001, prior to that year's general election, Bruno announced that he wanted to stand as the Conservative candidate in the traditionally safe Conservative seat of Brentwood and Ongar against the independent Member of Parliament, Martin Bell. His proposed slogan was "Don't be a plank, vote for Frank!" However, this idea was quickly dismissed by Conservative Central Office. In an interview with BBC Sport at the time, Bruno laughed at the story and denied he had any intention of standing. In 2006, he was one of a number of celebrities who were recorded on the World Cup song, "Who Do You Think You Are Kidding Jurgen Klinsmann?". On 15 August 2009, he appeared on "The Weakest Link" beating Duke McKenzie in the final for £12,800. He had a small role in the 2008 British crime drama "Cass". Bruno made brief guest appearances in episodes of the ITV comedy show, "Harry Hill's TV Burp" in February and October 2011. On 21 April 2011, Bruno appeared on the ITV1 chat show "The Alan Titchmarsh Show", where he was candid about his previous health issues. In 2011, he made a guest appearance in "Sooty". On 20 April 2012, Bruno was featured in the ITV series "Piers Morgan's Life Stories".


title: Frank Bruno

text: He supports West Ham United F.C. whilst also having an affinity for the Scottish team, Aberdeen F.C. Bruno completed the 2011 London Marathon which is the third marathon he has run successfully. He has also run numerous half marathons. He is also a patron for The Shannon Bradshaw Trust, a children's charity.


title: Frank Bruno

text: Bruno regularly makes personal appearances and also sells autographed items of memorabilia. On 23 July 2013, Bruno was featured in the BBC Three documentary with his daughter Rachel in "Rachel Bruno: My Dad and Me".


title: Frank Bruno

text: In 2020 amid the COVID-19 crisis, Frank Bruno joined a supergroup of celebrities called The Celebs which included Kellie Shirley and X Factor winner Sam Bailey to raise money for both Alzheimer's Society and Action for Children. They recorded a new rendition of "Merry Christmas Everyone" by Shakin' Stevens and it was released digitally on 11 December 2020, on independent record label Saga Entertainment. The music video debuted exclusively on "Good Morning Britain" the day before release. The song peaked at number two on the iTunes pop chart.


title: A Day in the Life

text: "A Day in the Life" is a song by the English rock band the Beatles that was released as the final track of their 1967 album "Sgt. Pepper's Lonely Hearts Club Band". Credited to Lennon–McCartney, the verses were mainly written by John Lennon, with Paul McCartney primarily contributing the song's middle section. It remains one of the most celebrated songs in music history, appearing on many lists of the greatest songs of all time.


title: A Day in the Life

text: Lennon's lyrics were mainly inspired by contemporary newspaper articles, including a report on the death of Guinness heir Tara Browne. The recording includes two passages of orchestral glissandos that were partly improvised in the avant-garde style. In the song's middle segment, McCartney recalls his younger years, which included riding the bus, smoking, and going to class. Following the second crescendo, the song ends with one of the most famous chords in music history, played on several keyboards, that sustains for over forty seconds.


title: A Day in the Life

text: A reputed drug reference in the line "I'd love to turn you on" resulted in the song initially being banned from broadcast by the BBC. Jeff Beck, Barry Gibb, the Fall and Phish are among the artists who have covered the song. The song inspired the creation of the Deep Note, the audio trademark for the THX film company.


title: A Day in the Life

text: John Lennon wrote the melody and most of the lyrics to the verses of "A Day in the Life" in mid-January 1967. Soon afterwards, he presented the song to Paul McCartney, who contributed a middle-eight section. According to Lennon, McCartney also contributed the pivotal line “I’d love to turn you on.” In a 1970 interview, Lennon discussed their collaboration on the song:


title: A Day in the Life

text: The song is an example of the mutual inspiration that often occurred within the Lennon-McCartney partnership. As stated by Lennon in 1968, “It was a good piece of work between Paul and me. I had the ‘I read the news today’ bit, and it turned Paul on, because now and then we really turn each other on with a bit of song, and he just said ‘yeah’ – bang bang, like that.”


