title: 1963 Camden PA-24 crash

text: Hughes later made contact with Dyersburg Regional Airport in Dyersburg, Tennessee, and landed there at 5:05 pm, where he requested a weather briefing for the remainder of the flight to Nashville. He was informed by Federal Aviation Administration (FAA) employee Leroy Neal that local conditions were marginal for VFR flight and weather at the destination airport was below VFR minima. Hughes then asked if the Dyersburg runways were lit at night in case he had to return and Neal replied that they were. Hughes then informed Neal he would fly east towards the Tennessee River and navigate to Nashville from there, as he was familiar with the terrain in that area. He expressed concern about a high television transmitting tower north of Nashville, then stated that he would attempt the flight and return if the weather conditions worsened.


title: 1963 Camden PA-24 crash

text: After refueling, the passengers and pilot reboarded the Piper Comanche. Hughes requested another weather briefing by radio, then taxied into position and took off at 6:07 pm. After takeoff, no further radio contact was made with N7000P. The reported weather at that time was a ceiling of , visibility of , temperature of , gusty and turbulent wind from the east at , and cloudy. A short time later, an aviation-qualified witness, about west of Camden, heard a low-flying aircraft on a northerly course. The engine noise increased and seconds later a white light appeared from the overcast, descending in a 45° angle.


title: 1963 Camden PA-24 crash

text: At 6:29 pm, the aircraft crashed into a wooded, swampy area north of U.S. Route 70 and west of Camden. The aircraft was destroyed on impact and all four occupants were killed. The witness described hearing a dull-sounding crash, followed by complete silence.


title: 1963 Camden PA-24 crash

text: Registered as the aircraft was a three-year-old PA-24-250 Comanche four-seat, light, single-engined airplane manufactured in 1960 by Piper Aircraft. Serial Number 24-2144 was equipped with a Lycoming O-540-A1D5 normally aspirated engine, turning a constant-speed propeller. The Comanche's maximum takeoff weight was with a total fuel load of , giving a range of 600 nm at 75% power including a 45-minute reserve. The aircraft had passed its last FAA inspection on 19 April 1962.


title: 1963 Camden PA-24 crash

text: The owner and pilot of the aircraft, Ramsey (Randy) Dorris Hughes, 34, was also Patsy Cline's manager and the son-in-law of Cowboy Copas. Hughes held a valid private pilot certificate with an airplane single-engined land rating, but was not rated to fly under instrument flight rules. Hughes had taken possession of the airplane in 1962, less than a year before the crash, and was an inexperienced pilot with a total flight time of 160.2 hours, including 44:25 logged in the Piper Comanche.


title: 1963 Camden PA-24 crash

text: After the witness notified the Tennessee Highway Patrol, two law enforcement officers performed a preliminary search of the area around 7 pm, but they found nothing. By 11:30 pm, a search party was organized consisting of the Highway Patrol, Civil Defense, and local officers who searched the area throughout the night. At 6:10 am on March 6, the wreckage was discovered. A three-foot hole indicated the area of initial impact, and debris was scattered over an area long and wide.


title: 1963 Camden PA-24 crash

text: During the FAA investigation, the aircraft's propeller was found to have contacted a tree above the ground while the aircraft was in a 26° nose-down attitude. The right wing then collided with another tree to the right, causing the airplane to become inverted. The downward angle increased to 45° and the Comanche hit the ground at an estimated speed of , about from the initial contact.


title: 1963 Camden PA-24 crash

text: Inspection of the airframe and engine disclosed that the aircraft was intact and the engine was developing substantial power before impacting the trees. Investigators found no evidence of engine or system failure or malfunction of the aircraft prior to the crash. The airplane was determined to be slightly over maximum gross weight when it departed Dyersburg airport, but this fact had no bearing on the crash. An autopsy of the pilot discovered no physical or medical concerns that could have been a factor in the accident.


title: 1963 Camden PA-24 crash

text: Investigators believe that Hughes entered an area of deteriorating weather with low visibility and lost his visual reference with the ground. This induced spatial disorientation, and eventually led to a graveyard spiral with the aircraft entering into a right-hand diving turn, with a nose-down attitude of 25°. When the aircraft cleared the clouds, Hughes attempted to arrest the high descent rate by pulling the nose up and applying full power, but it was too late. The FAA investigators later found evidence that the propeller was at maximum speed during impact.


title: 1963 Camden PA-24 crash

text: The FAA's final conclusion was the non-instrument-rated pilot attempted visual flight in adverse weather conditions, resulting in disorientation and subsequent loss of control.


title: Eight Bit (studio)

text: , also known as 8bit, is a Japanese animation studio established in September 2008 by former Satelight members.


title: Eight Bit (studio)

text: On June 8, 2020, it was announced that Eight Bit had entered a partnership with Bandai Namco to create multiple anime productions. Their first project will be "The Slime Diaries: That Time I Got Reincarnated as a Slime."


title: Mesha Stele

text: The Mesha Stele, also known as the Moabite Stone, is a stele dated around 840 BCE containing a significant Canaanite inscription in the name of King Mesha of Moab (a kingdom located in modern Jordan). Mesha tells how Chemosh, the god of Moab, had been angry with his people and had allowed them to be subjugated to the Kingdom of Israel, but at length, Chemosh returned and assisted Mesha to throw off the yoke of Israel and restore the lands of Moab. Mesha also describes his many building projects. It is written in a variant of the Phoenician alphabet, closely related to the Paleo-Hebrew script.


title: Mesha Stele

text: The stone was discovered intact by Frederick Augustus Klein, an Anglican missionary, at the site of ancient Dibon (now Dhiban, Jordan), in August 1868. Klein was led to it by Emir Sattam Al-Fayez, son of the Bani Sakhr King Fendi Al-Fayez, although neither of them could read the text. At that time, amateur explorers and archaeologists were scouring the Levant for evidence proving the historicity of the Bible. News of the finding set off a race between France, Britain, and Germany to acquire the piece. A "squeeze" (a papier-mâché impression) had been obtained by a local Arab on behalf of Charles Simon Clermont-Ganneau, an archaeologist based in the French consulate in Jerusalem. The next year, the stele was smashed into several fragments by the Bani Hamida tribe, seen as an act of defiance against the Ottoman authorities who had pressured the Bedouins to hand over the stele so that it could be given to Germany.


title: Mesha Stele

text: When this great monument was first discovered in 1868, its value was of course not appreciated and no copy of the text was made. The Museum of Berlin heard of it and moved for its purchase. An employe of the French Consulate heard of the negotiations, and offered a large bribe for the possession of the stone. The Turkish officials then interfered. The superstitious Arabs, believing that the monument must have some magical value, broke it into a number of fragments and distributed the pieces as amulets, or charms. A French agent, however, industriously pursued these fragments and with the help of a squeeze which he had made, reconstructed the major portion of the writings. The ancient name of Jehovah occurring on this text was an additional delight to these students of antiquity.


title: Mesha Stele

text: Clermont-Ganneau later managed to acquire the fragments and piece them together thanks to the impression made before the stele's destruction.


title: Mesha Stele

text: The Mesha Stele, the first major epigraphic Canaanite inscription found in the region of Palestine, the longest Iron Age inscription ever found in the region, constitutes the major evidence for the Moabite language, and is a "corner-stone of Semitic epigraphy", and history. The stele, whose story parallels, with some differences, an episode in the Bible's Books of Kings (–28), provides invaluable information on the Moabite language and the political relationship between Moab and Israel at one moment in the 9th century BCE. It is the most extensive inscription ever recovered that refers to the kingdom of Israel (the "House of Omri"); it bears the earliest certain extrabiblical reference to the Israelite god Yahweh. It is also one of four known contemporary inscriptions containing the name of Israel, the others being the Merneptah Stele, the Tel Dan Stele, and one of the Kurkh Monoliths. Its authenticity has been disputed over the years, and some biblical minimalists suggest the text was not historical, but a biblical allegory. The stele itself is regarded as genuine and historical by the vast majority of biblical archaeologists today.


title: Mesha Stele

text: The stele has been part of the collection of the Louvre Museum in Paris, France, since 1873. An extensive study on it is Dearman, 1989.


title: Mesha Stele

text: The stele is a smoothed block of basalt about a meter tall, 60 cm wide, and 60 cm thick, bearing a surviving inscription of 34 lines.


