title: Loop quantum gravity

text: Quantum gravity effects are notoriously difficult to measure because the Planck length is so incredibly small. However recently physicists, such as Jack Palmer, have started to consider the possibility of measuring quantum gravity effects mostly from astrophysical observations and gravitational wave detectors. The energy of those fluctuations at scales this small cause space-perturbations which are visible at higher scales.


title: Loop quantum gravity

text: Loop quantum gravity is formulated in a background-independent language. No spacetime is assumed a priori, but rather it is built up by the states of theory themselves – however scattering amplitudes are derived from formula_237-point functions (Correlation function) and these, formulated in conventional quantum field theory, are functions of points of a background space-time. The relation between the background-independent formalism and the conventional formalism of quantum field theory on a given spacetime is far from obvious, and it is far from obvious how to recover low-energy quantities from the full background-independent theory. One would like to derive the formula_237-point functions of the theory from the background-independent formalism, in order to compare them with the standard perturbative expansion of quantum general relativity and therefore check that loop quantum gravity yields the correct low-energy limit.


title: Loop quantum gravity

text: A strategy for addressing this problem has been suggested; the idea is to study the boundary amplitude, namely a path integral over a finite space-time region, seen as a function of the boundary value of the field. In conventional quantum field theory, this boundary amplitude is well–defined and codes the physical information of the theory; it does so in quantum gravity as well, but in a fully background–independent manner. A generally covariant definition of formula_237-point functions can then be based on the idea that the distance between physical points –arguments of the formula_237-point function is determined by the state of the gravitational field on the boundary of the spacetime region considered.


title: Loop quantum gravity

text: Progress has been made in calculating background-independent scattering amplitudes this way with the use of spin foams. This is a way to extract physical information from the theory. Claims to have reproduced the correct behaviour for graviton scattering amplitudes and to have recovered classical gravity have been made. "We have calculated Newton's law starting from a world with no space and no time." – Carlo Rovelli.


title: Loop quantum gravity

text: Some quantum theories of gravity posit a spin-2 quantum field that is quantized, giving rise to gravitons. In string theory, one generally starts with quantized excitations on top of a classically fixed background. This theory is thus described as background dependent. Particles like photons as well as changes in the spacetime geometry (gravitons) are both described as excitations on the string worldsheet. The background dependence of string theory can have important physical consequences, such as determining the number of quark generations. In contrast, loop quantum gravity, like general relativity, is manifestly background independent, eliminating the background required in string theory. Loop quantum gravity, like string theory, also aims to overcome the nonrenormalizable divergences of quantum field theories.


title: Loop quantum gravity

text: LQG never introduces a background and excitations living on this background, so LQG does not use gravitons as building blocks. Instead one expects that one may recover a kind of semiclassical limit or weak field limit where something like "gravitons" will show up again. In contrast, gravitons play a key role in string theory where they are among the first (massless) level of excitations of a superstring.


title: Loop quantum gravity

text: LQG differs from string theory in that it is formulated in 3 and 4 dimensions and without supersymmetry or Kaluza–Klein extra dimensions, while the latter requires both to be true. There is no experimental evidence to date that confirms string theory's predictions of supersymmetry and Kaluza–Klein extra dimensions. In a 2003 paper "A Dialog on Quantum Gravity", Carlo Rovelli regards the fact LQG is formulated in 4 dimensions and without supersymmetry as a strength of the theory as it represents the most parsimonious explanation, consistent with current experimental results, over its rival string/M-theory. Proponents of string theory will often point to the fact that, among other things, it demonstrably reproduces the established theories of general relativity and quantum field theory in the appropriate limits, which loop quantum gravity has struggled to do. In that sense string theory's connection to established physics may be considered more reliable and less speculative, at the mathematical level. Loop quantum gravity has nothing to say about the matter (fermions) in the universe.


title: Loop quantum gravity

text: Since LQG has been formulated in 4 dimensions (with and without supersymmetry), and M-theory requires supersymmetry and 11 dimensions, a direct comparison between the two has not been possible. It is possible to extend mainstream LQG formalism to higher-dimensional supergravity, general relativity with supersymmetry and Kaluza–Klein extra dimensions should experimental evidence establish their existence. It would therefore be desirable to have higher-dimensional Supergravity loop quantizations at one's disposal in order to compare these approaches. In fact a series of papers have been published attempting just this. Most recently, Thiemann (and alumni) have made progress toward calculating black hole entropy for supergravity in higher dimensions. It will be interesting to compare these results to the corresponding super string calculations.


title: Loop quantum gravity

text: Several research groups have attempted to combine LQG with other research programs: Johannes Aastrup, Jesper M. Grimstrup et al. research combines noncommutative geometry with canonical quantum gravity and Ashtekar variables, Laurent Freidel, Simone Speziale, et al., spinors and twistor theory with loop quantum gravity, and Lee Smolin et al. with Verlinde entropic gravity and loop gravity. Stephon Alexander, Antonino Marciano and Lee Smolin have attempted to explain the origins of weak force chirality in terms of Ashketar's variables, which describe gravity as chiral, and LQG with Yang–Mills theory fields in four dimensions. Sundance Bilson-Thompson, Hackett et al., has attempted to introduce the standard model via LQGs degrees of freedom as an emergent property (by employing the idea of noiseless subsystems, a useful notion introduced in a more general situation for constrained systems by Fotini Markopoulou-Kalamara et al.


title: Loop quantum gravity

text: Furthermore, LQG has drawn philosophical comparisons with causal dynamical triangulation and asymptotically safe gravity, and the spinfoam with group field theory and AdS/CFT correspondence. Smolin and Wen have suggested combining LQG with string-net liquid, tensors, and Smolin and Fotini Markopoulou-Kalamara quantum graphity. There is the consistent discretizations approach. Also, Pullin and Gambini provide a framework to connect the path integral and canonical approaches to quantum gravity. They may help reconcile the spin foam and canonical loop representation approaches. Recent research by Chris Duston and Matilde Marcolli introduces topology change via topspin networks.


title: Loop quantum gravity

text: Some of the major unsolved problems in physics are theoretical, meaning that existing theories seem incapable of explaining a certain observed phenomenon or experimental result. The others are experimental, meaning that there is a difficulty in creating an experiment to test a proposed theory or investigate a phenomenon in greater detail.


title: Loop quantum gravity

text: The theory of LQG is one possible solution to the problem of quantum gravity, as is string theory. There are substantial differences however. For example, string theory also addresses unification, the understanding of all known forces and particles as manifestations of a single entity, by postulating extra dimensions and so-far unobserved additional particles and symmetries. Contrary to this, LQG is based only on quantum theory and general relativity and its scope is limited to understanding the quantum aspects of the gravitational interaction. On the other hand, the consequences of LQG are radical, because they fundamentally change the nature of space and time and provide a tentative but detailed physical and mathematical picture of quantum spacetime.


title: Loop quantum gravity

text: Presently, no semiclassical limit recovering general relativity has been shown to exist. This means it remains unproven that LQGs description of spacetime at the Planck scale has the right continuum limit (described by general relativity with possible quantum corrections). Specifically, the dynamics of the theory are encoded in the Hamiltonian constraint, but there is no candidate Hamiltonian. Other technical problems include finding off-shell closure of the constraint algebra and physical inner product vector space, coupling to matter fields of quantum field theory, fate of the renormalization of the graviton in perturbation theory that lead to ultraviolet divergence beyond 2-loops (see one-loop Feynman diagram in Feynman diagram).


title: Loop quantum gravity

text: While there has been a proposal relating to observation of naked singularities, and doubly special relativity as a part of a program called loop quantum cosmology, there is no experimental observation for which loop quantum gravity makes a prediction not made by the Standard Model or general relativity (a problem that plagues all current theories of quantum gravity). Because of the above-mentioned lack of a semiclassical limit, LQG has not yet even reproduced the predictions made by general relativity.


title: Loop quantum gravity

text: An alternative criticism is that general relativity may be an effective field theory, and therefore quantization ignores the fundamental degrees of freedom.


title: Loop quantum gravity

text: ESA's INTEGRAL satellite measured polarization of photons of different wavelengths and was able to place a limit in the granularity of space


title: Aquemini

text: Aquemini is the third studio album by American hip hop duo Outkast. It was released on September 29, 1998, by LaFace Records. The title is a portmanteau of the two performers' Zodiac signs: Aquarius (Big Boi) and Gemini (André 3000), which is indicative of the album's recurring theme of the differing personalities of the two members. The group recorded the majority of the album in Bobby Brown's Bosstown Recording Studios and Doppler Studios, both in Atlanta, Georgia.


title: Aquemini

text: Released as the follow-up to the duo's commercially successful 1996 album "ATLiens", "Aquemini" expands on the previous record's outer space-inspired compositions by incorporating live instrumentation and drawing on 1970s funk, southern soul, gospel, country, psychedelic rock, and other influences. The album reflected a greater level of creative freedom for the group, which led to the members self-producing the majority of the tracks and employing a large number of session musicians who filtered in and out of the studio throughout its recording, exerting a major influence on the album's compositional development. Featured guest artists include Raekwon, George Clinton, and Erykah Badu. Lyrically, "Aquemini" explores various subjects including individuality, human nature, addiction, self-inflicted struggles, technology, and interpersonal relationships, as well as blending science fiction concepts and urban narratives.


title: Aquemini

text: "Aquemini" was certified platinum in November 1998, only two months after its release, and was certified double platinum on July 2, 1999, by the Recording Industry Association of America (RIAA). It peaked at number two on both the "Billboard" 200 and the Top R&B/Hip-Hop Albums chart. Four of the album's tracks had already or would later become singles, although some were limited (promotional) releases and not available commercially. "Aquemini" received widespread critical acclaim from music critics, who praised the album's musicality, eclectic sound, and unique lyrical themes. Since its initial release, it has gone on to be considered one of the greatest hip hop albums ever made, as well as one of the greatest albums of all time. In 2003, "Rolling Stone" ranked the album number 500 on their 500 Greatest Albums of All Time. In a 2020 updated list, it was moved up to number 49.


title: Aquemini

text: In 1994, the American hip hop duo OutKast released their debut album, "Southernplayalisticadillacmuzik", which was recorded when members Big Boi and André 3000 were 18. Bolstered by the success of "Player's Ball", the record established OutKast as prominent figures in the Southern hip hop scene. After the album was certified platinum, LaFace Records gave OutKast more creative control and advanced money for their 1996 follow-up album "ATLiens". On "ATLiens", André 3000 and Big Boi abandoned the "hard-partying playa characters" of their debut album in favor of personas that were more futuristic, and produced many of the songs on their own for the first time. Critics praised the group's maturing musical style on the record, which debuted at number two on the US "Billboard" 200 chart and sold nearly 350,000 copies in its first 2 weeks of release. The single "Elevators (Me & You)" reached number 12 and spent 20 weeks on the "Billboard" Hot 100 chart.