title: A Day in the Life

text: According to author Ian MacDonald, "A Day in the Life" was strongly informed by Lennon's LSD-inspired revelations, in that the song "concerned 'reality' only to the extent that this had been revealed by LSD to be largely in the eye of the beholder". Having long resisted Lennon and George Harrison's insistence that he join them and Ringo Starr in trying LSD, McCartney took it for the first time in late 1966. This experience contributed to the Beatles' willingness to experiment on "Sgt. Pepper" and to Lennon and McCartney returning to a level of collaboration that had been somewhat absent.


title: A Day in the Life

text: Music critic Tim Riley says that in "A Day in the Life", Lennon uses the same lyrical device introduced in "Strawberry Fields Forever", whereby free-form lyrics allow a greater freedom of expression and create a "supernatural calm". According to Lennon, the inspiration for the first two verses was the death of Tara Browne, the 21-year-old heir to the Guinness fortune who had crashed his car on 18 December 1966. Browne was a friend of Lennon and McCartney, and had instigated McCartney's first experience with LSD. Lennon adapted the song's verse lyrics from a story in the 17 January 1967 edition of the "Daily Mail", which reported the ruling on a custody action over Browne's two young children.


title: A Day in the Life

text: During a writing session at McCartney's house in north London, Lennon and McCartney fine-tuned the lyrics, using an approach that author Howard Sounes likens to the cut-up technique popularised by William S. Burroughs. "I didn't copy the accident," Lennon said. "Tara didn't blow his mind out, but it was in my mind when I was writing that verse. The details of the accident in the songnot noticing traffic lights and a crowd forming at the scenewere similarly part of the fiction." In 1997, McCartney expounded on the subject: "The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don't believe is the case, certainly as we were writing it, I was not attributing it to Tara in my head. In John's head it might have been. In my head I was imagining a politician bombed out on drugs who'd stopped at some traffic lights and didn't notice that the lights had changed. The 'blew his mind' was purely a drugs reference, nothing to do with a car crash." But in 2021, McCartney recalled the inspiration for this part of the composition as follows: "That was around this same time, when I was twenty-something and going out on the moped from my dad's house to Betty's house. I was taking a friend, Tara Guinness. He died later in a car accident. He was a nice boy. I wrote about him in 'A Day in the Life': 'He blew his mind out in a car / He didn't notice that the lights had changed'."


title: A Day in the Life

text: Lennon wrote the song's final verse inspired by a "Far & Near" news brief, in the same 17 January edition of the "Daily Mail" that had inspired the first two verses. Under the headline "The holes in our roads", the brief stated: "There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey. If Blackburn is typical, there are two million holes in Britain's roads and 300,000 in London."


title: A Day in the Life

text: The story had been sold to the "Daily Mail" in Manchester by Ron Kennedy of the Star News agency in Blackburn. Kennedy had noticed a "Lancashire Evening Telegraph" story about road excavations and in a telephone call to the Borough Engineer's department had checked the annual number of holes in the road. Lennon had a problem with the words of the final verse, however, not being able to think of how to connect "Now they know how many holes it takes to" and "the Albert Hall". His friend Terry Doran suggested that the holes would "fill" the Albert Hall, and the lyric was eventually used.


title: A Day in the Life

text: McCartney said about the line "I'd love to turn you on", which concludes both verse sections: "This was the time of Tim Leary's 'Turn on, tune in, drop out' and we wrote, 'I'd love to turn you on.' John and I gave each other a knowing look: 'Uh-huh, it's a drug song. You know that, don't you? George Martin, the Beatles' producer, commented that he had always suspected that the line "found my way upstairs and had a smoke" was a drug reference, recalling how the Beatles would "disappear and have a little puff", presumably of marijuana, but not in front of him. "When [Martin] was doing his TV programme on Pepper", McCartney recalled later, "he asked me, 'Do you know what caused Pepper?' I said, 'In one word, George, drugs. Pot.' And George said, 'No, no. But you weren't on it all the time.' 'Yes, we were.' "Sgt. Pepper" was a drug album."


title: A Day in the Life

text: Author Neil Sinyard attributed the third-verse line "The English Army had just won the war" to Lennon's role in the film "How I Won the War", which he had filmed during September and October 1966. Sinyard said: "It's hard to think of [the verse] without automatically associating it with Richard Lester's film."