title: Mesha Stele

text: On 8 February 1870, George Grove of the Palestine Exploration Fund announced the find of the stele in a letter to "The Times", attributing the discovery to Charles Warren. On 17 February 1870, the 24-year-old Clermont-Ganneau published the first detailed announcement of the stele in the Revue de l’Instruction Publique. This was followed a month later by a note from Frederick Augustus Klein published in the "Pall Mall Gazette", describing his discovery of the stele in August 1868:


title: Mesha Stele

text: In November 1869 the stele was broken by the local Bedouin tribe (the Bani Hamida) after the Ottoman government became involved in the ownership dispute. The previous year the Bani Hamida had been defeated by an expedition to Balqa led by Reşid Pasha, the Wali of Damascus. Knowing that a demand to give up the stone to the German Consulate had been ordered by the Ottomans, and finding that the ruler of Salt was about to put pressure upon them, they heated the stele in a bonfire, threw cold water upon it and broke it to pieces with boulders.


title: Mesha Stele

text: A "squeeze" (a papier-mâché impression) of the full stele had been obtained just prior to its destruction. Ginsberg's translation of the official report, "Über die Auffindung der Moabitischen Inschrift", stated that Ganneau sent an Arab named Yacoub Caravacca to obtain the squeeze as he "did not want to venture to undertake the very costly [and dangerous] journey" himself. Caravacca was injured by the local Bedouin while obtaining the squeeze, and one of his two accompanying horsemen protected the squeeze by tearing it still damp from the stone in seven fragments before escaping.


title: Mesha Stele

text: Pieces of the original stele containing most of the inscription, 613 letters out of about a thousand, were later recovered and pieced together. Of the existing stele fragments, the top right fragment contains 150 letters, the bottom right fragment contains 358 letters, the middle-right contains 38, and the rest of the fragments contain 67 letters. The remainder of the stele was reconstructed by Ganneau from the squeeze obtained by Caravacca.


title: Mesha Stele

text: The inscription, known as KAI 181 is pictured to the right, and presented here after Compston, 1919, to be read right to left. :


title: Mesha Stele

text: Here is the beginning of a relatively recent transliteration and translation by Alviero Niccacci from his article "The Stele of Mesha and the Bible: Verbal System and Narrativity" in "Orientalia" NOVA SERIES, Vol. 63, No. 3 (1994), pp. 226-248.


title: Mesha Stele

text: No authoritative full edition of the Moabite inscription remains. The translation used here is that published by James King (1878), based on translations by M. Ganneau and Dr. Ginsberg. Line numbers added to the published version have been needlessly removed. A century and a half of scholarship has greatly improved our understanding of the text, so accessing other translations linked here is recommended, rather than relying on this very outdated one.


title: Mesha Stele

text: I am Mesha, son of Chemosh-gad, king of Moab, the Dibonite. My father reigned over Moab thirty years, and I have reigned after my father. And I have built this sanctuary for Chemosh in Karchah, a sanctuary of salvation, for he saved me from all aggressors, and made me look upon all mine enemies with contempt.


title: Mesha Stele

text: Omri was king of Israel, and oppressed Moab during many days, and Chemosh was angry with his aggressions. His son succeeded him, and he also said, I will oppress Moab. In my days he said, Let us go, and I will see my desire upon him and his house, and Israel said, I shall destroy it for ever. Now Omri took the land of Madeba, and occupied it in his day, and in the days of his son, forty years. And Chemosh had mercy on it in my time. And I built Baal-meon and made therein the ditch, and I built Kiriathaim.


title: Mesha Stele

text: And the men of Gad dwelled in the country of Ataroth from ancient times, and the king of Israel fortified Ataroth. I assaulted the wall and captured it, and killed all the warriors of the city for the well-pleasing of Chemosh and Moab, and I removed from it all the spoil, and offered it before Chemosh in Kirjath; and I placed therein the men of Siran, and the men of Mochrath. And Chemosh said to me, Go take Nebo against Israel, and I went in the night and I fought against it from the break of day till noon, and I took it: and I killed in all seven thousand men...women and maidens, for I devoted them to Ashtar-Chemosh; and I took from it the vessels of Jehovah, and offered them before Chemosh.


title: Mesha Stele

text: And the king of Israel fortified Jahaz, and occupied it, when he made war against me, and Chemosh drove him out before me, and I took from Moab two hundred men in all, and placed them in Jahaz, and took it to annex it to Dibon.


title: Mesha Stele

text: I built Karchah the wall of the forest, and the wall of the Hill. I have built its gates and I have built its towers. I have built the palace of the king, and I made the prisons for the criminals within the wall. And there were no wells in the interior of the wall in Karchah. And I said to all the people, 'Make you every man a well in his house.' And I dug the ditch for Karchah with the chosen men of Israel. I built Aroer, and I made the road across the Arnon. I built Beth-Bamoth for it was destroyed. I built Bezer for it was cut down by the armed men of Daybon, for all Daybon was now loyal; and I reigned from Bikran, which I added to my land. And I built Beth-Gamul, and Beth-Diblathaim...Beth Baal-Meon, and I placed there the poor people of the land.


title: Mesha Stele

text: And as to Horonaim, the men of Edom dwelt therein, on the descent from old. And Chemosh said to me, Go down, make war against Horonaim, and take it. And I assaulted it, And I took it, for Chemosh restored it in my days. Wherefore I made... ...year...and I...


title: Mesha Stele

text: There is also a more modern translation by W.F. Albright on pages 320-321 of Ancient Near Eastern Texts (ed. Pritchard, 1969):


title: Mesha Stele

text: A yet newer translation was presented in a vici.org page authored by Jona Lendering, author of numerous books on ancient history, who read history at Leiden University (MA 1993), specialized in Mediterranean culture at the Amsterdam Free University (MA 1996), and worked at excavations in Holland (Riethoven) and Greece (Halos), created in 2006, last modified 12 October, 2021.


title: Mesha Stele

text: The Mesha Stele is the longest Iron Age inscription ever found in the region, the major evidence for the Moabite language, and a unique record of military campaigns. The occasion was the erection of a sanctuary for Chemosh in Qarho, the acropolis (citadel) of Dibon, Mesha's capital, in thanks for his aid against Mesha's enemies. Chemosh is credited with an important role in the victories of Mesha, but is not mentioned in connection with his building activities, reflecting the crucial need to give recognition to the nation's god in the life-and-death national struggle. The fact that the numerous building projects would have taken years to complete suggests that the inscription was made long after the military campaigns, or at least most of them, and the account of those campaigns reflects a royal ideology that wishes to present the king as the obedient servant of the god. The king also claims to be acting in the national interest by removing Israelite oppression and restoring lost lands, but a close reading of the narrative leaves it unclear whether all the conquered territories were previously Moabite – in three campaign stories, no explicit reference is made to prior Moabite control.


title: Mesha Stele

text: The inscription seems to parallel an episode in 2 Kings 3: Jehoram of Israel makes an alliance with Jehoshaphat king of Judah and an unnamed king of Edom (south of Judah) to put down his rebellious vassal Mesha; the three kings have the best of the campaign until Mesha, in desperation, sacrifices to his god Chemosh either his eldest son or the eldest son of the king of Edom; the sacrifice turns the tide, "there came great wrath against Israel", and Mesha apparently achieves victory. This apparent correspondence is the basis of the usual dating of the inscription to about 840 BCE, but André Lemaire has cautioned that the identification is not certain and the stele may be as late as 810 BCE.


title: Mesha Stele

text: The discovery of the Tel Dan Stele led to a re-evaluation of the Mesha Stele by some scholars. In 1994, André Lemaire reconstructed BT[D]WD as "House of David", meaning Judah, in line 31. This section is badly damaged, but appears to tell of Mesha's reconquest of the southern lands of Moab, just as the earlier part dealt with victories in the north. Line 31 says that he captured Horonen from someone who was occupying it. Just who the occupants were is unclear. The legible letters were taken by Lemaire to be BT[*]WD, with the square brackets representing a damaged space that probably contained just one letter. This is not universally accepted—Nadav Na'aman, for instance, wants it as BT[D]WD[H], "House of Daodoh", a local ruling family . Were Lemaire correct, the stele would provide the earliest evidence of the existence of the Judean kingdom and its Davidic dynasty.


title: Mesha Stele

text: In 2001, Anson Rainey proposed that a two-word phrase in line 12—'R'L DWDH—should be read as a reference an "altar hearth of David" at Ataroth, one of the towns captured by Mesha. The sentence reads: "I (i.e., Mesha) carried from there (Atartoth) the 'R'L of its DWD (or: its 'R'L of DVD) and I dragged it before Chemosh in Qeriot". The meaning of both words is unclear. One line of thought sees 'R'L as the name of a man (literally "El is my light") and translates DWD as "defender", so that the sense of the passage is that Mesha, having conquered Ataroth, dragged its "defender", whose name was "El is my light", to the altar of Chemosh, where he was presumably sacrificed. It seems more likely that some kind of cult-vessel is meant, and other suggestions have included "the lion-statue of its beloved", meaning the city god.