title: Aquemini

text: After the release of "ATLiens", André 3000 entered a relationship with neo soul singer Erykah Badu, who was part of a burgeoning movement in the urban music scene described as "more bohemian than ghetto". André 3000 adopted a more flamboyant style of dress during performances in promotion of "ATLiens" that included large glasses, blond wigs, and marching band uniforms. Badu gave birth to his first child in November 1997, which presented new artistic inspiration for the rapper.


title: Aquemini

text: Due to OutKast's newfound commercial success and higher budget for the album, the group enjoyed a more relaxed schedule and "could really just live" at the studio. The duo and studio musicians lived and worked in the studio for weeks straight, with Big Boi noting, "It usually takes us two to three years to make a record because we take our time; we ain't giving you that fast food, trying to meet a deadline. It ain't done until it's done sonically." For "Aquemini", the duo used live instrumentation and improvisation, bringing a baby grand piano into the studio and hiring musicians who played "everything from stoner funk to prog rock". Producer Neal H. Pogue recalled, "That was the beauty of making all those records – having musicians come in and out. It was almost like a Motown, that's what we had. Or like a Stax Records thing. That's what I loved about it. It brought back that whole feeling of making records. It was organic." Much of the music on "Aquemini" was formulated during jam sessions, in which one musician would begin with creating a chord pattern and the rest would incorporate their instruments following that sequence. While recording "Aquemini", André 3000 drew influence from reggae music and listened to Bob Marley constantly during the sessions. After the musical aspects of a song were developed, André 3000 and Big Boi would then create lyrics that they felt would fit with the tone of the song.


title: Aquemini

text: For the record, André 3000 did most of the album's production, while Big Boi crafted hooks for the songs. André 3000 and producer Mr. DJ learned about beat creation through observing the members of Organized Noize at work, with Mr. DJ observing that despite André 3000's normally frugal lifestyle, his enthusiasm for production led him to splurge on costly recording equipment. At one point, André 3000 attempted singing and modifying his voice with pitch-correction equipment, but Big Boi warned him that this would alienate the group's urban audience. Another point of contention was the order of the track listing; Big Boi wanted to begin the album with "Y'all Scared" while André 3000 and the other producers and musicians wanted the first track to be "Return of the G", preferring that the record start with a song with just the duo as opposed to one with multiple collaborators. Big Boi missed his flight to attend the album mastering session and by the time he arrived, the others had already settled on a cohesive track list for the record. After a long, heated discussion, Big Boi eventually agreed to opening the album with "Return of the G". The album features the song "West Savannah", which had been recorded during the "Southernplayalisticadillacmuzik" sessions, and was included on "Aquemini" to give listeners a "bonus" that had sentimental value for the duo, as well as to pay homage to Big Boi's family living in Savannah.


title: Aquemini

text: Big Boi described the music on the album as "very experimental" noting that it featured live instrumentation that included horns, guitar, piano, and harmonica. AllMusic's Steve Huey detected the "ethereal futurism" of "ATLiens" in the music on "Aquemini", but also noted that "more often Aquemini plants its feet on the ground for a surprisingly down-home flavor". He also observed a "Southern earthiness and simultaneous spirituality" in Organized Noize's production work on the record. According to Rashod D. Ollison of "The Baltimore Sun", the album "fus[es] organic soul and progressive rap with touches of electro-funk, dub and rock". Similarly, "The Boombox" writer Todd "Stereo" Williams says the music fuses their debut album's raw funk with the "futuristic soul" of "ATLiens" for a sound that "genre-hop[s] from southern rap odes ('West Savannah') to flirtations with P-Funk ('Synthesizer'), hard rock guitars ('Chonkyfire')", and collaborations beyond the duo's core of Dungeon Family artists. "Pitchfork" stated that the album draws from southern soul, gospel, and country, and noted that it "favors live-band sounds without making the purist’s mistake of shunning synthetic ones," praising both "Preston Crump’s mellow, sustained basslines and the swing-friendly drum tracks of Mr. DJ and Organized Noize."


title: Aquemini

text: Lyrically, much of "Aquemini" features introspection about the desolation of the human condition, and themes related to individuality and self-determination. Overarching themes addressed on the record include drug addiction, precarious relationships, and freedom from self-inflicted struggles. Other subjects include excessive reliance on technology and the Atlanta club scene. On the record, the group often shifts between science fiction-inspired topics and the harsh realities of urban life. Saul Austerlitz of the "Yale Herald" notes the central theme of the group's "ability to move between two worlds—the G-funk glamorized by the Notorious B.I.G. and Tupac Shakur and the group's own spacier, more poetic excursions" in the album. Another theme is the duality of the two members and their differing personalities, with Big Boi as "the player" and Andre 3000 as "the poet", according to the album's cover. Big Boi generally covers the more conventional hip-hop topics such as his childhood in the South and attractive women, while Andre 3000 discusses more unorthodox themes. In contrast to much of hip hop music in the late 1990s, OutKast did not tone down the regional qualities, like the harmonica break on "Rosa Parks" and distinctive Atlanta slang and diction throughout. The duo experimented with several delivery styles on the record, using "relaxed, hyper, distorted, speedy and conversational presentations."


title: Aquemini

text: "Aquemini"s opening track "Hold On, Be Strong" was written by session guitarist Donny Mathis and originally conceived as a full song with verses, but the group preferred to only use the refrain. André 3000 played a kalimba on the song after purchasing the instrument at a flea market, drawing inspiration from Earth, Wind & Fire. "Return of the G" addresses concerns from fans who felt that the group's style had changed too drastically since the release of "Southernplayalisticadillacmuzik", as well as those who make poor decisions in order to keep their street credibility. When discussing the lyrical content of the song, André 3000 explained, "I was young and wilder and some of my fashion choices people didn't accept at the time. I started getting flak from some people, so they were like, 'Either he's gay or on drugs' ... 'Return of the Gangsta' was trying to give them a sense of, 'Hey, I'm still a regular person.'" "Rosa Parks" contains blues-influenced guitar work and folksy harmonies that "announce OutKast's distinctive style of Southern boogie. The groove goes into overdrive during a clapping, foot-stomping breakdown funkified by a fierce harmonica as the kick drum pounds incessantly."


title: Aquemini

text: The next track, "Skew It On the Bar-B", features rapper Raekwon of the Wu-Tang Clan and discusses the disappointment of the group's debut album not achieving the coveted "five-mic" rating from "The Source": "I gotta hit the Source / I need my other half mic / because that "Southernplayalisticadillacmusik" was a classic right?". "Skew It On the Bar-B" is followed by the title track, which has been compared to the music of soul singer Isaac Hayes. Pogue experimented with delays and echos in his production to make the song "dimensional, like you could actually put your hands through the song." "Synthesizer" contains elements of electrofunk and features funk musician George Clinton. "Billboard" called "Synthesizer" an "electronic-leaning, George Clinton-featuring spasm of technological paranoia." Emma Warren of "The Guardian" called the track "raw and woozy", dubbing it the "weirdest moment of the record". On the seventh track, "Slump", Big Boi is joined by two members of the Dungeon Family as they describe their experiences selling dope. One of the few tracks that doesn’t have Andre on it, since he is the "unique" one of the group, while Big Boi is more of the traditional gangster. On "West Savannah", Big Boi discusses his Southern roots, and references individuals who grew up outside of the South who fail to recognize different regional Southern identities by stating "You might call us country, but we's only Southern".


title: Aquemini

text: "Da Art of Storytellin' (Part 1)" tells the story of a self-destructive childhood friend named Sasha Thumper who dies of a drug overdose. Commenting on the song's lyrical content, author Mickey Hess remarks that André 3000 "manages to walk the fine line between emotionalism and masculinity by articulating this highly emotional narrative with an almost emotionless tone." The next track, "Da Art of Storytellin' (Part 2)", is an apocalyptic song that represents the group's vision of "the last song recorded in the world", with André 3000 commenting, "I do remember thinking, 'What if it was the end of the world and we had to get to the Dungeon on some X-Men superhero shit. I think I was vibing on some end-of-the-world, last-recorded-song shit'". Following is "Mamacita", which features Dungeon Crew rapper Masada in a meditation on male-female relationships, inspired by an ex-girlfriend of André 3000 who began pursuing women after their breakup. "SpottieOttieDopaliscious" relates a story of ill-fated romance, with André 3000 describing the infatuation during an encounter with a woman at a club and Big Boi noting the hopelessness of the relationship as the song progresses.


title: Aquemini

text: "Y'all Scared" is a collaboration with three members of Goodie Mob and contains the chant "If you scared, say you scared" accompanied by prominent organ and guitar work. "Nathaniel" is an a cappella rap by the group's close friend who at the time was an inmate in a Georgia prison, and the song is a recording of an actual collect call during his time in jail. The track is an introduction to "Liberation". The eight-minute-long "Liberation" combines a variety of musical styles, including gospel, jazz, blues, and world music. The song is notable for not including rapped vocals and instead features vocal alternations between singing and spoken word styles. Lyrically, the track utilizes images of slavery to symbolize artistic freedom and not being concerned with the opinions of the public and record labels. The album closes with "Chonkyfire", which features a fuzzy guitar riff and snippets from OutKast's speech at the 1995 Source Awards in which the group emphasized the Southern hip-hop scene as a legitimate subgenre. "Billboard" called "Chonkyfire" a track of "bad-trip psychedelic rock."


title: Aquemini

text: The group originally planned to create a film in conjunction with "Aquemini", completing a script three months before the release of the record. OutKast met with MTV for the project, who, despite liking the idea for the film, hoped to instead buy the project and cast Missy Elliott and Busta Rhymes instead, feeling they had more "star power." Although the duo recalls being "heartbroken" at the time, André 3000 and Big Boi continued to work on ideas for a collaborative film, eventually resulting in the 2006 musical "Idlewild" starring the group. David Browne of "The New York Times" viewed the album art as an homage to blaxploitation films of the 1970s. The record's title is a combination of the two members' zodiac signs, with André 3000 being a Gemini and Big Boi being an Aquarius. The packaging featured a sticker describing Big Boi as "the playa" and André as "the poet".