title: A Day in the Life

text: The middle-eight provided by McCartney was written as a wistful recollection of his younger years, which included riding the 82 bus to school, smoking, and going to class. This theme the Beatles' youth in Liverpool matched that of "Penny Lane" (named after the street in Liverpool) and "Strawberry Fields Forever" (named after the orphanage near Lennon's childhood home in Liverpool), two songs written for the album but instead released as a double A-side.


title: A Day in the Life

text: The Beatles began recording the song, with a working title of "In the Life of ...", at EMI's Studio Two on 19 January 1967. The line-up as they rehearsed the track was Lennon on piano, McCartney on Hammond organ, Harrison on acoustic guitar, and Starr on congas. The band then taped four takes of the rhythm track, by which point Lennon had switched to acoustic guitar and McCartney to piano, with Harrison now playing maracas.


title: A Day in the Life

text: As a link between the end of the second verse and the start of McCartney's middle-eight, the band included a 24-bar bridge. At first, the Beatles were not sure how to fill this link section. At the conclusion of the session on 19 January, the transition consisted of a simple repeated piano chord and the voice of assistant Mal Evans counting out the bars. Evans' voice was treated with gradually increasing amounts of echo. The 24-bar bridge ended with the sound of an alarm clock triggered by Evans. Although the original intent was to edit out the ringing alarm clock when the section was filled in, it complemented McCartney's piece – which begins with the line "Woke up, fell out of bed" – so the decision was made to keep the sound. A second transition follows McCartney's final line of the middle eight ("I went into a dream") consisting of vocalised "aah"s that link to the song's final verse. (Accounts differ as to which of the Beatles sang it.)


title: A Day in the Life

text: The track was refined with remixing and additional parts added on 20 January and 3 February. During the latter session, McCartney and Starr re-recorded their contributions on bass guitar and drums, respectively. Starr later highlighted his fills on the song as typical of an approach whereby "I try to become an instrument; play the mood of the song. For example, 'Four thousand holes in Blackburn, Lancashire,' – boom ba bom. I try to show that; the disenchanting mood." As on the 1966 track "Rain", music journalist Ben Edmonds recognises Starr's playing as reflective of his empathy with Lennon's songwriting. In Edmonds' description, the drumming on "A Day in the Life" "embod[ies] psychedelic driftmysterious, surprising, without losing sight of its rhythmic role".


title: A Day in the Life

text: The orchestral portions of "A Day in the Life" reflect Lennon and McCartney's interest in the work of avant-garde composers such as Karlheinz Stockhausen, Luciano Berio and John Cage. To fill the empty 24-bar middle section, Lennon's request to George Martin was that the orchestra should provide "a tremendous build-up, from nothing up to something absolutely like the end of the world". McCartney suggested having the musicians improvise over the segment. To allay concerns that classically trained musicians would be unable to do this, Martin wrote a loose score for the section. Using the rhythm implied by Lennon's staggered intonation on the words "turn you on", the score was an extended, atonal crescendo that encouraged the musicians to improvise within the defined framework. The orchestral part was recorded on 10 February 1967 in Studio One at EMI Studios, with Martin and McCartney conducting a 40-piece orchestra. The recording session was completed at a total cost of £367 (equivalent to £ in ) for the players, an extravagance at the time. Martin later described explaining his score to the puzzled orchestra:


title: A Day in the Life

text: McCartney had originally wanted a 90-piece orchestra, but this proved impossible. Instead, the semi-improvised segment was recorded multiple times, filling a separate four-track tape machine, and the four different recordings were overdubbed into a single massive crescendo. The results were successful; in the final edit of the song, the orchestral bridge is reprised after the final verse.


title: A Day in the Life

text: The Beatles hosted the orchestral session as a 1960s-style happening, with guests including Mick Jagger, Marianne Faithfull, Keith Richards, Brian Jones, Donovan, Pattie Boyd, Michael Nesmith, and members of the psychedelic design collective The Fool. Overseen by Tony Bramwell of NEMS Enterprises, the event was filmed for use in a projected television special that never materialised. Reflecting the Beatles' taste for experimentation and the avant garde, the orchestra players were asked to wear formal dress and then given a costume piece as a contrast with this attire. This resulted in different players wearing anything from fake noses to fake stick-on nipples. Martin recalled that the lead violinist performed wearing a gorilla paw, while a bassoon player placed a balloon on the end of his instrument.