title: Mesha Stele

text: In 2019, Israel Finkelstein, Nadav Na'aman and Thomas Römer concluded, on the basis of high-resolution photographs of the squeeze, that the monarch mentioned is referred to by three consonants, beginning with 'B', and the most probable candidate is not David, but Balak, a biblical Moabite. Disagreeing, Michael Langlois pointed to his own new imaging methods that "confirm" line 31 contains the phrase "House of David". A similar judgment was expressed by biblical scholar Ronald Hendel, who noted that Balak lived 200 years before David and, therefore, a reference to it would not make sense; Hendel also dismissed Finkelstein's hypothesis as "nothing more than a guess".


title: Mesha Stele

text: The stele is now regarded as of genuine antiquity by the vast majority of biblical archaeologists on the basis that no other inscriptions in this script or language of comparable age were yet known to scholars at the time of its discovery. At that time the Assyrian lion weights were the oldest Phoenician-style inscription that had been discovered.


title: Mesha Stele

text: The discovery of the Khirbat Ataruz Inscribed Altar inscriptions by archaeologist Chang-ho Ji at an ancient Moabite sanctuary site in Jordan in 2010, provided evidence for the Mesha Stele's authenticity. The stele's genuineness is held as wholly established and undisputed by biblical archaeologists today.


title: Mesha Stele

text: Thomas L. Thompson, a former professor of theology at the University of Copenhagen, closely associated with the Biblical minimalism movement known as the Copenhagen School, which holds that "Israel" is a problematic concept, believes that the inscription on the Mesha stele is not historical, but an allegory. In 2000, he wrote: "Rather than an historical text, the Mesha inscription belongs to a substantial literary tradition of stories about kings of the past... The phrase "Omri, king of Israel," eponym of the highland patronate "Bit Humri", belongs to a theological world of Narnia." This view has received criticism by John Emerton and André Lemaire, who have both reasserted the historical value of the Mesha Stele.


title: Street Fighter Alpha 3

text: Street Fighter Alpha 3, released as in Japan, Asia, South America, and Oceania, is a 2D fighting game originally released by Capcom for the arcade in 1998. It is the third and final installment in the "Street Fighter Alpha" sub-series, which serves as a sequel to "Street Fighter Alpha 2", and ran on the same CP System II hardware as previous "Alpha" games. The game was produced after the "Street Fighter III" sub-series has started, being released after "", but before "". "Alpha 3" further expanded the playable fighter roster from "Street Fighter Alpha 2" and added new features such as selectable fighting styles called "isms".


title: Street Fighter Alpha 3

text: "Alpha 3" has also been released on a variety of home platforms starting with the PlayStation port in 1998, which added an exclusive World Tour mode and brought back even more characters, with further versions on the Sega Saturn, Dreamcast, Game Boy Advance and PlayStation Portable.


title: Street Fighter Alpha 3

text: "Street Fighter Alpha 3" discards the "Manual" and "Auto" modes from the previous "Alpha" games and instead offers three different playing styles known as "isms" for the player to choose from. The standard playing style, A-ism (or Z-ism in Japan), is based on the previous "Alpha" games, in which the player has a three-level Super Combo gauge with access to several Super Combo moves. X-ism is a simple style based on "Super Street Fighter II Turbo" (the term "X-ism" being a reference to that game's Japanese title, "Super Street Fighter II X"), in which the player has a single-level Super Combo gauge and access to a single but powerful Super Combo move. The third style, V-ism (or "variable" style), is a unique style that allows the player to perform custom combos similar to the ones in "Street Fighter Alpha 2", but cannot use Super Combos. In X-ism, the player cannot air-block nor perform Alpha Counters, and can only use 1 Super Combo move in its powerful Level 3 version. To activate V-ism's Super Combo, the player has to press both kick and punch of the same strength. X-ism has the highest attack power but least defence, A-ism has more attack power than V-ism and a similar level of defence. All three modes have variations of movesets for each character, adding considerable depth to the gameplay. In addition, there are hidden modes that add handicaps to the player as well as benefits (for example, Classic mode, which prevents the use of Super Combos but also makes the character unable to be knocked in the air and juggled).


title: Street Fighter Alpha 3

text: "Alpha 3" also introduces a "Guard Power Gauge" which depletes each time the player blocks – if the gauge is completely depleted, then the player will remain vulnerable to an attack. When broken the bar shrinks and is refilled to its new maximum, it can be shrunk a number of times. Worth noting, while in X-Ism the character has the least defence of all modes it also has the largest guard bar, vice versa for V-ism with A-Zism being in the middle. Also the guard bar varies between characters, Zangief e.g. has a very large guard bar. The guard bar does not exist in Dramatic Battle matches so no guard crushing is possible there.


title: Street Fighter Alpha 3

text: I-ism is a customizable style exclusive to the Dreamcast version's World Tour and Saikyo Dojo modes and the PSP version's World Tour mode.


title: Street Fighter Alpha 3

text: The controls for several actions have been modified from the previous "Alpha" games. For example, the level of a Super Combo move in A-ism is now determined by the strength of the attack button pressed (i.e. Medium Punch or Kick for a Lv. 2 Super Combo), rather than the number of buttons pushed; and throwing is now done by pressing two punch or kick buttons simultaneously.


title: Street Fighter Alpha 3

text: The game brings back all eighteen of the characters that appeared in "Street Fighter Alpha 2". As with the previous "Alpha" titles, several characters were added to the game: Cammy, who was previously featured in the console-exclusive "Street Fighter Alpha 2 Gold", E. Honda, Blanka, Balrog, and Vega. New characters introduced in "Alpha 3" include R. Mika, a Japanese female wrestler who idolizes Zangief; Karin, Sakura's rival who was first introduced in the "Street Fighter" manga "Sakura Ganbaru!" by Masahiko Nakahira; Cody from "Final Fight", who has since become an escaped convict; and Juli and Juni, two of Shadaloo's "Dolls" who serve as Bison's assassins and guards.


title: Street Fighter Alpha 3

text: The PlayStation version adds the remaining characters introduced in "Super Street Fighter II": Dee Jay, Fei Long and T. Hawk, along with Guile from "Street Fighter II", and Evil Ryu and Shin Akuma from "Street Fighter Alpha 2", the latter three being unlockable. The Sega Saturn and Dreamcast versions move Guile, Evil Ryu and Shin Akuma to the default roster (although the latter shares a slot with his regular counterpart and is playable via a special button combination). The more powerful version of M. Bison who is the true final boss of Alpha 3 with the special Shadaloo-ism meter, Final M. Bison, is also made playable in these Sega ports via a code.


title: Street Fighter Alpha 3

text: The Game Boy Advance port contains all of the characters from previous versions, as well as three additional characters: Yun from "Street Fighter III", Maki from "Final Fight 2", and Eagle from the original "Street Fighter", all three based on their incarnations from "". The PlayStation Portable version, "Street Fighter Alpha 3 MAX", also adds Ingrid from "Capcom Fighting Evolution", to bring the total playable character count to 39 characters.


title: Street Fighter Alpha 3

text: In Japan, "Game Machine" listed "Street Fighter Alpha 3" on their September 1, 1998 issue as being the second most-successful arcade game of the month.


title: Street Fighter Alpha 3

text: On release, "Famitsu" magazine scored the Sega Saturn version of the game a 32 out of 40; they later scored it 30 out of 40. The PlayStation version also scored 32 out of 40 on release. The Dreamcast version scored slightly better, receiving a 33 out of 40.


title: Street Fighter Alpha 3

text: The "Official UK PlayStation Magazine" said that the game would outlast "Tekken 3", and stated "the only thing to tarnish this is the graphics. So if you think gameplay is more important than texture-mapped polygons, consider the score to be a ten."


title: Street Fighter Alpha 3

text: "Next Generation" reviewed the PlayStation version of the game, rating it four stars out of five, and stated that "Capcom may have outdone itself with the most playable and innovative fighting game since the original "Street Fighter II"."


title: Street Fighter Alpha 3

text: "Game Informer" gave the PlayStation portable version of the game an overall score of 7.75 out of 10 praising how the game being a great port of the classic fighting game and the gameplay and loading times as being seamless and stating “a perfect arcade port that will please Street Fighter fans.”


title: Street Fighter Alpha 3

text: By 2003, the Game Boy Advance version had sold over 30,000 copies. Meanwhile, the original PlayStation version sold a million units as of June 2016.


title: Lists of animals

text: Animals are multicellular eukaryotic organisms in the biological kingdom Animalia. With few exceptions, animals consume organic material, breathe oxygen, are able to move, reproduce sexually, and grow from a hollow sphere of cells, the blastula, during embryonic development. Over 1.5 million living animal species have been described—of which around 1 million are insects—but it has been estimated there are over 7 million in total. Animals range in size from 8.5 millionths of a metre to long and have complex interactions with each other and their environments, forming intricate food webs. The study of animals is called zoology.