title: Aquemini

text: "Aquemini" debuted behind Jay-Z's "Vol. 2... Hard Knock Life" at number two on the "Billboard" Hot 200, the same opening position of both "ATLiens" and the group's next release, "Stankonia". The record sold 227,000 copies in its first week of release, ahead of A Tribe Called Quest's "The Love Movement" and Lauryn Hill's "The Miseducation of Lauryn Hill". In Norway and Germany, the album peaked at numbers 39 and 66, respectively.


title: Aquemini

text: In 1999, civil rights activist Rosa Parks filed a lawsuit against OutKast for the song "Rosa Parks", claiming that the song used her name without her permission, constituting false advertising and an infringement on her right to publicity, in addition to defamation of character. The lawsuit was dismissed on first amendment grounds that year by a federal judge, but the appeals court partially reinstated the suit in 2003, stating that the group must have an artistic reason for titling the song with her name. The case was settled in 2005 with OutKast and LaFace Records agreeing to create educational programs to "enlighten today's youth about the significant role Rosa Parks played in making America a better place for all races."


title: Aquemini

text: "Aquemini" received widespread acclaim from critics. AllMusic's Steve Huey called it "a stroke of brilliance". He praised the record for avoiding the "hardcore clichés" and summed up his review by saying that "Aquemini" is "a virtuosic masterpiece, and a landmark hip-hop album of the late '90s". Robert Christgau also commented positively on the album, calling the record "evolved G-funk with denser instrumental crosstalk" and "rap-rock every bit as heavy as the bohrium and dubnium compounds hardheads hyped circa the "Judgment Night" soundtrack". "Los Angeles Times" writer Soren Baker complimented OutKast's "intelligent hip-hop" and commented that "musically, the collection supplies some of the lushest tracks ever included on a hip-hop record", noting that the music will "stimulate the mind, touch the soul and pack the dance floor." "Q" named it the group's "third best offering." Sia Michel of "The Village Voice" called it "an impassioned state-of-hip-hop address". In a brief review for "Entertainment Weekly", Cheo Tyehimba qualified "Aquemini" as the hip-hop album of the year.


title: Aquemini

text: S. H. Fernando Jr. of "Rolling Stone" wrote "OutKast prove that you don't have to sell out to sell records. Sporting plenty of live chops and soulful harmonies, "Aquemini's" fresh, original feel defies rap's coastal clichés." Steve Jones of "USA Today" commented that the duo's "molasses-smooth raps speak to the stark realities of urban streets." Tony Green of "Spin" said that although they are not as spiritual as Goodie Mob, Outkast's "streetcorner signifying" offers listeners more than simple musical pleasure and that they "have crafted some of the most seductive and dramadelic textures." Giving it a five out of five "mic"-rating, Charlie Braxton of "The Source" praised the duo for "their superb use of the urban narrative." Braxton called "Aquemini" "a brilliant record" and commented that it "possesses an uncanny blend of sonic beauty, poignant lyricism and spirituality that compels without commanding".


title: Aquemini

text: In a retrospective review, Tim Stelloh from "PopMatters" described the album as a "loud, unpretentious, eclectic kick in the ass". He praised it for being "full of both fear and curiosity, and those emotions were channeled through its production." Dave Hughes, writing in "Slant Magazine", stated: "Ten years on, Aquemini is the single strongest aspect of one of the art form's deepest benches. Snappier and more experimental than the pair's early work, and focused enough to feel comfortable in a sprawl, it's the moment when OutKast came fully into itself."


title: Aquemini

text: "Aquemini" has been included in several publications' best album lists. In 2003, "Rolling Stone" ranked it number 500 on its list of the 500 Greatest Albums of All Time. The staff explained the inclusion by stating: "OutKast unleashed an explosive hip-hop that deployed live musicians, social commentary and a heavy dose of deep funk". The album was placed at number 11 on the list of the "100 Best Albums of the Nineties" by the same magazine. In 2020, they revised their 500 Greatest Albums of All Time list and re-ranked the album at number 49, calling it "the greatest record ever to come out of the Dirty South."


title: Aquemini

text: "Paste" called the album "the best Atlanta hip-hop album of all time". "Pitchfork" ranked the record at number 50 on their "Top 100 Albums of the 1990s", describing it as "smooth and well-conceived". "Spin" included it on three of their lists. They ranked it number 35 on the "90 Greatest Albums of the '90s" and number three on the "Top 20 Albums of '98". The magazine also ranked it 76th on their 2010 list of "The 125 Best Albums of the Past 25 Years". In 2004, "Stylus" ranked it 185th on their "Top 101-200 Favourite Albums Ever" list. In 2013, "Vibe" named it the 20th greatest album since 1993. "Ego trip" ranked it the second greatest hip hop album from 1980 to 98, while "Hip-Hop Connection" ranked it the 11th greatest rap album from 1995 to 2005. "New Nation" named it the 80th best album by black artists. In 2017, "The Boombox" ranked it second on a list of the 50 greatest alternative hip hop albums.


title: Aquemini

text: The album was included in "Blender"s "500 CDs You Must Own Before You Die" (2003), Tom Moon's "1000 Recordings to Hear Before You Die" (2008), Continuum Books' "33⅓: A Series of Books about Critically Acclaimed Albums", and "Q"s "The Ultimate Music Collection" (2005). The lead single "Rosa Parks" was nominated in the category Grammy Award for Best Rap Performance by a Duo or Group at the 1999 Grammy Awards. The album's twelfth track "SpottieOttieDopaliscious" was ranked at number 16 on Pitchfork Media's list of the top 200 tracks of the 1990s.


title: Aquemini

text: Critics hailed the recording as OutKast's most fully realized up to that time and one of the best of the 1990s. Steve Huey wrote: ""Aquemini" fulfills all its ambitions, covering more than enough territory to qualify it as a virtuosic masterpiece, and a landmark hip-hop album of the late '90s". "Ebony" observed that "Aquemini" is "perhaps OutKast's best effort" and "a huge commercial and artistic success". Matt Wink concluded that OutKast with this album "carved their place in the game and grabbed the world's attention. No two people with a similar background could be more different and no two artists could have made this masterpiece."


title: Aquemini

text: "Los Angeles Times" labeled the album "OutKast's third brilliant slice of hip-hop". "Rolling Stone" wrote that "Atlanta's reputation as hip-hop's most avant-garde area code – the Long Island of the Nineties – was cemented" with this effort, while Troy L. Smith of "Cleveland.com" said it was "a true game-changer for [Southern hip hop] and Outkast". In a column for "Jazz Times", Tony Green wrote that "OutKast's "Aquemini" dispels any notion that hip-hop is out of sonic ideas. If anything, it shows that the genre's appetite for new sounds is as ravenous as ever." According to Emma Warren from "The Guardian", this album is "a high point of 90s hip-hop" and proof that "the old push and pull between the east and west coast of American hip-hop was over". Tim Stelloh of PopMatters felt that ""Aquemini" far surpassed OutKast's previous release "A-tliens" , and made the group one of those rare commercial anomalies—kind of like Nirvana, Rage Against the Machine, or Public Enemy". Several reviewers of Kendrick Lamar's "Good Kid, M.A.A.D City" (2012) perceived influence from "Aquemini" in the record's production and aesthetic.


title: Amirah Vann

text: Amirah Charline Vann (born 1980) is an American actress and singer. She is best known for playing attorney Tegan Price in "How to Get Away with Murder".


title: Amirah Vann

text: Amirah Charline Vann was born in 1980, in Queens, New York. Her father is African-American from Georgia, and her mother is Puerto Rican. Vann attended Midwood High School and then Far Rockaway High School, graduating in 1998. She then obtained her bachelor's degree from Fordham University in 2002, and a Masters of Fine Arts degree from New York University's Tisch School of the Arts in 2007. Vann worked for many years in Off-Broadway theater before transitioning to film and television.


title: Amirah Vann

text: Vann appeared in secondary roles in films, including "And So It Goes" and "Tracers", before her breakthrough performance as Ernestine, the head house slave of the Macon plantation, in the WGN America period drama series "Underground" in 2016. The series was canceled after two seasons in 2017. She later guest starred on "", and had a recurring role on the final season of "Major Crimes" as Special Agent Jazzma Fey.


title: Amirah Vann

text: During the 2017–18 season, Vann was cast as attorney Tegan Price on the ABC legal drama "How to Get Away with Murder". Originally a recurring role, Vann was promoted to series regular for season five and season six.


title: Amirah Vann

text: In early 2018, Vann went to star on the ABC drama pilot "The Holmes Sisters" produced by Regina King and Robin Roberts.


title: Amirah Vann

text: Vann also has a recurring role on the USA Network limited series "Unsolved: The Murder of Tupac and The Notorious B.I.G." as an FBI agent assigned to the multi-agency taskforce assigned to the Christopher Wallace murder investigation.


title: Amirah Vann

text: In 2019, Vann was cast as corporate lobbyist Parker Campbell in season four of the OWN drama "Queen Sugar". Vann also appeared as Shondae Smith, a supporting role in the 2019 film "Miss Virginia".


title: Clark International Airport

text: Clark International Airport (; ; ), known as Diosdado Macapagal International Airport from 2003 to 2012, is an international airport covering portions of the cities of Angeles and Mabalacat within the Clark Freeport Zone in the province of Pampanga, Philippines. It is located northwest of Manila. It is accessible through the Subic–Clark–Tarlac Expressway (SCTEX).


title: Clark International Airport

text: The airport serves Central Luzon, Northern Luzon, and to an extent, Metro Manila. The name is derived from the former American Clark Air Base which was the largest overseas base of the United States Air Force until it was closed in 1991 and handed over to the Government of the Philippines.


title: Clark International Airport

text: The airport is managed and operated by Luzon International Premier Airport Development (LIPAD) Corp., a consortium of JG Summit Holdings, Filinvest Development Corporation, Philippine Airport Ground Support Solutions (PAGSS) Inc., and Changi Airports Philippines Pte. Ltd.; while the southern part of the facility is utilized by the Philippine Air Force as Clark Air Base.


title: Clark International Airport

text: The airport serves both international and domestic flights. The airport was nominated for the 2021 awards but lost to LaGuardia Airport Terminal B as the best new airport in 2021.


title: Clark International Airport

text: The United States Cavalry established Fort Stotsenberg in 1902 and later converted a portion of it into an air field, which was, in turn, renamed Clark Air Field in 1919—in honor of aviator Major Harold Melville Clark—and was used as one of the most important overseas bases during World War II.


title: Clark International Airport

text: In 1947, the RP-US Military Bases Agreement was signed, integrating Clark Air Field and Fort Stotsenberg into Clark Air Base but, after the eruption of Mount Pinatubo in June 1991 and the non-renewal of the military bases agreement, Clark Air Base was reverted to the Philippine government.