title: A Day in the Life

text: At the end of the night, the four Beatles and some of their guests overdubbed an extended humming sound to close the song – an idea that they later discarded. According to Beatles historian Mark Lewisohn, the tapes from this 10 February orchestral session reveal the guests breaking into loud applause following the second orchestral passage. Among the EMI staff attending the event, one recalled how Ron Richards, the Hollies' producer, was stunned by the music he had heard; in Lewisohn's description, Richards "[sat] with his head in his hands, saying 'I just can't believe it... I give up. Martin later offered his own opinion of the orchestral session: "part of me said 'We're being a bit self-indulgent here.' The other part of me said 'It's bloody !


title: A Day in the Life

text: Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history. Overdubbed in place of the vocal experiment from 10 February, this chord was added during a session at EMI's Studio Two on 22 February. Lennon, McCartney, Starr and Evans shared three different pianos, with Martin on a harmonium, and all played an E-major chord simultaneously. The chord was made to ring out for over forty seconds by increasing the recording sound level as the vibration faded out. Towards the end of the chord the recording level was so high that listeners can hear the sounds of the studio, including rustling papers and a squeaking chair. In author Jonathan Gould's commentary on "A Day in the Life", he describes the final chord as "a forty-second meditation on finality that leaves each member of the audience listening with a new kind of attention and awareness to the sound of nothing at all".


title: A Day in the Life

text: One of the first outsiders to hear the completed recording was the Byrds' David Crosby when he visited the Beatles during their 24 February overdubbing session for "Lovely Rita". He recalled his reaction to the song: "Man, I was a . I was floored. It took me several minutes to be able to talk after that." Due to the multiple takes required to perfect the orchestral cacophony and the final chord, the total time spent recording "A Day in the Life" was 34 hours. By contrast, the Beatles' debut album, "Please Please Me", had been recorded in its entirety in only 15 hours, 45 minutes.


title: A Day in the Life

text: Following "A Day in the Life" on the "Sgt. Pepper" album (as first released on LP in the UK and years later worldwide on CD) is a high-frequency 15-kilohertz tone and some randomly spliced studio chatter. The tone is the same pitch as a dog whistle, at the upper limit of human hearing, but within the range that dogs and cats can hear. This addition was part of the Beatles' humour and was suggested by Lennon. The studio babble, titled in the session notes "Edit for LP End" and recorded on 21 April 1967, two months after the mono and stereo masters for "A Day in the Life" had been finalised, was added to the run-out groove of the initial British pressing. The two or three seconds of gibberish looped back into itself endlessly on any record player not equipped with an automatic phonograph arm return. Some listeners discerned words among the vocal gibberish, including Lennon saying "Been so high", followed by McCartney's response: "Never could be any other way." US copies of the album lacked the high-pitched tone and the studio babble.


title: A Day in the Life

text: On the "Sgt. Pepper" album, the start of "A Day in the Life" is cross-faded with the applause at the end of the previous track, "Sgt. Pepper's Lonely Hearts Club Band (Reprise)". On the Beatles' "1967–1970" compilation LP, the crossfade is cut off, and the track begins abruptly after the start of the original recording, but on the soundtrack album "" and the CD versions of "1967–1970", the song starts cleanly, with no applause effects.


title: A Day in the Life

text: The "Anthology 2" album, released in 1996, featured a composite remix of "A Day in the Life", including elements from the first two takes, representing the song at its early, pre-orchestral stage, while "Anthology 3" included a version of "The End" that concludes by having the last note fade into the final chord of "A Day in the Life" (reversed, then played forwards). The version on the 2006 soundtrack remix album "Love" has the song starting with Lennon's intro of "sugar plum fairy", with the strings being more prominent during the crescendos. In 2017, a handful of outtakes from the recording sessions, including the first take, were included on the two-disc and six-disc versions of the 50th-anniversary edition of "Sgt. Pepper". The six-disc version of that edition also included, on a disc of mono mixes, a previously unreleased early demo mix of the song in its pre-orchestral stage, as of 30 January.