title: Lists of animals

text: Animals may be listed or indexed by many criteria, including taxonomy, status as endangered species, their geographical location, and their portrayal and/or naming in human culture.


title: Life of the Party (2018 film)

text: Life of the Party is a 2018 American comedy film directed by Ben Falcone and written by Falcone and Melissa McCarthy. The film, starring McCarthy and Molly Gordon, follows a newly divorced mother who returns to college to complete her degree, and ends up bonding with her daughter's friends.


title: Life of the Party (2018 film)

text: Produced by On the Day Productions and New Line Cinema, the film was released on May 11, 2018, by Warner Bros. Pictures. It received mixed reviews from critics and grossed $65 million.


title: Life of the Party (2018 film)

text: After dropping off their 22-year-old daughter Maddie to her senior year at Decatur University in Atlanta, Dan tells Deanna that he wants a divorce because he has fallen in love with another woman, realtor Marcie. Heartbroken, Deanna visits her parents Mike and Sandy to tell them what happened, with Mike furiously denouncing Dan for making Deanna drop out of college in her final year because she was pregnant, as well as his overbearing ways during their marriage.


title: Life of the Party (2018 film)

text: Deanna visits Maddie to tell the news and about her plans to enroll at Decatur University to finish her degree in Archaeology. Maddie is doubtful, but supportive. She introduces Deanna to her sorority friends Amanda, neurotic Debbie, and Helen. Deanna later meets her agoraphobic and chronically depressed roommate Leonor. On the first day of school, she meets demeaning girls Jennifer and Trina, who mock Deanna's age.


title: Life of the Party (2018 film)

text: Deanna, supported by good friend Christine, joins Dan, supported by Marcie, at a mediation session to prepare their divorce papers. Marcie intends to sell their house without Deanna's approval.


title: Life of the Party (2018 film)

text: Maddie and her friends take Deanna to a frat party, where she meets a student named Jack, a friend of Maddie's boyfriend, Tyler. The next morning mother and daughter catch each other leaving the bedrooms of their respective guys. Jack has truly fallen for Deanna, and they have sex again in the stacks at the library.


title: Life of the Party (2018 film)

text: Another night, they attend an 80's-themed party where Deanna has a dance-off with Jennifer, resulting in earning the respect of her schoolmates. She has become both “one of the girls” but also a trusted mentor to Maddie's sorority sisters, who make her an honorary sister. Deanna is also doing great in her classes, until she has a midterm exam that requires an oral presentation. Her stage fright causes her to collapse part way through.


title: Life of the Party (2018 film)

text: While Deanna is at a restaurant with Christine and Frank (her husband), and another couple (Bill and Amy) from their group of friends, Dan and Marcie unexpectedly show up, declaring they are getting married. Jack turns out to be Marcie's son, and, knowing about Deanna sleeping with Jack, Marcie walks out in disgust.


title: Life of the Party (2018 film)

text: While Maddie attends Dan and Marcie's wedding, Deanna and her student friends unknowingly get high from chocolate bark laced with marijuana, and they head to the reception, where they start wrecking the wedding hall. Dan, Marcie and Maddie find them and Marcie tells Deanna she is cut off financially from Dan.


title: Life of the Party (2018 film)

text: Deanna tries to make amends with Maddie, and tells her that she is leaving college since she has no means of paying the rest of her tuition. The girls decide to throw a party to raise the money. No one shows up as they are at a Christina Aguilera concert, so Helen posts a Twitter message claiming Aguilera will be at the party after her show. Christine and Frank attend, along with Mike and Sandy. Mike offers to give Deanna a 401K check to pay her tuition, but Deanna refuses. The party is soon filled with people expecting Aguilera, when a suspicious Jennifer confronts Helen, telling her that if Aguilera doesn't show up in three seconds, Jennifer will put Helen in another coma. The two girls engage in a serious fist fight until Deanna intervenes, telling them that girls should support each other and behave like friends. Suddenly, Aguilera (who turns out to be Leonor's cousin) arrives, and puts on a show with Deanna and the girls to an excited crowd.


title: Life of the Party (2018 film)

text: Deanna still needs to complete her presentation in class. She is nervous until Maddie, Helen, Amanda, Debbie and all the sorority sisters show up to support her, and this time, Deanna manages to give the presentation with ease. At the end of the year, Deanna and Maddie graduate together, with all their friends and family there to support them. Maddie encourages Deanna to throw her cap in the air. She does so, and as it falls it hits Dan in the face.


title: Life of the Party (2018 film)

text: "Life of the Party" was announced in April 2016, with Melissa McCarthy set to star and Ben Falcone to direct. In July 2016, Gillian Jacobs was cast to play Helen, one of the sorority sisters of Deanna and Molly Gordon was cast as Deanna's daughter, Maddie. On August 2, Jacki Weaver joined the project to play Deanna's mother, Sandy. On August 4, Maya Rudolph was cast as Christine, Deanna's neurotic best friend On August 12, Debby Ryan Joined the cast to play Jennifer, a “mean girl” head of a sorority. On August 25, Matt Walsh was cast to play Dan, Deanna's husband. On August 29, Julie Bowen joined the cast to play Deanna's nemesis, Marcie.


title: Life of the Party (2018 film)

text: Filming began in August 2016 in the metro Atlanta area. The sorority house used in the film is The Twelve Oaks Bed & Breakfast located in Covington, GA. The interior of the mansion was replicated in a warehouse in Decatur, GA for the interior scenes and the exterior scenes were filmed on location at the inn.


title: Life of the Party (2018 film)

text: "Life of the Party" was released on May 11, 2018. The first official trailer for the film was released on February 5, 2018.


title: Life of the Party (2018 film)

text: "Life of the Party" grossed $53.1 million in the United States and Canada, and $12.8 million in other territories, for a worldwide total of $65.9 million.


title: Life of the Party (2018 film)

text: In the United States and Canada, "Life of the Party" was released alongside "Breaking In", and was projected to gross $18–21 million from 3,656 theaters in its opening weekend. It made $4.9 million on its first day, including $700,000 from Thursday night previews, down from the $985,000 McCarthy's "The Boss" grossed in March 2016, and similar to the $650,000 grossed by "Snatched" on the Thursday before the same weekend the previous year. The film went on to debut to $17.9 million, and finished second behind "" ($62 million in its third week); 80% of its audience was over the age of 25, while 70% was female. It fell 57% in its second weekend, to $7.6 million, finishing fourth at the box office, and another 33% to $5.1 million in its third, finishing fifth.


title: Life of the Party (2018 film)

text: On review aggregation website Rotten Tomatoes, the film has an approval rating of based on reviews, and an average rating of . The site's critical consensus reads, ""Life of the Party"s good-natured humor and abundance of onscreen talent aren't enough to make up for jumbled direction and a script that misses far more often than it hits." On Metacritic, the film has a weighted average score of 46 out of 100, based on reviews from 32 critics, indicating "mixed or average reviews." Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, higher than the "C+" earned by McCarthy and Falcone's previous two film collaborations.


title: Life of the Party (2018 film)

text: Critic Jeff Giles called it "a frustratingly middling comedy that never really figures out what to do with all that talent and fails to produce consistent laughs." Matt Zoller-Seitz of RogerEbert.com gave the film two out of four stars, calling it "the latest Melissa McCarthy star vehicle that fails to do justice to the sheer awesomeness of its leading lady." Leigh Monson from Birth.MoviesDeath wrote, "One hundred minutes of self-indulgence and tedium, even if it's well-meaning in its intentions."


title: Life of the Party (2018 film)

text: In September 2020, Melissa McCarthy, Ben Falcone and the film's producers were sued for $10 million by Eva Kowalski, who claimed she pitched the concept for the film to the studio in 2014 and they breached an implied-in-fact contract by producing it without compensation.


title: Eastern Airlines, LLC

text: Eastern Airlines, LLC is an American airline founded in 2010. Eastern operates Boeing 767s and Boeing 777s. It began as Dynamic Airways and later added "International" to its name to reflect its transition from a charter airline into scheduled international services. Under the Dynamic name, the airline was headquartered in High Point, North Carolina, offering service from New York to South America. It used to operate from Fort Lauderdale, Chicago, Los Angeles and New York to the Caribbean, Cancún, and South America.


title: Eastern Airlines, LLC

text: Following a successful bankruptcy restructuring in April 2018, Dynamic International Airways obtained a license to use the Eastern intellectual property from Swift Air, and the leases of two aircraft from the 2015 Eastern Air Lines startup. Dynamic was rebranded as Eastern Airlines.


title: Eastern Airlines, LLC

text: Dynamic Airways was established by Dynamic Aviation in 2010, its first aircraft being a second-hand McDonnell Douglas MD-88 delivered a year before operations started in 2009. The airline officially started operations in early October 2010 after receiving its air operator's certificate.