title: Clark International Airport

text: The Bases Conversion Development Act of 1992 accelerated the conversion of Clark Air Base into a Special Economic Zone, and in 2007, the Congress of the Philippines enacted Republic Act No. 9400, which renamed the base to Clark Freeport Philippines. It is now segregated in two separate entities: Clark Freeport Zone administered by the Clark Development Corporation, and the Clark Civil Aviation Complex administered by the Clark International Airport Corporation (CIAC).


title: Clark International Airport

text: In 1993, the former Clark Air Base was reopened as the Clark Special Economic Zone (CSEZ) after the area was cleared from lahar debris from Mount Pinatubo explosion and a typhoon that followed. During the administration of President Fidel V. Ramos, it was designated to be the future primary international gateway of the Philippines and the major international airport of Metro Manila and its neighboring provinces when Ninoy Aquino International Airport in Metro Manila has reached full capacity and can no longer be expanded.


title: Clark International Airport

text: CIAC traces its origin from Republic Act No. 7227, otherwise known as the "Bases Conversion and Development Act of 1992", which authorized the conversion of several military reservations, including the former Clark Air Base, into sustainable economic zones. Jurisdiction over the corporation shifted from the Bases Conversion Development Authority (BCDA) and the Clark Development Corporation (CDC) since its formal incorporation with the SEC in 1995.


title: Clark International Airport

text: In 2003, President Gloria Macapagal Arroyo renamed the airport to "Diosdado Macapagal International Airport" (DMIA), in memory of her father, former President Diosdado Macapagal, and ordered the Clark International Airport Corporation (CIAC) in February 2007 to fund the US$1.7 billion (₱76.5 billion) expansion of DMIA and the approval of a US$2 million (₱90 million) study plan financed by the Korean International Cooperation Agency. The first stage of Clark Airport's expansion program, a ₱130 million terminal expansion, was completed in January 2008 to accommodate more than 2 million passengers annually.


title: Clark International Airport

text: In 2011, CIAC was transferred from the Bases Conversion and Development Authority and became an attached agency of the Department of Transportation and Communications (DOTC) by virtue of Executive Order No. 64 issued by President Benigno Aquino III.


title: Clark International Airport

text: The airport's name was reverted to Clark International Airport in February 2012, but the original passenger terminal continued to bear Macapagal's name.


title: Clark International Airport

text: On February 28, 2017, President Rodrigo Duterte issued Executive Order No. 14, reverting CIAC as a subsidiary of the BCDA, but with the Department of Transportation (DOTr) maintaining supervision and operational control of the airport.


title: Clark International Airport

text: Four new terminals are expected to be completed and all will be fully operational by 2025. Upon completion, these four terminals will boost Clark's passenger capacity to more than 110 million annually. The airport is also being groomed to become one of the country's first "aerotropolis" or a community that features a world-class airport and surrounded by business clusters and residential developments. The project involves the operations and maintenance of the existing and the proposed new passenger terminal buildings on the airport with a 25-year concession period. The ₱12.55-billion project involves the construction of a new passenger terminal building with a design capacity of twelve million passengers per annum.


title: Clark International Airport

text: North Luzon Airport Consortium (NLAC), which is a consortium of JG Summit Holdings, Filinvest Development Corporation, Philippine Airport Ground Support Solutions Inc. and Changi Airports Philippines Pte. Ltd. (which is a subsidiary of Changi Airports International Pte. Ltd, which is itself a subsidiary of Changi Airport Group, the operator of Singapore Changi Airport) won the open bid by the BCDA to take over the operations and maintenance of the airport. On January 25, 2019, NLAC signed the 25-year contract for the operations and maintenance for the airport. On August 16, Clark International Airport's operations and maintenance were officially handed over to the winning bid (now renamed as Luzon International Premier Airport Development (LIPAD) Corporation in a ceremony held at the new terminal building along with the unveiling of its new logo.


title: Clark International Airport

text: The new passenger terminal building was completed in September 2020. Trial flights to and from the new terminal were conducted in December 2021, and the terminal opened for commercial operations on May 2, 2022. All flights moved to the new terminal on the day of its opening. Following the opening of the new terminal, the old terminal was decommissioned. The new terminal was officially opened by President Bongbong Marcos during a grand opening event on September 28.


title: Clark International Airport

text: Clark International Airport is located within the Clark Freeport Zone in the island of Luzon, approximately from Manila in the south and from Baguio. The airport lies in between Mount Pinatubo to the west and Mount Arayat to the east.


title: Clark International Airport

text: The airport site is inside the Clark Freeport Zone's Civil Aviation Complex which occupies and directly linked to the Subic–Clark–Tarlac Expressway (SCTEX) which is connected to the North Luzon Expressway (NLEX) providing a direct link to Metro Manila.


title: Clark International Airport

text: It has a local catchment area with an estimated population of 23 million covering the Ilocos Region, Cagayan Valley, Central Luzon, the Cordillera Administrative Region, and northern Metro Manila.


title: Clark International Airport

text: The airport has a four-level passenger terminal building which replaced the original terminal in 2022. Designed by Populous and Casas+Architects and constructed by Megawide Construction Corporation and GMR Infrastructure, the terminal has a total floor area of and a design capacity of twelve million passengers per annum.


title: Clark International Airport

text: The ground level holds the baggage claim and arrival halls, while the second floor holds the transfer facilities, immigration facilities for arriving international passengers, and 18 jet bridges. Aside from the jet bridges, there are remote gates at the apron. The third level houses the check-in counters and pre-departure areas including gate lounges, while the fourth level houses food and beverage areas and commercially important person lounges.


title: Clark International Airport

text: The facade of the terminal sports a wave roof design inspired by the mountains of Mount Arayat, Mount Pinatubo, and the Sierra Madre mountain range.


title: Clark International Airport

text: The original terminal was expanded for $3 million (PH₱130 million) to accommodate 1 million passengers annually. The expansion project was inaugurated by President Arroyo in April 2008 to serve the growing passenger volume due to the entry of foreign and local budget carriers at the airport.


title: Clark International Airport

text: The first phase of the expansion of the terminal started in April 2010 at a cost of $12 million (PH₱550 million), saw a second story, arrival and departure lounges, and two aerobridges added to the terminal building. The expansion boosted the airport's capacity to 2.5 million annually.


title: Clark International Airport

text: The passenger terminal was expanded again in 2013 at a cost of $9.6 million (PH₱417 million), increasing the capacity of the terminal from 2.5 million to 4.2 million passengers per annum. The expansion increased the size of the passenger terminal building from to . It added 21 new check-in counters, increasing the total number of counters from 13 to 34. Five arrival counters and 12 departures counters were also constructed. The expanded terminal has eight entry points and three customs stations. The modernized terminal started operations in May 2013.


title: Clark International Airport

text: Clark International Airport used to have two parallel runways. Since the runways are closely spaced, the secondary runway (02L/20R) has been decommissioned and is no longer in use. The new terminal occupies the end that was formerly Runway 20R, while a new maintenance hangar is currently being constructed on the stopway of Runway 02L.


title: Clark International Airport

text: In 2020, the Clark International Airport Corporation (CIAC) announced plans to construct the tallest air traffic control tower in the Philippines which will stand around in height. The tower is projected to be completed by December 2021.


title: Clark International Airport

text: The Subic–Clark–Tarlac Expressway (SCTEx) provides high-speed automobile access to the airport from the southwest, with two exits: Clark North and Clark South interchange. The latter leads directly to Clark. Passengers with connecting flights at Ninoy Aquino International Airport in Metro Manila can take the North Luzon Expressway which is linked via SCTEx, then passing through Epifanio de los Santos Avenue, Roxas Boulevard, and finally onto NAIA Road.


title: Clark International Airport

text: Alternatively, since December 29, 2020, drivers can pay a toll to use Skyway, the newest expressway between Clark and NAIA, from NLEx to NAIA Expressway connecting NAIA Terminals 1, 2 and 3.


title: Clark International Airport

text: For short-distance routes, air-conditioned jeepneys connect Clark to nearby Dau Bus Terminal in Mabalacat and SM City Clark in Angeles City. From Dau, passengers can ride intercity buses leading to other cities and towns in Northern and Central Luzon as well as Metro Manila. Direct Premium Point-to-Point Bus Services (P2Ps) for long-distance routes are provided by four bus companies leading to TriNoma in Quezon City, Subic and neighboring Olongapo in Zambales, Dagupan in Pangasinan, and Vigan in Ilocos Sur.


title: Clark International Airport

text: The airport will also be served by the Clark International Airport station of the North–South Commuter Railway, connecting the airport to the New Clark City in Capas, Tarlac, as well as Tutuban in Manila and Calamba in Laguna. The connection is scheduled to be completed by 2023.


Tirana International Airport Nënë Tereza (, ), often referred to as the Rinas International Airport, is one of the two main international airports of the Republic of Albania. It serves the city of Tirana, its metropolitan area, and surrounding region in the county of Tirana. The airport is named in honour of the Albanian Roman Catholic nun and missionary, Mother Teresa (1910–1997). It is located northwest of Tirana, in the municipality of Krujë, Durrës County. It offers international connections primarily within Europe, with the most frequent routes to Milan, Rome, London and Istanbul.


title: Tirana International Airport Nënë Tereza

text: The airport serves as the main hub for the country's flag carrier, Air Albania, and also for both Albawings and Wizz Air. The airport offers regularly scheduled passenger services, it is the largest and busiest airport in Albania and the seventh busiest Balkan airport. Albania's other main airport is Kukës International Airport located in the northeast of the country.


text: The airport was constructed from 1955 to 1957. Tirana had commercial airline services before. Domestic aviation started in 1926 when German airline Adria-Aero-Lloyd obtained a monopoly for domestic air routes in the country and begin servicing Tirana, Shkodër, Korçë and Vlorë. These operations proved unprofitable, and the airline sold its rights to Italian company Ala Littoria which opened regular routes in 1935 between Tirana to Shkodër, Kukës, Peshkopia, Kuçova, Vlorë, and Gjirokastra. In 1938, the Yugoslav carrier Aeroput introduced regular commercial flights linking Tirana with Belgrade, Serbia with a landing in Dubrovnik, Croatia.


text: After the Second World War and installation of an isolationist communist regime in Albania, air transportation was rare. From 1944 and 1948 there was a service to Belgrade, but after the break of relations with Yugoslavia, until 1953, there was only a twice-a-month connection to Budapest operated by Soviet-Hungarian company Maszovlet. From 1953 and 1955 there was no air service, until February 1955 when a route to Moscow was inaugurated, followed thereafter to other Eastern-European capitals. In the 1970s, Tirana was one of the first European cities to be served by China's CAAC Airlines, with a weekly flight to Beijing via Bucharest and Tehran. In the late 1980s there were six airlines flying to Tirana, with a total of nine round-trips per week.