title: Eastern Airlines, LLC

text: On November 2010, the airline started to operate for Direct Air. The company's first aircraft was re-painted in livery and leased to Direct Air.


title: Eastern Airlines, LLC

text: As the airline approached its second year of operations, the first Boeing 767-200 was delivered to the airline, followed by the approval for another MD-88 to take to the skies.


title: Eastern Airlines, LLC

text: Not long after the purchase of the second MD-88, Dynamic announced a three-year partnership flying for Hoda Air Services in South Korea. The deal, which included a MD-88 supported by a full crew, was the airline's first in Asia. The airline continued to expand when its first 767 entered service and the second was delivered, which was, according to the airline, available for ACMI wet lease, full charter and corporate shuttle programs for private and government organisations'.


title: Eastern Airlines, LLC

text: In March 2012, Direct Air temporarily suspended its operations and cancelled all charter flights, subsequently filing for bankruptcy. It ceased operations completely shortly after, having been found to have racked up millions in debts. The MD-88 was returned to Dynamic as a result. The third 767 was delivered to Dynamic on March 6. This 767 entered operations in early 2013.


title: Eastern Airlines, LLC

text: Dynamic operated a successful wet lease ACMI for an airline operation called EZjet. The wet lease operated regular flights from New York City to Georgetown utilizing a 767-200. This operation ceased in 2012, prompting Dynamic's move into regularly-scheduled services, starting with the resurrection of the New York to Georgetown route in June 2014, competing with Caribbean Airlines and Fly Jamaica Airways on that route, the latter two flying the route as a fifth-freedom service.


title: Eastern Airlines, LLC

text: In 2015, Dynamic also added services from Fort Lauderdale, flying to both Caracas and Rio de Janeiro. In 2016, Dynamic added new routes from New York to the Caribbean and Latin America, commencing service to Caracas (filling a void left after American Airlines canceled that same route) Cancún, and Punta Cana, and entered both the Chicago and Los Angeles markets, with service from Chicago to both Punta Cana and Cancún, and from Los Angeles to Cancún and San Juan, although the latter was later withdrawn prior to launch. By August 2016, however, all of the new routes except for the New York to Caracas route had been cancelled, as well as the Fort Lauderdale to Caracas service. Soon after those cancellations, Mexican low-cost carrier Interjet began operating some of the canceled routes to and from Cancún.


title: Eastern Airlines, LLC

text: After summer of 2017, Dynamic withdrew from scheduled services and re-focused as an ACMI operator. In November 2017, Dynamic and its affiliated airline Swift Air went bankrupt.


title: Eastern Airlines, LLC

text: Dynamic exited bankruptcy, and with the rights held by Swift Air, renamed itself as "Eastern Airlines" in April 2018. The company adopted plans similar to the prior Eastern Air Lines Group. The airline's viability was to be based on route selection, mostly secondary locations in South America and China. But while the destinations were under-served, there may not have been enough demand to be profitable. The company applied for four non-stop routes, three of them international, from its proposed JFK New York hub. It assembled a fleet of eight Boeing 767s and used them to furnish charter services in North American and Europe. With the Boeing 737 MAX groundings, Eastern provided charters for Sunwing Airlines.


title: Eastern Airlines, LLC

text: On September 1, 2019, the company moved into its new Systems Operations Control center in Wayne, Pennsylvania. At the end of the month, Eastern joined the British Civil Aviation Authority in the largest-ever peacetime repatriation of British citizens after the , operating flights to bring stranded overseas holidaymakers back to the UK.


title: Eastern Airlines, LLC

text: On January 12, 2020, Eastern Airlines completed its inaugural flight to New York from Guayaquil, Ecuador. By May 2020, Eastern planned to purchase several Boeing 767s, with at least five used 777-200s. On September 1, 2021, Eastern Airlines announced the creation of a new cargo subsidiary name "Eastern Air Cargo" and the addition of 35 Boeing 777 preighters to their fleet.


title: Eastern Airlines, LLC

text: After a successful bankruptcy restructuring in 2017, Dynamic Airways is now owned by Olga Alauof (70%) and Woolley (30%)


title: Seconds Out

text: Seconds Out is the second live album by English progressive rock band Genesis. It was released as a double album on 14 October 1977 on Charisma Records and was their last to feature guitarist Steve Hackett prior to his departure. The majority was recorded in June 1977 at the Palais des Sports in Paris during the Wind & Wuthering Tour. One track, "The Cinema Show", was recorded the previous year at the Pavillon de Paris during their A Trick of the Tail Tour.


title: Seconds Out

text: "Seconds Out" received average to positive reviews upon its release, and reached No. 4 in the UK and No. 47 in the US. Its release coincided with the departure of guitarist Steve Hackett who left the group during the album's mixing stages, thus reducing Genesis to the core trio of keyboardist Tony Banks, guitarist/bassist Mike Rutherford, and drummer and singer Phil Collins who recorded "...And Then There Were Three..." by this time. "Seconds Out" has been reissued for CD in 1994 and 2009, the latter as part of the "Genesis Live 1973–2007" box set.


title: Seconds Out

text: In July 1977, the Genesis line-up of lead singer and drummer Phil Collins, keyboardist Tony Banks, bassist Mike Rutherford, guitarist Steve Hackett, and touring drummer Chester Thompson finished a seven-month tour supporting "Wind & Wuthering" (1976). For their next step, the group began the process of selecting live recordings from the 1977 tour for an official release, becoming their second live album —-the first being "Genesis Live" (1973).


title: Seconds Out

text: "Seconds Out" is compiled mostly from the band's four dates at the Palais des Sports in Paris between 11–14 June 1977. The shows were recorded and broadcast in part by French radio station RTL. One track, "The Cinema Show", was recorded at the Pavillon de Paris on 23 June 1976 during the 1976 tour supporting "A Trick of the Tail" (1976). This features Bill Bruford on drums. "I Know What I Like" contains a snippet of the 1953 song "I Love Paris".


title: Seconds Out

text: The album's credits include details of which drummer(s) are playing on each song. Mixed in with these credits are the notes "Robbery Assault & Battery – keyboard solo Phil" and "Cinema Show – Bill Bruford, Phil keyboard solo". This should be read to mean that Collins played the drum kit (along with Thompson or Bruford) during that solo, not that Collins played keyboards.


title: Seconds Out

text: When "Seconds Out" was announced in the press on 8 October 1977, the news coincided with Hackett's departure from Genesis. He had announced his decision to the group two months earlier while cuts for the album were selected and mixed. Collins recalled spotting Hackett on the street while on his way to the studio and offered him a lift, but Hackett declined. Collins found out from Banks and Rutherford that Hackett had quit. Hackett later said that if he had got in the car, Collins would have been the one person to make him reconsider.


title: Seconds Out

text: On the 1990 documentary video "Genesis – A History", Banks joked that Hackett was mixed out of "Seconds Out" as a result. Although Hackett's guitar is audible, it lacks the volume of previous albums or rough soundboard mix bootlegs from the 1977 tour.


title: Seconds Out

text: "Seconds Out" was released on 14 October 1977. Charisma Records organised an extensive promotional campaign for the album that included double page spreads in newspapers, window displays, colour posters, and commercials on national radio. In the US, the album was released by Atlantic Records. It peaked at No. 4 on the UK Albums Chart and No. 47 on the US "Billboard" 200.


title: Seconds Out

text: Hugh Fielder of "Sounds" gave the album five stars out of five. "Melody Maker" reporter Chris Welch, with assistance from Bob Gallagher, also praised the album. "Rolling Stone" praised the contemporary incarnation of the band, noting they had "less reliance on theatrics" than before Peter Gabriel's departure, "and an added dollop of jazz-rock inclinations."


title: Seconds Out

text: In their retrospective review, AllMusic wrote that Genesis's renderings of songs from "A Trick of the Tail" and "Wind & Wuthering" surpass the studio recordings, with "superb vocals by Collins throughout," and drumming by Chester Thompson, which they described as "at least a match for Collins' best playing." They considered the tracks from earlier albums to be weaker, however, finding Collins "...can't match the subtlety or expressiveness of Gabriel's singing, though he comes close."


title: Seconds Out

text: Foo Fighters drummer Taylor Hawkins has described "Seconds Out" as "one of my drum bibles" and "one of my favorite-sounding drum records too."


title: Seconds Out

text: In 1994, a digitally remastered version was released on CD by Virgin Records in Europe and by Atlantic Records in the US. "Seconds Out" was reissued with new stereo and 5.1 surround sound mixes completed by Nick Davis and released as part of the "Genesis Live 1973–2007" box set in September 2009. On the original LP, "Dance on a Volcano" and "Los Endos" are banded as one track. This error was corrected on the box set. In November 2012, a 35th anniversary LP was pressed using the 2009 remaster.