text: With the collapse of communism in Albania in 1991 and subsequent liberalisation of travel restrictions abroad for Albanians, the number of airlines operating at the airport increased rapidly. In 1999 there were 8,249 flights and 356,823 passengers, seven times more than in 1991.


text: The air traffic equipment and facilities of the airport have been heavily modernised, following investments by Tirana International Airport SHPK, a consortium led by Hochtief AirPort. Hochtief assumed management of the airport on 23 April 2005, for a 20-year concession period.


text: The concession included the construction of a completely new passenger terminal and various infrastructure improvements, among them the construction of a new access road, new parking lots, and a bridge over the old airport access road. The expansion resulted in an increased number of passengers per annum, estimated at 1.5 million passengers for 2009. The number of passengers effectively increased to more than 1.5 million in 2010.


text: The terminal building and its second expansion, the cargo building, its landscaping, and its carpark canopies were designed by Malaysian architect Hin Tan of Hintan.


text: In December 2016, the Airport announced that it has served 2 million passengers during 2016, reaching its second milestone.


text: In 2017 China Everbright Limited became the sole owner of Tirana International Airport Nënë Tereza. After reaching an agreement with the Albanian Government to end its monopoly on international flights from Albania, Hochtief AirPort sold the operating of Tirana International Airport Nënë Tereza to China Everbright Limited, a company specializing in asset management, direct investment, brokerage and investment banking. On December 25, 2020, Kastrati Group bought all the shares of the airport from China Everbright Limited for 71 million euros.


text: The following airlines operate regular year-round and seasonal scheduled and charter flights to and from Tirana:


text: The airport is linked with motorway SH60 away) to SH2 Durres -Tirana access road. Taxis and car rental facilities are available at the airport. The journey from Tirana to the airport takes 20–25 minutes.


text: An airport bus, located outside Arrivals terminal, leaves on the hour every hour (6am to 2am), to the city centre, and the trip takes around 30 minutes. The shuttle runs an hourly service between the Airport and the back of the Opera building in the centre of Tirana.


title: Radeon

text: Radeon () is a brand of computer products, including graphics processing units, random-access memory, RAM disk software, and solid-state drives, produced by Radeon Technologies Group, a division of Advanced Micro Devices (AMD). The brand was launched in 2000 by ATI Technologies, which was acquired by AMD in 2006 for US$5.4 billion.


title: Radeon

text: Radeon Graphics is the successor to the Rage line. Three different families of microarchitectures can be roughly distinguished, the fixed-pipeline family, the unified shader model-families of TeraScale and Graphics Core Next. ATI/AMD have developed different technologies, such as TruForm, HyperMemory, HyperZ, XGP, Eyefinity for multi-monitor setups, PowerPlay for power-saving, CrossFire (for multi-GPU) or Hybrid Graphics. A range of SIP blocks is also to be found on certain models in the Radeon products line: Unified Video Decoder, Video Coding Engine and TrueAudio.


title: Radeon

text: The brand was previously only known as "ATI Radeon" until August 2010, when it was renamed to increase AMD's brand awareness on a global scale. Products up to and including the HD 5000 series are branded as ATI Radeon, while the HD 6000 series and beyond use the new AMD Radeon branding.


title: Radeon

text: On 11 September 2015, AMD's GPU business was split into a separate unit known as Radeon Technologies Group, with Raja Koduri as Senior Vice President and chief architect.


title: Radeon

text: AMD does not distribute Radeon cards directly to consumers (though some exceptions can be found). Instead, it sells Radeon GPUs to third-party manufacturers, who build and sell the Radeon-based video cards to the OEM and retail channels. Manufacturers of the Radeon cards—some of whom also make motherboards—include ASRock, Asus, Biostar, Club 3D, Diamond, Force3D, Gainward, Gigabyte, HIS, MSI, PowerColor, Sapphire, VisionTek, and XFX.


title: Radeon

text: Early generations were identified with a number and major/minor alphabetic prefix. Later generations were assigned code names. New or heavily redesigned architectures have a prefix of "R" (e.g., "R300" or "R600") while slight modifications are indicated by the "RV" prefix (e.g., "RV370" or "RV635").


title: Radeon

text: The Radeon, first introduced in 2000, was ATI's first graphics processor to be fully DirectX 7 compliant. R100 brought with it large gains in bandwidth and fill-rate efficiency through the new HyperZ technology.


title: Radeon

text: The RV200 was a die-shrink of the former R100 with some core logic tweaks for clockspeed, introduced in 2002. The only release in this generation was the Radeon 7500, which introduced little in the way of new features but offered substantial performance improvements over its predecessors.


title: Radeon

text: ATI's second generation Radeon included a sophisticated pixel shader architecture. This chipset implemented Microsoft's pixel shader 1.4 specification for the first time.


title: Radeon

text: Its performance relative to competitors was widely perceived as weak, and subsequent revisions of this generation were cancelled in order to focus on development of the next generation.


title: Radeon

text: The R300 was the first GPU to fully support Microsoft's DirectX 9.0 technology upon its release in 2001. It incorporated fully programmable pixel and vertex shaders.


title: Radeon

text: About a year later, the architecture was revised to allow for higher frequencies, more efficient memory access, and several other improvements in the R350 family. A budget line of RV350 products was based on this refreshed design with some elements disabled or removed.


title: Radeon

text: Models using the new PCI Express interface were introduced in 2004. Using 110-nm and 130-nm manufacturing technologies under the X300 and X600 names, respectively, the RV370 and RV380 graphics processors were used extensively by consumer PC manufacturers.


title: Radeon

text: While heavily based upon the previous generation, this line included extensions to the Shader Model 2 feature-set. Shader Model 2b, the specification ATI and Microsoft defined with this generation, offered somewhat more shader program flexibility.


title: Radeon

text: ATI's DirectX 9.0c series of graphics cards, with complete shader Model 3.0 support. Launched in October 2005, this series brought a number of enhancements including the floating point render target technology necessary for HDR rendering with anti-aliasing.


title: Radeon

text: ATI's first series of GPUs to replace the old fixed-pipeline and implement unified shader model. Subsequent revisions tuned the design for higher performance and energy efficiency, resulting in the ATI Mobility Radeon HD series for mobile computers.


title: Radeon

text: Based on the R600 architecture. Mostly a bolstered with many more stream processors, with improvements to power consumption and GDDR5 support for the high-end RV770 and RV740(HD4770) chips. It arrived in late June 2008. The HD 4850 and HD 4870 have 800 stream processors and GDDR3 and GDDR5 memory, respectively. The 4890 was a refresh of 4870 with the same amount of stream processors yet higher clock rates due to refinements. The 4870x2 has 1600 stream processors and GDDR5 memory on an effective 512-bit memory bus with 230.4 Gbit/s video memory bandwidth available.


title: Radeon

text: The series was launched on 23 September 2009. It featured a 40 nm fabrication process for the entire product line (only the HD4770 (RV740) was built on this process previously), with more stream cores and compatibility with the next major version of the DirectX API, DirectX 11, which launched on 22 October 2009 along with Microsoft Windows 7. The Rxxx/RVxxx codename scheme was scrapped entirely. The initial launch consisted of only the 5870 and 5850 models. ATI released beta drivers that introduced full OpenGL 4.0 support on all variants of this series in March 2010.


title: Radeon

text: This is the first series to be marketed solely under the "AMD" brand. It features a 3rd generation 40 nm design, rebalancing the existing architecture with redesigned shaders to give it better performance. It was released first on 22 October 2010, in the form of the 6850 and 6870. 3D output is enabled with HDMI 1.4a and DisplayPort 1.2 outputs.


title: Radeon

text: "Southern Islands" was the first series to feature the new compute microarchitecture known as "Graphics Core Next"(GCN). GCN was used among the higher end cards, while the VLIW5 architecture utilized in the previous generation was used in the lower end, OEM products. However, the "Radeon HD 7790" uses GCN 2, and was the first product in the series to be released by AMD on 9 January 2012.


title: Radeon

text: The "Sea Islands" were OEM rebadges of the 7000 series, with only three products, code named Oland, available for general retail. The series, just like the "Southern Islands", used a mixture of VLIW5 models and GCN models for its desktop products.


title: Radeon

text: "Volcanic Islands" GPUs were introduced with the AMD Radeon Rx 200 Series, and were first released in late 2013. The Radeon Rx 200 line is mainly based on AMD's GCN architecture, with the lower end, OEM cards still using VLIW5. The majority of desktop products use GCN 1, while the "R9 290x/290" & "R7 260X/260" use GCN 2, and with only the R9 285 using the new GCN 3.


title: Radeon

text: GPUs codenamed "Caribbean Islands" were introduced with the AMD Radeon Rx 300 Series, released in 2015. This series was the first to solely use GCN based models, ranging from GCN 1st to GCN 3rd Gen, including the GCN 3-based Fiji-architecture models named Fury X, Fury, Nano and the Radeon Pro Duo.


title: Radeon

text: GPUs codenamed "Arctic Islands" were first introduced with the Radeon RX 400 Series in June 2016 with the announcement of the "RX 480". These cards were the first to use the new Polaris chips which implements GCN 4th Gen on the 14 nm fab process. The RX 500 Series released in April 2017 also uses Polaris chips.


title: Radeon

text: On 27 May 2019, at COMPUTEX 2019, AMD announced the new 'RDNA' graphics micro-architecture, which is to succeed the Graphics Core Next micro-architecture. This is the basis for the Radeon RX 5700-series graphics cards, the first to be built under the codename 'Navi'. These cards feature GDDR6 SGRAM and support for PCI Express 4.0.


title: Radeon

text: On 5 March 2020, AMD publicly announced its plan to release a "refresh" of the RDNA micro-architecture. Dubbed as the RDNA 2 architecture, it was stated to succeed the first-gen RDNA micro-architecture and was initially scheduled for a release in Q4 2020. RDNA 2 was confirmed as the graphics microarchitecture featured in the Xbox Series X and Series S consoles from Microsoft, and PlayStation 5 from Sony, with proprietary tweaks and different GPU configurations in each systems' implementation.


title: Radeon

text: AMD unveiled the Radeon RX 6000 series, its next-gen RDNA 2 graphics cards at an online event on 28 October 2020. The lineup consists of the RX 6800, RX 6800 XT and RX 6900 XT. The RX 6800 and 6800 XT launched on 18 November 2020, with the RX 6900 XT being released on 8 December 2020. Further variants including a Radeon RX 6700 (XT) series based on Navi 22, launched on 18 March 2021, a Radeon RX 6600(XT) series based on Navi 23, launched on 11 August 2021 (that is the 6600XT release date, the RX 6600 launched on 13 October 2021), and a Radeon RX 6500(XT), launched on 19 January 2022.


title: Radeon

text: Some generations vary from their predecessors predominantly due to architectural improvements, while others were adapted primarily to new manufacturing processes with fewer functional changes. The table below summarizes the APIs supported in each Radeon generation. Also see AMD FireStream and AMD FirePro branded products.


title: Radeon

text: On 24 November 2015, AMD released a new version of their graphics driver following the formation of the Radeon Technologies Group (RTG) to provide extensive software support for their graphics cards. This driver, labelled Radeon Software Crimson Edition, overhauls the UI with Qt, resulting in better responsiveness from a design and system perspective. It includes a new interface featuring a game manager, clocking tools, and sections for different technologies.


title: Radeon

text: Unofficial modifications such as Omega drivers and DNA drivers were available. These drivers typically consist of mixtures of various driver file versions with some registry variables altered and are advertised as offering superior performance or image quality. They are, of course, unsupported, and as such, are not guaranteed to function correctly. Some of them also provide modified system files for hardware enthusiasts to run specific graphics cards outside of their specifications.


title: Radeon

text: Radeon Software is being developed for Microsoft Windows and Linux. , other operating systems are not officially supported. This may be different for the AMD FirePro brand, which is based on identical hardware but features OpenGL-certified graphics device drivers.


title: Radeon

text: ATI previously offered driver updates for their retail and integrated Macintosh video cards and chipsets. ATI stopped support for Mac OS 9 after the Radeon R200 cards, making the last officially supported card the Radeon 9250. The Radeon R100 cards up to the Radeon 7200 can still be used with even older classic Mac OS versions such as System 7, although not all features are taken advantage of by the older operating system.


title: Radeon

text: Ever since ATI's acquisition by AMD, ATI no longer supplies or supports drivers for classic Mac OS nor macOS. macOS drivers can be downloaded from Apple's support website, while classic Mac OS drivers can be obtained from 3rd party websites that host the older drivers for users to download. ATI used to provide a preference panel for use in macOS called ATI Displays which can be used both with retail and OEM versions of its cards. Though it gives more control over advanced features of the graphics chipset, ATI Displays has limited functionality compared to Catalyst for Windows or Linux.


title: Radeon

text: The free and open-source for Direct Rendering Infrastructure has been under constant development by the Linux kernel developers, by 3rd party programming enthusiasts and by AMD employees. It is composed out of five parts:


title: Radeon

text: The free and open-source driver supports many of the features available in Radeon-branded cards and APUs, such as multi-monitor or hybrid graphics.


title: Radeon

text: Being entirely free and open-source software, the free and open-source drivers can be ported to any existing operating system. Whether they have been, and to what extent depends entirely on the man-power available. Available support shall be referenced here.


title: Radeon

text: FreeBSD adopted DRI, and since Mesa 3D is not programmed for Linux, it should have identical support.


title: Radeon

text: AmigaOS 4 supports Radeon R100, R200, R300, R520 (X1000 Series), R700 (HD 4000 Series), HD 5000 (Evergreen) series, HD 6000 (Northern Islands) series and HD 7000 (Southern Islands) series. The RadeonHD AmigaOS 4 driver has been developed by Hans de Ruiter funded and owned by A-EON Technology Ltd. The older R100 and R200 "ATIRadeon" driver for AmigaOS, originally developed Forefront Technologies has been acquired by A-EON Technology Ltd in 2015.


title: Radeon

text: In the past ATI provided hardware and technical documentation to the Haiku Project to produce drivers with full 2D and video in/out support on older Radeon chipsets (up to R500) for Haiku. A new Radeon HD driver was developed with the unofficial and indirect guidance of AMD open source engineers and currently exists in recent Haiku versions. The new Radeon HD driver supports native mode setting on R600 through Southern Islands GPU's.


title: Radeon

text: AMD (and its predecessor ATI) have released a series of embedded GPUs targeted toward medical, entertainment, and display devices.


title: Radeon

text: In August 2011, AMD expanded the Radeon name to include random access memory modules under the AMD Memory line. The initial releases included 3 types of 2GiB DDR3 SDRAM modules: Entertainment (1333 MHz, CL9 9-9), UltraPro Gaming (1600 MHz, CL11 11-11) and Enterprise (specs to be determined).


title: Radeon

text: In 2012-09-06, Dataram Corporation announced it has entered into a formal agreement with AMD to develop an AMD-branded version of Dataram's RAMDisk software under the name Radeon RAMDisk, targeting gaming enthusiasts seeking exponential improvements in game load times leading to an enhanced gaming experience. The freeware version of Radeon RAMDisk software supports Windows Vista and later with minimum 4GiB memory, and supports maximum of 4GiB RAM disk (6GiB if AMD Radeon Value, Entertainment, Performance Edition or Products installed, and Radeon RAMDisk is activated between 2012-10-10 and 2013-10-10). Retail version supports RAM disk size between 5MiB to 64GiB.


title: Radeon

text: In 2014-04-02, Dataram Corporation announced it has signed an Agreement with Elysium Europe Ltd. to expand sales penetration in Europe, the Middle East and Africa. Under this Agreement, Elysium is authorized to sell AMD Radeon RAMDisk software. Elysium is focusing on etailers, retailers, system builders and distributors.


title: Radeon

text: AMD planned to enter solid state drive market with the introduction of R7 models powered by Indilinx Barefoot 3 controller and Toshiba 19 nm MLC flash memory, and initially available in 120G, 240G, 480G capacities. The R7 Series SSD was released on 2014-08-09, which included Toshiba's A19 MLC NAND flash memory, Indilinx Barefoot 3 M00 controller. These components are the same as in the SSD OCZ Vector 150 model.


title: Riding in Cars with Boys

text: Riding in Cars with Boys is a 2001 American biographical film based on the autobiography of the same name by Beverly Donofrio, about a woman who overcame difficulties, including being a teen mother, and who later earned a master's degree. The movie's narrative spans the years 1961 to 1985. It stars Drew Barrymore, Steve Zahn, Brittany Murphy, and James Woods. It was the last film directed by Penny Marshall. Although the film is co-produced by Beverly Donofrio, many of its details differ from the book.


title: Riding in Cars with Boys

text: In 1961, 11 year-old Beverly "Bev" Donofrio rides with her father, Wallingford, Connecticut police officer Leonard. She asks for a bra for Christmas to get the attention of a boy, but he tells her she is too young and to focus on books.


title: Riding in Cars with Boys

text: In 1965, intelligent but naïve, Bev's dream is to go to college in New York City to become a writer. Joining her friends Fay and Tina at a party, Fay's older boyfriend, Bobby, is being deployed to Vietnam while Bev gives a love letter to popular boy, Sky. He reads it aloud, so she flees to the bathroom where she's consoled by Ray, a stranger, who defends her honor by fighting with Sky.


title: Riding in Cars with Boys

text: Bev and Ray, with Fay and Bobby, flee the party and go to a lookout, where Bobby and Fay have sex. Bev is overcome by Ray's kindness, so they do too. On duty, Leonard catches and takes them to the police station, and Bev claims that they only kissed.


title: Riding in Cars with Boys

text: Bev tells Ray she's pregnant and initially turns down his offer to get married but later agrees to a hasty wedding to placate her parents. At the reception, everyone is avoiding Bev, so Fay publicly announces she is also pregnant. As Fay's father wanted her to put the baby up for adoption, she and Bobby will get married instead.


title: Riding in Cars with Boys

text: The girls celebrate that they will be mothers together, but lament missing out on their childhood, the prom, and an education. Bev has a son, Jason (upsetting her, as she wanted a girl), while Fay has daughter Amelia. Bev continues studying. When Jason is three, her interview for a college scholarship goes badly when she has to take Jason along. Although the interviewer praises her writing, he fears she is too distracted.


title: Riding in Cars with Boys

text: Later, Fay reveals that she and Bobby are getting divorced as he met someone else. Bev tells her she's not sure if she loves Jason because his birth has cost her so much. When he almost drowns in Fay's pool, Bev vows to be more attentive.


title: Riding in Cars with Boys

text: At Jason's seventh birthday party, several people from Bev's high school come: Tina is engaged and going to NYU; and Tommy, who had a crush on Bev, just graduated from Berkeley. He suggests she move her family to California to get her degree as the state offers financial aid. Although initially agreeing, Ray confesses to being a heroin addict and spending their savings on drugs. Bev helps him detox, but he sneaks out to get more drugs. Saying he can't quit, she tells him to leave. Ray agrees, but young Jason chases after him, telling Bev he hates her.


title: Riding in Cars with Boys

text: Two years later, Bev and Fay help Lizard (Ray's friend) to dry weed in Bev's oven to get money to study in California. Jason, still bitter, tells Grandpa Leonard, who arrests the mothers. Fay's brother bails them out, but only if Fay and Amelia move with him and cut off contact with Bev, so she blames Jason.


title: Riding in Cars with Boys

text: In 1985, Bev and Jason are driving to see Ray. She has a college degree and needs Ray to sign a waiver to publish her memoir. On the way, Jason tells her he wants to transfer from NYU to Indiana University, but Bev refuses as he must get the education she couldn't.


title: Riding in Cars with Boys

text: Jason calls his now-girlfriend Amelia with the bad news, who is dejected but not angry. Arriving at Ray's trailer, Bev explains why they are there. When his wife, Shirley, demands $100,000, Bev storms out. Jason follows, calling her selfish for only caring about her book when he finally got to see his father again. He accuses her of being a bad mother and she stomps off. Ray tells Jason leaving was the best thing he could have done for him and that is why he turned out so well. He sneaks the signed papers to him.


title: Riding in Cars with Boys

text: Jason finds Bev, who insists she was a great mother who sacrificed everything for him. He reveals he is transferring to be with Amelia and apologizes for ruining her life. Bev softens, telling him she is proud and that he is the best thing in her life. Feeling responsible for her mistakes and poor choices, she gives him her car to drive to Indiana.


title: Riding in Cars with Boys

text: Stranded, Beverly calls her father Leonard for a ride. Complaining that Jason blames her for everything wrong in his life, she realizes that she herself has done the same to him. Together, they sing a song from her childhood as they drive away.