title: Seconds Out

text: All songs written by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford, except where noted.


title: The Open House

text: The Open House is a 2018 American horror film written and directed by Matt Angel and Suzanne Coote. The film stars Dylan Minnette, Piercey Dalton, Sharif Atkins, Patricia Bethune, and Aaron Abrams. The film was released on Netflix on January 19, 2018.


title: The Open House

text: A suburban father is killed after being hit by a car. Unemployed and financially unable to support herself and her teenage son Logan, his wife Naomi agrees to move into her sister's secluded mountain chalet until it sells. Upon moving into the beautiful home, Naomi and Logan encounter their elderly neighbor, Martha, who behaves strangely, and Chris, a pleasant store clerk.


title: The Open House

text: During the open house days on Sunday, Naomi and Logan are required to leave the property at breakfast and return after 5 p.m. A series of strange occurrences begin. Objects are moved or disappear, the house phone rings but nobody speaks, the pilot to the hot water tank repeatedly gets shut off, and there are unexplained noises. One night, Logan sees a car idling in the driveway. Outside, he finds Martha, who behaves erratically. Martha later alludes to her deceased husband being alive despite previously claiming her husband was dead.


title: The Open House

text: A repairman is called to inspect the faulty hot water tank. He reveals that Martha's husband really did die and Martha has Alzheimer's, leading to her confusion. Naomi is crushed when she finds a family photo crumpled up in the trash, and the repairman finds Logan's missing phone near the water heater, leading Naomi to believe that Logan has been messing with her. The two have a heated argument and he denies messing with her or destroying the photo. That night, it is revealed that there is someone else lurking in the home. One day, Naomi and Logan find that their home has been broken into and someone has set up a candlelit dinner on the table, but the police find nothing. Unable to afford a hotel, mother and son are forced to remain in the house.


title: The Open House

text: Logan contacts Chris, who agrees to spend the night on the couch. In the middle of the night, Chris goes missing, and Logan finds him with his throat slashed in his car. An unidentified man knocks Logan unconscious, pours water over him and leaves him to the harsh winter elements while he goes after Naomi. Naomi is horrified to discover photos of her, and Logan, sleeping in their beds. She is then attacked, bound and tortured. Logan wakes and finds that all phones have had their SIM cards removed and snapped when he attempts to call 911 for help. He rushes to help his mother, but mistakes her for the intruder and stabs her. Naomi tells him to run before collapsing. The intruder easily overpowers Logan and removes his contact lenses, leaving Logan unable to see clearly.


title: The Open House

text: Logan escapes into the woods and hides. He survives the freezing elements until morning. Succumbing to hypothermia, he drags himself to a stream. The intruder reveals himself, grabs Logan as he struggles and screams, and strangles him to death. As we see his lifeless body by the stream, the unidentified man drives towards the next open house event.


title: The Open House

text: The film holds an approval rating of on Rotten Tomatoes based on reviews and has an average rating of .


title: Golden goal

text: The golden goal or golden point is a rule used in association football, lacrosse, field hockey, and ice hockey to decide the winner of a match (typically a knock-out match) in which scores are equal at the end of normal time. It is a type of sudden death. Under this rule, the game ends when a goal or point is scored; the team that scores that goal or point during extra time is the winner. Introduced formally in 1993, though with some history before that, the rule ceased to apply to most FIFA-authorized football games in 2004. The similar silver goal supplemented the golden goal between 2002 and 2004.


title: Golden goal

text: The golden goal used to be played in NCAA matches up to 2021 but is still used in FIH sanctioned field hockey games. A related concept, the golden point, is used in National Rugby League games. A similar golden goal rule is also used in all National Hockey League (NHL) overtime games (followed by a shootout if needed, in the regular season and preseason); however, the term "golden goal" is not used. A rule similar to the golden goal also applies in the National Football League (only if a touchdown or safety is scored, or any score on any possession after the first possession), although again the term itself is not used.


title: Golden goal

text: The rules of the first known organized inter-club tournament in any code of football, the Youdan Cup of 1867, featured a sudden-death rule. If scores were tied after 90 minutes, up to an hour of extra time was played, with the first team to score a goal or rouge being declared the winner. This rule came into effect in the second round tie between Norfolk FC and Broomhall FC played on 23 February 1867, when Norfolk scored a goal after two minutes of extra time to win the match, 1–0.


title: Golden goal

text: A similar rule was used the following year in the Cromwell Cup, which like the Youdan Cup was played under Sheffield Rules. In the final of this competition, played at Bramall Lane, Sheffield in 1868, the deciding goal was scored by the then newly formed team called The Wednesday, now known as Sheffield Wednesday.


title: Golden goal

text: The golden goal was introduced due to perceived failings of other means of resolving a draw (tie) in round-robin or knock-out tournaments where a winner is required. In particular, extra time periods can be tense and unentertaining as sides are too tired and nervous to attack, preferring to defend and play for penalties; whilst penalty shootouts are often described as based upon luck, and unrepresentative of football. FIFA introduced the golden goal rule in 1993. It was hoped that the golden goal would produce more attacking play during extra time, and would reduce the number of penalty shootouts.


title: Golden goal

text: Although the golden goal format was used in North American professional association football leagues as early as the 1970s, the term "golden goal" was introduced by FIFA in 1993 along with the rule change because the alternative term, "sudden death", was perceived to have negative connotations. In a knockout competition, following a draw, two fifteen-minute periods of extra time are played. If either team scores a goal during extra time, the game ends immediately and the scoring team becomes the winner. The winning goal is known as the "golden goal". If there have been no goals scored after both periods of extra time, a penalty shoot-out decides the game. The golden goal was not compulsory, and individual competitions using extra time could choose whether to apply it during extra time. The first European Championship played with the rule was in 1996, as was the first MLS Cup that year; the first World Cup played with the rule was in 1998.


title: Golden goal

text: The first golden goal recorded was on 13 March 1993 by Australia against Uruguay in a quarter-final match of the World Youth Championship. The first major tournament final to be decided by such a goal was the 1995 Football League Trophy, where Birmingham City beat Carlisle United 1–0, with a goal from Paul Tait, followed by the 1996 European Championship final, won by Germany over the Czech Republic. The golden goal in this final was scored by Oliver Bierhoff. In MLS Cup 1996, Eddie Pope scored 3:25 into extra time as D.C. United beat the LA Galaxy 3–2. The first golden goal in World Cup history took place in 1998, as Laurent Blanc scored to enable France to defeat Paraguay in the Round of 16.


title: Golden goal

text: In a qualification game for the 1994 Caribbean Cup, Barbados deliberately scored a late own goal in a successful attempt to qualify for the finals by forcing golden-goal extra time against Grenada, as an unusual tournament rule stated that golden goals counted double in calculating goal difference. Needing a two-goal victory to qualify, Barbados found themselves 2–1 up with three minutes left of normal time. After the Barbadians scored an own goal to bring the scoreline level at 2–2, Grenada tried to score in either net while Barbados defended both goals for the final three minutes of normal time. Barbados won the game in extra time and advanced to the next round.


title: Golden goal

text: In 2000, France defeated Italy in extra time in the 2000 European Championship final when David Trezeguet scored a golden goal. France thus became the first holder of both the FIFA World Cup and UEFA European Championship since West Germany in 1974.


title: Golden goal

text: The following year, Liverpool overcame Deportivo Alavés in the UEFA Cup Final with a golden own goal by Delfí Geli to make the score 5–4 to Liverpool.


title: Golden goal

text: The golden goal was used in the FIFA World Cup for the last time in 2002, when Turkey defeated Senegal in the quarter finals when İlhan Mansız scored what would be the final golden goal in male tournaments. However, the 2003 Women's World Cup final was decided by a golden goal as Germany defeated Sweden 2–1 with a header by Nia Künzer in the 98th minute. It was the last golden goal in FIFA Women's World Cup history.


title: Golden goal

text: For the 2002–2003 season, UEFA introduced a new rule, the silver goal, to decide a competitive match. If a team leads after the first fifteen-minute half of extra time, it is the winner, but the game no longer ends the instant a team scores. Competitions that operated extra time would be able to decide whether to use the golden goal, the silver goal, or neither procedure.


title: Golden goal

text: On 27 August 2003, Dutch club Ajax qualified for the group stage of the 2003–04 UEFA Champions League by virtue of the silver goal against Austrian club GAK after the two legs finished 1–1 each after 90 minutes. In extra time, Ajax was able to take advantage of GAK having two players sent off when Tomáš Galásek scored from a penalty in the 103rd minute.