title: Riding in Cars with Boys

text: "Riding in Cars with Boys" received mixed reviews. It holds a 49% rating on Rotten Tomatoes based on 109 reviews with an average rating of 5.3/10. The website's critical consensus reads: ""Riding in Cars with Boys" suffers from mixing grit and pathos with cuteness and comedy. Ironically, many critics found Zahn's character more compelling and three-dimensional than Barrymore's". Roger Ebert gave the film three out of four stars and wrote, "A film like this is refreshing and startling in the way it cuts loose from formula and shows us confused lives we recognize ... This movie is closer to the truth: A lot depends on what happens to you, and then a lot depends on how you let it affect you". In his review for "The New York Times", Stephen Holden praised Steve Zahn's performance: "It is hard to imagine what "Riding in Cars With Boys" would have been without Mr. Zahn's brilliantly nuanced and sympathetic portrayal of Ray, who goes through more changes than Beverly". "USA Today" gave the film three out of four stars and found that the "strength of the movie lies in these performances and in the situational humor, though ultimately the ending is disappointing, attempting to wrap up loose ends far too neatly".


title: Riding in Cars with Boys

text: Lisa Schwarzbaum of "Entertainment Weekly" gave the film a "C+" rating, and wrote, "... every scene is bumpered with actorly business and production detail that says more about nostalgia for the pop culture of earlier American decades than about the hard socioeconomic truths of being a poor, young, undereducated parent". In her review for "The Washington Post", Rita Kempley criticized Barrymore's performance: "Barrymore, a delightful comic actress, has the spunk for the role, but can't do justice to the complexities of Beverly's conflicted personality. So she comes off as abrasive and neglectful as opposed to headstrong and ambitious, winning no empathy for this sour single mom". Edward Guthmann also had problems with Barrymore's performance in his review for the "San Francisco Chronicle": "She never relaxes, never surrenders to the character, but instead tries to justify her and to make us like her despite her selfishness and poor mothering. American actors as a rule are terrified of playing unsympathetic characters, particularly when they've gained the celebrity and box-office appeal that Barrymore has". Giving the 2 out of 4 stars, Ron Weiskind of the "Pittsburgh Post-Gazette" called it "a troubling trip" and "is one bumpy ride".


title: Riding in Cars with Boys

text: "Riding in Cars with Boys" grossed $30.1 million in the United States and $35.7 million worldwide. Compared to its $47 million budget, the film was a box office bomb.


title: John Metchie III

text: John Metchie III (born July 18, 2000) is a Canadian gridiron football wide receiver for the Houston Texans of the National Football League (NFL). He played college football at Alabama, winning the Jon Cornish Trophy twice prior to being drafted by the Texans in the second round of the 2022 NFL Draft. Metchie would sit out his rookie season after being diagnosed with acute promyelocytic leukemia.


title: John Metchie III

text: Metchie was born in Taiwan to a Nigerian father and Taiwanese mother on July 18, 2000. His family moved to Accra, Ghana, when he was one before moving to Brampton, Ontario, Canada, with his mother and four brothers while his father remained in Ghana. He then moved to the United States to attend St. James School in Hagerstown, Maryland. Metchie spent a post-graduate year at the Peddie School in Hightstown, New Jersey, before committing to play college football at the University of Alabama.


title: John Metchie III

text: Metchie played in all 13 games as a freshman at Alabama in 2019 and had four catches for 23 yards. He became one of Alabama's top three receivers his sophomore year in 2020 racking up 916 yards on 55 receptions with 6 touchdowns. He was the first receiver to win the Jon Cornish Trophy as the top Canadian in NCAA football in the 2020 season. As a junior in 2021, Metchie recorded 96 receptions for 1,142 yards and 8 touchdowns before tearing his ACL in the 2021 SEC Championship Game. Metchie was again named the recipient of the Jon Cornish Trophy, joining Nathan Rourke as the only two-time winners.


title: John Metchie III

text: Metchie was selected by the Houston Texans in the second round (44th overall) of the 2022 NFL Draft. He was also selected by the BC Lions in the seventh round (59th overall) of the 2022 CFL Draft before signing a four-year contract, worth $8 million, with the Texans on May 14, 2022. In July, Metchie announced he would sit out his rookie season after being diagnosed with acute promyelocytic leukemia.


title: Ultraviolet catastrophe

text: The ultraviolet catastrophe, also called the Rayleigh–Jeans catastrophe, was the prediction of late 19th century/early 20th century classical physics that an ideal black body at thermal equilibrium would emit an unbounded quantity of energy as wavelength decreased into the ultraviolet range.


title: Ultraviolet catastrophe

text: The term "ultraviolet catastrophe" was first used in 1911 by Paul Ehrenfest, but the concept originated with the 1900 statistical derivation of the Rayleigh–Jeans law. The phrase refers to the fact that the Rayleigh–Jeans law accurately predicts experimental results at radiative frequencies below 100 THz, but begins to diverge from empirical observations as these frequencies reach the ultraviolet region of the electromagnetic spectrum.


title: Ultraviolet catastrophe

text: Since the first use of this term, it has also been used for other predictions of a similar nature, as in quantum electrodynamics and such cases as ultraviolet divergence.


title: Ultraviolet catastrophe

text: The Rayleigh-Jeans law is an approximation to the spectral radiance of electromagnetic radiation as a function of wavelength from a black body at a given temperature through classical arguments. For wavelength formula_1, it is:


title: Ultraviolet catastrophe

text: where formula_3 is the spectral radiance, the power emitted per unit emitting area, per steradian, per unit wavelength; formula_4 is the speed of light; formula_5 is the Boltzmann constant; and formula_6 is the temperature in kelvins. For frequency formula_7, the expression is instead


title: Ultraviolet catastrophe

text: This formula is obtained from the equipartition theorem of classical statistical mechanics which states that all harmonic oscillator modes (degrees of freedom) of a system at equilibrium have an average energy of formula_9.


title: Ultraviolet catastrophe

text: The "ultraviolet catastrophe" is the expression of the fact that the formula misbehaves at higher frequencies, i.e. formula_10 as formula_11.


title: Ultraviolet catastrophe

text: An example, from Mason's "A History of the Sciences", illustrates multi-mode vibration via a piece of string. As a natural vibrator, the string will oscillate with specific modes (the standing waves of a string in harmonic resonance), dependent on the length of the string. In classical physics, a radiator of energy will act as a natural vibrator. Additionally, since each mode will have the same energy, most of the energy in a natural vibrator will be in the smaller wavelengths and higher frequencies, where most of the modes are.


title: Ultraviolet catastrophe

text: According to classical electromagnetism, the number of electromagnetic modes in a 3-dimensional cavity, per unit frequency, is proportional to the square of the frequency. This implies that the radiated power per unit frequency should be proportional to frequency squared. Thus, both the power at a given frequency and the total radiated power is unlimited as higher and higher frequencies are considered: this is unphysical as the total radiated power of a cavity is not observed to be infinite, a point that was made independently by Einstein and by Lord Rayleigh and Sir James Jeans in 1905.


title: Ultraviolet catastrophe

text: In 1900, Max Planck derived the correct form for the intensity spectral distribution function by making some strange (for the time) assumptions. In particular, Planck assumed that electromagnetic radiation can be emitted or absorbed only in discrete packets, called quanta, of energy: formula_12, where "h" is Planck's constant, formula_13 is the frequency of light, "c" is the speed of light and "λ" is the wavelength of light. Planck's assumptions led to the correct form of the spectral distribution functions:


title: Ultraviolet catastrophe

text: Albert Einstein (in 1905) solved the problem by postulating that Planck's quanta were real physical particles – what we now call photons, not just a mathematical fiction. They modified statistical mechanics in the style of Boltzmann to an ensemble of photons. Einstein's photon had an energy proportional to its frequency and also explained an unpublished law of Stokes and the photoelectric effect. This published postulate was specifically cited by the Nobel Prize in Physics committee in their decision to award the prize for 1921 to Einstein.


title: Angelo Buono Jr.

text: Angelo Anthony Buono Jr. (October 5, 1934 – September 21, 2002) was an American serial killer, kidnapper and rapist who, together with his adopted cousin Kenneth Bianchi, were known as the Hillside Stranglers. Buono and Bianchi were convicted of killing ten young women in Los Angeles, California, between October 1977 and February 1978.


title: Angelo Buono Jr.

text: Angelo Buono was born on October 5, 1934, in Rochester, New York, to first-generation Italian emigrants from San Buono. Buono had developed an extensive criminal history, ranging from failure to pay child support, grand theft auto, assault and rape. In 1975, when Buono was 41 years old, he came into contact with his adopted cousin, Kenneth Bianchi. A self-described "ladies man", Buono persuaded Bianchi to join him in pimping out two women he had been holding as virtual prisoners.


title: Angelo Buono Jr.

text: In October 1977, Buono and Bianchi began killing women. Cruising around Los Angeles, California, in Buono's car and using fake badges, the two men persuaded their victims that they were undercover police officers. They would then order the victims into Bianchi's Cadillac, which they claimed was an unmarked police car, and drive to Buono's home to torture and murder them. The women and girls ranged in age from 12 to 28. The victims were:


title: Angelo Buono Jr.

text: Both Buono and Bianchi would sexually abuse their victims before strangling them. They experimented with other methods of killing, such as lethal injection, electric shock, and carbon monoxide poisoning. Even while committing the murders, Bianchi applied for a job with the Los Angeles Police Department (LAPD) and had even been taken for several rides with police officers while they were searching for the Hillside Strangler (who until Buono and Bianchi's capture was assumed to be a lone individual).


title: Angelo Buono Jr.

text: Shortly after they botched their would-be eleventh murder, Bianchi revealed to Buono he had participated in LAPD police ride-alongs and that he was currently being questioned about the Hillside Strangler case. Buono flew into a rage and threatened to kill Bianchi if he did not move to Bellingham, Washington. In May 1978, Bianchi moved to Bellingham.


title: Angelo Buono Jr.

text: The legal case against Buono was based largely upon Bianchi's testimony. Deciding that Bianchi was an unreliable and uncooperative witness, the case's original prosecutors from District Attorney John Van de Kamp's office moved to dismiss all charges against Buono and set him free. The presiding judge, Ronald M. George, refused to release Buono and reassigned the case to California Attorney General George Deukmejian's office.


title: Angelo Buono Jr.

text: Buono's trial would become the longest in American legal history, lasting from November 1981 until November 1983. During the trial, Bianchi, in exchange for a lighter sentence, testified against Buono. The jury convicted Buono on nine counts of murder and sentenced him to life imprisonment, with Judge George commenting that he felt a death sentence would have been the appropriate punishment.


title: Angelo Buono Jr.

text: In 1986, Buono married Christine Kizuka, a mother of three and a supervisor at the California State Employment Development Department. He died of a heart attack in September 2002 while incarcerated at Calipatria State Prison. His body was cremated.