title: Golden goal

text: Less than a year later on 1 July 2004, Galásek would be on the field when the silver goal was featured in the only major competitive match to be decided by a silver goal: that of the semi-final match at Euro 2004 between Greece and the Czech Republic. However, the silver goal would eliminate the Czech Republic as Traianos Dellas scored for Greece after a corner kick in the last two seconds of the first period of extra time. As well as being the only silver goal ever seen in an international match, it was also the only goal Dellas ever scored in his international career.


title: Golden goal

text: Although both the golden goal and silver goal had their fans, both were also widely perceived as failed experiments. The golden goal in particular had not brought about more active and attacking play as originally intended and instead led to more cautious play along with furious angry reactions from a lot of players on the losing side, while there was also confusion about when events could choose among several different extra time rules.


title: Golden goal

text: In February 2004, the IFAB announced that, after Euro 2004, both the golden goal and silver goal methods would be removed from the Laws of the Game. Since the 2006 FIFA World Cup in Germany, the golden goal has never been used in the event of a drawn match during the knockout stage, as FIFA restored the original rules: in the event of a drawn game after the original 90 minutes, two straight 15-minute periods of extra time are played. If scores remain level, the winner is decided by a penalty shoot-out.


title: Golden goal

text: The golden goal rule has not been used in NCAA soccer since 2022, and uses the FIFA overtime procedure as above. The championship games of the 1995, 1996, 2002, and 2013 women's tournaments were decided by a golden goal; this situation also happened in the men's tournament in 2017 and 2020.


title: Golden goal

text: International field hockey tournaments such as the Hockey World Cup and Champions Trophy had used golden goals to decide the winners of elimination matches. During these matches, two extra periods of minutes each were played, and if no golden goals were scored after both periods of extra time, a penalty stroke competition decided the game. FIH, the sport's governing body, did away with the overtime procedure in 2013, and now teams go directly to the shootout.


title: Golden goal

text: The golden goal rule comes into use at the end of regulation of every National Hockey League game where the score is tied. In the regular season, five minutes of three-on-three sudden-death overtime are played, with the first goal winning the game. If, however, neither team scores after this period, a shootout determines the winner. In playoff games, shootouts are not used; 20-minute periods of five-on-five hockey are played until a goal is scored to end the game. This has resulted in extremely long contests, such as the "Easter Epic"; a playoff series-deciding match which ended in the midst of its fourth overtime. The term "golden goal" is not a commonly used term in hockey, rather the winning goal is known as an "overtime winner" or "overtime goal," while the format is known as "sudden death."


title: Golden goal

text: The Winter Olympics ice hockey tournament used the golden goal rule only in the gold medal game, with a 20-minute period of 5-on-5. The game ended if a goal is scored; otherwise, a penalty shootout determined the winner. This method was used to determine the 2010 men's final, where Sidney Crosby scored the game-winning goal 7:40 into overtime. As that goal won Canada the Gold Medal, it has become known as "The Golden Goal." Another happened at the 2014 women's final, as Marie-Philip Poulin scored at 8:10 of overtime for Canada. In both instances, the team they beat was the United States. The two teams met in the rematch four years later, and lasted the whole 20-minute overtime without a goal before the United States prevailed in a shootout for their first gold in 20 years. Jocelyne Lamoureux scored in the sixth round of the shootout while Meghan Agosta failed. Kirill Kaprizov scored at 9:40 of overtime as the Russian Olympic Committee beat Germany in the 2018 men's final. Since 2022, the overtime procedure changed to multiple 20-minute periods of 3-on-3, until one team scores, and applies to both genders.


title: Golden goal

text: A "Golden point" system, whereby a rugby league game whose 80 minutes have ended in a draw is decided by whichever team scores the first point (by whatever means) during a period of extra time is the winner. It was first used in 1997's Super League Tri-series.


title: Golden goal

text: Prior to a rule change in 2016, the Australian Football League (AFL) replayed the entire AFL Grand Final if the game was tied at the end of regular time. This was known as a grand final replay and occurred three times in the AFL (1948, 1977, 2010). Because of the inconvenience of this, from the 2016 AFL season onwards drawn grand finals are now resolved with two five-minute periods of extra time; if the scores are still tied at the end of the extra time period, play continues until the next score.


title: Interlaced video

text: Interlaced video (also known as interlaced scan) is a technique for doubling the perceived frame rate of a video display without consuming extra bandwidth. The interlaced signal contains two fields of a video frame captured consecutively. This enhances motion perception to the viewer, and reduces flicker by taking advantage of the phi phenomenon.


title: Interlaced video

text: This effectively doubles the time resolution (also called "temporal resolution") as compared to non-interlaced footage (for frame rates equal to field rates). Interlaced signals require a display that is natively capable of showing the individual fields in a sequential order. CRT displays and ALiS plasma displays are made for displaying interlaced signals.


title: Interlaced video

text: Interlaced scan refers to one of two common methods for "painting" a video image on an electronic display screen (the other being progressive scan) by scanning or displaying each line or row of pixels. This technique uses two fields to create a frame. One field contains all odd-numbered lines in the image; the other contains all even-numbered lines.


title: Interlaced video

text: A Phase Alternating Line (PAL)-based television set display, for example, scans 50 "fields" every second (25 odd and 25 even). The two sets of 25 fields work together to create a full "frame" every 1/25 of a second (or 25 frames per second), but with interlacing create a new half frame every 1/50 of a second (or 50 fields per second). To display interlaced video on progressive scan displays, playback applies deinterlacing to the video signal (which adds input lag).


title: Interlaced video

text: The European Broadcasting Union has argued against interlaced video in production and broadcasting. They recommend 720p 50 fps (frames per second) for the current production format—and are working with the industry to introduce 1080p 50 as a future-proof production standard. 1080p 50 offers higher vertical resolution, better quality at lower bitrates, and easier conversion to other formats, such as 720p 50 and 1080i 50. The main argument is that no matter how complex the deinterlacing algorithm may be, the artifacts in the interlaced signal cannot be completely eliminated because some information is lost between frames.


title: Interlaced video

text: Despite arguments against it, television standards organizations continue to support interlacing. It is still included in digital video transmission formats such as DV, DVB, and ATSC. New video compression standards like High Efficiency Video Coding are optimized for progressive scan video, but sometimes do support interlaced video.


title: Interlaced video

text: Progressive scan captures, transmits, and displays an image in a path similar to text on a page—line by line, top to bottom.


title: Interlaced video

text: The interlaced scan pattern in a standard definition CRT display also completes such a scan, but in two passes (two fields). The first pass displays the first and all odd numbered lines, from the top left corner to the bottom right corner. The second pass displays the second and all even numbered lines, filling in the gaps in the first scan.


title: Interlaced video

text: This scan of alternate lines is called "interlacing". A "field" is an image that contains only half of the lines needed to make a complete picture. Persistence of vision makes the eye perceive the two fields as a continuous image. In the days of CRT displays, the afterglow of the display's phosphor aided this effect.


title: Interlaced video

text: Interlacing provides full vertical detail with the same bandwidth that would be required for a full progressive scan, but with twice the perceived frame rate and refresh rate. To prevent flicker, all analog broadcast television systems used interlacing.


title: Interlaced video

text: Format identifiers like 576i50 and 720p50 specify the frame rate for progressive scan formats, but for interlaced formats they typically specify the field rate (which is twice the frame rate). This can lead to confusion, because industry-standard SMPTE timecode formats always deal with frame rate, not field rate. To avoid confusion, SMPTE and EBU always use frame rate to specify interlaced formats, e.g., 480i60 is 480i/30, 576i50 is 576i/25, and 1080i50 is 1080i/25. This convention assumes that one complete frame in an interlaced signal consists of two fields in sequence.


title: Interlaced video

text: One of the most important factors in analog television is signal bandwidth, measured in megahertz. The greater the bandwidth, the more expensive and complex the entire production and broadcasting chain. This includes cameras, storage systems, broadcast systems—and reception systems: terrestrial, cable, satellite, Internet, and end-user displays (TVs and computer monitors).


title: Interlaced video

text: For a fixed bandwidth, interlace provides a video signal with twice the display refresh rate for a given line count (versus progressive scan video at a similar frame rate—for instance 1080i at 60 half-frames per second, vs. 1080p at 30 full frames per second). The higher refresh rate improves the appearance of an object in motion, because it updates its position on the display more often, and when an object is stationary, human vision combines information from multiple similar half-frames to produce the same perceived resolution as that provided by a progressive full frame. This technique is only useful, though, if source material is available in higher refresh rates. Cinema movies are typically recorded at 24fps, and therefore don't benefit from interlacing, a solution which reduces the maximum video bandwidth to 5 MHz without reducing the effective picture scan rate of 60 Hz.