title: Angelo Buono Jr.

text: In 2007, Buono's grandson, Christopher Buono, committed suicide shortly after shooting his grandmother, Mary Castillo, in the head. Castillo was at one time married to Buono, and had five children with him, including Chris' father. Chris Buono was unaware of his grandfather's true identity until 2005.


title: Angelo Buono Jr.

text: In the 1989 film "The Case of the Hillside Stranglers", Buono was portrayed by actor Dennis Farina. In the 2004 film "The Hillside Strangler", Buono was portrayed by actor Nicholas Turturro and in "" (2006), he was played by Tomas Arana.


title: Fernando Llorente

text: Fernando Javier Llorente Torres (; born 26 February 1985), nicknamed "El Rey León" ("The Lion King" in Spanish), is a Spanish professional footballer who plays as a striker.


title: Fernando Llorente

text: He started his career with Athletic Bilbao, working his way through the various youth ranks and, after making his first team debut in 2005, becoming one of the most important offensive players for the club in the following decade. He scored 29 goals in all competitions in the 2011–12 season, and was described as a "Bilbao legend". He signed with Juventus in 2013, and won the Serie A title twice during his two-year spell there. Subsequently, he spent 2015–16 back in Spain with Sevilla before moving to Swansea City in 2016, and Tottenham Hotspur in 2017.


title: Fernando Llorente

text: A Spain international since late 2008, Llorente was a member of the squads which won the 2010 World Cup and Euro 2012.


title: Fernando Llorente

text: Born in Pamplona, Llorente grew up in the municipality of Rincón de Soto in La Rioja. He joined Athletic Bilbao's youth system in 1996 at the age of 11, being eligible through his Navarrese roots.


title: Fernando Llorente

text: Llorente spent several seasons in the various junior levels of the club, playing alongside Fernando Amorebieta and moving to their farm team Basconia in Tercera División in 2003. He gradually improved, leading to promotion to Bilbao Athletic – Athletic's reserves – in Segunda División B.


title: Fernando Llorente

text: After scoring four goals for the B's in the first half of the season, Llorente was rewarded with a contract extension until June 2008. On 16 January 2005, he made his first-team and La Liga debut in a 1–1 home draw against Espanyol. Three days later, in a Copa del Rey match against Lanzarote, he scored a hat-trick in a 6–0 victory. He went on to feature in all but five of the nineteen remaining league games, scoring three goals, and also played in four domestic cup matches and the UEFA Cup round of 32 tie against Austria Wien.


title: Fernando Llorente

text: Before 2005–06, Llorente exchanged his squad number of 32 for the number 9 jersey. He scored on the opening day, a Basque derby 3–0 win over Real Sociedad but, throughout the campaign, found goals hard to come by. This could be partly attributed to a series of injuries including a knee strain, gastroenteritis and a muscle injury. He ended the season with just four goals, two in the league and as many in the Cup, both against Hospitalet.


title: Fernando Llorente

text: On 13 July 2006, Llorente signed a new contract until June 2011, which included a buy-out clause of between €30 and 50 million. He started the season as arguably the club's fourth-choice striker, behind Aritz Aduriz, Joseba Etxeberria and veteran Ismael Urzaiz. The team's poor form and lack of goals led to coach Félix Sarriugarte rotating the players, allowing Llorente to force his way back into the side; he ended the campaign with only two goals in 23 matches, although he did score an important one in the closing minutes of a 1–1 draw at Valencia.


title: Fernando Llorente

text: In preparation for 2007–08, Llorente scored six goals in as many pre-season matches, and another against Numancia in the "Caja Duero" Trophy. His form led to him becoming Athletic's first-choice forward, and although he started the campaign poorly, he ended it with a total of 11 league goals as the side finished in mid-table. His tally included four goals in two games against Valencia, both impressive wins, and further strikes against Barcelona, Villarreal and Atlético Madrid.


title: Fernando Llorente

text: Before 2008–09, Llorente was confident of a successful season. "I know that I am capable of scoring goals and having a good year and I want to start this term in the same form that I ended the last one in" he said. Despite the team's modest start he scored 14 league goals – a career-best – with another four in the Cup, helping his team reach the final against Barcelona (a 4–1 loss).


title: Fernando Llorente

text: In the 2009–10 season, Llorente again reached double figures. He led all scorers in the Europa League for a long period with eight goals, and added fourteen in the league as Athletic eventually finished in eighth place.


title: Fernando Llorente

text: On 28 August 2010, Llorente scored the first goal of the 2010–11 campaign, in a 1–0 win at Hércules. His form continued in the next ten league fixtures as he found the net seven times, eventually finishing the season with 18 goals (19 overall) as Athletic qualified for the Europa League.


title: Fernando Llorente

text: Between January and February 2012, Llorente scored five goals in two away matches in only four days: he started with a hat-trick in a 3–2 win against Rayo Vallecano, and added two in a 2–1 defeat of Mirandés in the Spanish Cup semi-finals. In the next two matches, both at home, he scored three more, one against Espanyol in the league and two against Mirandés.


title: Fernando Llorente

text: Llorente scored in both legs of the 2011–12 Europa League round of 16 against Manchester United, as Athletic won both games and went through 5–3 on aggregate. In the next round he scored twice at Schalke 04 in a 4–2 win, helping the team eventually reach the final. His seven goals in the tournament also made him the club's highest scorer in European competition, beating the total of 11 set by Dani in the 1980s, later surpassed by Aduriz in 2016.


title: Fernando Llorente

text: In August 2012, Llorente refused to sign a new deal with Athletic Bilbao, fuelling speculation that he might be leaving. Following a 2–0 Basque derby loss at Real Sociedad on 29 September, in which he was a late substitute, he got into an argument with manager Marcelo Bielsa; two days later he walked out of training early and was sent to practice with the youth squad and, as a result, his relationship with the club's supporters and president Josu Urrutia further deteriorated.


title: Fernando Llorente

text: On 3 January 2013, Athletic confirmed that Llorente would be holding talks with Juventus. On 21 January, the latter's sporting director, Giuseppe Marotta, stated that he was "very optimistic" that the player would join on 1 July, with Urrutia believed to be unwilling to allow him to leave in the January transfer window. Three days later, the club announced he would sign a four-year deal on 1 July when his contract expired; Juventus also paid his agent €3.038 million.


title: Fernando Llorente

text: Llorente scored just five goals in 36 competitive matches in his final year, playing mainly as a back-up for Aduriz.


title: Fernando Llorente

text: Llorente officially became a Juventus player on 1 July 2013 after passing a medical at the club. He was given the number 14 shirt, and scored his first goal in Serie A on 22 September when he started in a 2–1 home win against Hellas Verona.


title: Fernando Llorente

text: Llorente found the net in his second and third ever appearances in the UEFA Champions League, both times against Real Madrid in the 2013–14 group stage (a 2–1 away loss, and a 2–2 home draw). In November 2013 he spoke critically about his relationship with former manager Bielsa in an exclusive interview with "La Gazzetta dello Sport". On 1 December he scored in injury time, the only goal of the match at home against Udinese.


title: Fernando Llorente

text: Llorente's first two goals of 2014 came on 12 January, from a header and from close range as Juventus defeated Cagliari 4–1 away to extend their winning league run to 11 matches. On 7 April, he scored both of his team's goals in a 2–0 home win over Livorno, guaranteeing at least second place and Champions League qualification. On the final day of the season, again against Cagliari, he contributed with one goal as Juve won 3–0 and clinched the championship, finishing with a record 102 points in a Serie A season.


title: Fernando Llorente

text: On 6 June 2015, Llorente came off the bench and played five minutes in the final of the Champions League, lost 3–1 to Barcelona at Berlin's Olympiastadion.


title: Fernando Llorente

text: On 27 August 2015, free agent Llorente signed a three-year contract with Sevilla with a buyout clause of €20 million. He made his league debut three days later, playing the full 90 minutes in a 0–3 home defeat against Atlético Madrid. He scored his first goal for the club in a 2–1 loss to Celta, also at the Ramón Sánchez Pizjuán Stadium, on 20 September.


title: Fernando Llorente

text: On 8 November 2015, after replacing newly signed Ciro Immobile for the final 20 minutes of the league game against Real Madrid, Llorente headed home after only four minutes in an eventual 3–2 win. Exactly one month later, also at home, he scored the only goal in a 1–0 victory over his former club Juventus in the final match of the Champions League group stage, which meant Sevilla overtook Borussia Mönchengladbach into third spot and qualification for the Europa League knockout phase. The club went on to win the competition for the third time in a row, with the player being an unused substitute in the final. He came off the bench during extra time in the Copa del Rey Final four days later, which they lost to Barcelona.


title: Fernando Llorente

text: On 4 August 2016, it was announced that Llorente had signed a two-year deal with Swansea City. He made his Premier League debut nine days later, playing the full ninety minutes in a 1–0 away win against Burnley.


title: Fernando Llorente

text: On 26 November 2016, Llorente scored two injury-time goals to help the hosts defeat Crystal Palace 5–4. He also scored twice two matches later, again at the Liberty Stadium, against Sunderland (3–0). He finished his first season with 15 goals, as the team avoided relegation.


title: Fernando Llorente

text: A fractured arm sustained while cycling during his summer holiday caused Llorente to miss the opening weeks of the 2017–18 campaign.


title: Fernando Llorente

text: On 31 August 2017, Llorente joined Tottenham Hotspur on a two-year deal for a reported fee of £12.1 million. He made his debut for the club on 13 September, replacing Harry Kane for the last minutes of a 3–1 home win over Borussia Dortmund in the Champions League group stage. He made his first start in the EFL Cup tie against Barnsley on 20 September, then played in the Champions League group stage match at Real Madrid which ended 1–1.


title: Fernando Llorente

text: Llorente scored his first goal for Spurs on 6 December 2017, playing the full 90 minutes in a 3–0 Champions League win over APOEL after his team had already progressed to the knockout stage as group winners. He made his first league start the following January, scoring in a 2–0 away win against his former club Swansea.


title: Fernando Llorente

text: Llorente scored a hat-trick in Spurs' 6–1 victory over Rochdale in the fifth round of the FA Cup, on 28 February 2018. On 4 January 2019, in the third round of the next season's competition, he repeated the feat in a 7–0 away rout of Tranmere Rovers, and helped the club record its biggest ever away win. His first league start of the season took place 16 days later due to an injury to Kane, when Llorente scored an own goal in a 2–1 away win at Fulham. In the following league game, he scored a late winner to help defeat Watford 2–1 at Wembley Stadium.