title: Interlaced video

text: Given a fixed bandwidth and high refresh rate, interlaced video can also provide a higher spatial resolution than progressive scan. For instance, 1920×1080 pixel resolution interlaced HDTV with a 60 Hz field rate (known as 1080i60 or 1080i/30) has a similar bandwidth to 1280×720 pixel progressive scan HDTV with a 60 Hz frame rate (720p60 or 720p/60), but achieves approximately twice the spatial resolution for low-motion scenes.


title: Interlaced video

text: However, bandwidth benefits only apply to an analog or "uncompressed" digital video signal. With digital video compression, as used in all current digital TV standards, interlacing introduces additional inefficiencies. EBU has performed tests that show that the bandwidth savings of interlaced video over progressive video is minimal, even with twice the frame rate. I.e., 1080p50 signal produces roughly the same bit rate as 1080i50 (aka 1080i/25) signal, and 1080p50 actually requires less bandwidth to be perceived as subjectively better than its 1080i/25 (1080i50) equivalent when encoding a "sports-type" scene.


title: Interlaced video

text: Interlacing can be exploited to produce 3D TV programming, especially with a CRT display and especially for color filtered glasses by transmitting the color keyed picture for each eye in the alternating fields. This does not require significant alterations to existing equipment. Shutter glasses can be adopted as well, obviously with the requirement of achieving synchronisation. If a progressive scan display is used to view such programming, any attempt to deinterlace the picture will render the effect useless. For color filtered glasses the picture has to be either buffered and shown as if it was progressive with alternating color keyed lines, or each field has to be line-doubled and displayed as discrete frames. The latter procedure is the only way to suit shutter glasses on a progressive display.


title: Interlaced video

text: Interlaced video is designed to be captured, stored, transmitted, and displayed in the same interlaced format. Because each interlaced video frame is two fields captured at different moments in time, interlaced video frames can exhibit motion artifacts known as "interlacing effects", or "combing", if recorded objects move fast enough to be in different positions when each individual field is captured. These artifacts may be more visible when interlaced video is displayed at a slower speed than it was captured, or in still frames.


title: Interlaced video

text: While there are simple methods to produce somewhat satisfactory progressive frames from the interlaced image, for example by doubling the lines of one field and omitting the other (halving vertical resolution), or anti-aliasing the image in the vertical axis to hide some of the combing, there are sometimes methods of producing results far superior to these. If there is only sideways (X axis) motion between the two fields and this motion is even throughout the full frame, it is possible to align the scanlines and crop the left and right ends that exceed the frame area to produce a visually satisfactory image. Minor Y axis motion can be corrected similarly by aligning the scanlines in a different sequence and cropping the excess at the top and bottom. Often the middle of the picture is the most necessary area to put into check, and whether there is only X or Y axis alignment correction, or both are applied, most artifacts will occur towards the edges of the picture. However, even these simple procedures require motion tracking between the fields, and a rotating or tilting object, or one that moves in the Z axis (away from or towards the camera) will still produce combing, possibly even looking worse than if the fields were joined in a simpler method.


title: Interlaced video

text: Some deinterlacing processes can analyze each frame individually and decide the best method. The best and only perfect conversion in these cases is to treat each frame as a separate image, but that may not always be possible. For framerate conversions and zooming it would mostly be ideal to line-double each field to produce a double rate of progressive frames, resample the frames to the desired resolution and then re-scan the stream at the desired rate, either in progressive or interlaced mode.


title: Interlaced video

text: Interlace introduces a potential problem called interline twitter, a form of moiré. This aliasing effect only shows up under certain circumstances—when the subject contains vertical detail that approaches the horizontal resolution of the video format. For instance, a finely striped jacket on a news anchor may produce a shimmering effect. This is "twittering". Television professionals avoid wearing clothing with fine striped patterns for this reason. Professional video cameras or computer-generated imagery systems apply a low-pass filter to the vertical resolution of the signal to prevent interline twitter.


title: Interlaced video

text: Interline twitter is the primary reason that interlacing is less suited for computer displays. Each scanline on a high-resolution computer monitor typically displays discrete pixels, each of which does not span the scanline above or below. When the overall interlaced framerate is 60 frames per second, a pixel (or more critically for e.g. windowing systems or underlined text, a horizontal line) that spans only one scanline in height is visible for the 1/60 of a second that would be expected of a 60 Hz progressive display - but is then followed by 1/60 of a second of darkness (whilst the opposite field is scanned), reducing the per-line/per-pixel refresh rate to 30 frames per second with quite obvious flicker.


title: Interlaced video

text: To avoid this, standard interlaced television sets typically do not display sharp detail. When computer graphics appear on a standard television set, the screen is either treated as if it were half the resolution of what it actually is (or even lower), or rendered at full resolution and then subjected to a low-pass filter in the vertical direction (e.g. a "motion blur" type with a 1-pixel distance, which blends each line 50% with the next, maintaining a degree of the full positional resolution and preventing the obvious "blockiness" of simple line doubling whilst actually reducing flicker to less than what the simpler approach would achieve). If text is displayed, it is large enough so that any horizontal lines are at least two scanlines high. Most fonts for television programming have wide, fat strokes, and do not include fine-detail serifs that would make the twittering more visible; in addition, modern character generators apply a degree of anti-aliasing that has a similar line-spanning effect to the aforementioned full-frame low-pass filter.


title: Interlaced video

text: ALiS plasma panels and the old CRTs can display interlaced video directly, but modern computer video displays and TV sets are mostly based on LCD technology, which mostly use progressive scanning.


title: Interlaced video

text: Displaying interlaced video on a progressive scan display requires a process called deinterlacing. This is an imperfect technique, and generally lowers resolution and causes various artifacts—particularly in areas with objects in motion. Providing the best picture quality for interlaced video signals requires expensive and complex devices and algorithms. For television displays, deinterlacing systems are integrated into progressive scan TV sets that accept interlaced signal, such as broadcast SDTV signal.


title: Interlaced video

text: Most modern computer monitors do not support interlaced video, besides some legacy medium-resolution modes (and possibly 1080i as an adjunct to 1080p), and support for standard-definition video (480/576i or 240/288p) is particularly rare given its much lower line-scanning frequency vs typical "VGA"-or-higher analog computer video modes. Playing back interlaced video from a DVD, digital file or analog capture card on a computer display instead requires some form of deinterlacing in the player software and/or graphics hardware, which often uses very simple methods to deinterlace. This means that interlaced video often has visible artifacts on computer systems. Computer systems may be used to edit interlaced video, but the disparity between computer video display systems and interlaced television signal formats means that the video content being edited cannot be viewed properly without separate video display hardware.


title: Interlaced video

text: Current manufacture TV sets employ a system of intelligently extrapolating the extra information that would be present in a progressive signal entirely from an interlaced original. In theory: this should simply be a problem of applying the appropriate algorithms to the interlaced signal, as all information should be present in that signal. In practice, results are currently variable, and depend on the quality of the input signal and amount of processing power applied to the conversion. The biggest impediment, at present, is artifacts in the lower quality interlaced signals (generally broadcast video), as these are not consistent from field to field. On the other hand, high bit rate interlaced signals such as from HD camcorders operating in their highest bit rate mode work well.


title: Interlaced video

text: Deinterlacing algorithms temporarily store a few frames of interlaced images and then extrapolate extra frame data to make a smooth flicker-free image. This frame storage and processing results in a slight display lag that is visible in business showrooms with a large number of different models on display. Unlike the old unprocessed NTSC signal, the screens do not all follow motion in perfect synchrony. Some models appear to update slightly faster or slower than others. Similarly, the audio can have an echo effect due to different processing delays.


title: Interlaced video

text: When motion picture film was developed, the movie screen had to be illuminated at a high rate to prevent visible flicker. The exact rate necessary varies by brightness — 50 Hz is (barely) acceptable for small, low brightness displays in dimly lit rooms, whilst 80 Hz or more may be necessary for bright displays that extend into peripheral vision. The film solution was to project each frame of film three times using a three-bladed shutter: a movie shot at 16 frames per second illuminated the screen 48 times per second. Later, when sound film became available, the higher projection speed of 24 frames per second enabled a two-bladed shutter to produce 48 times per second illumination—but only in projectors incapable of projecting at the lower speed.


title: Interlaced video

text: This solution could not be used for television. To store a full video frame and display it twice requires a frame buffer—electronic memory (RAM)—sufficient to store a video frame. This method did not become feasible until the late 1980s and with digital technology. In addition, avoiding on-screen interference patterns caused by studio lighting and the limits of vacuum tube technology required that CRTs for TV be scanned at AC line frequency. (This was 60 Hz in the US, 50 Hz Europe.)


title: Interlaced video

text: In 1930, German Telefunken engineer Fritz Schröter first formulated and patented the concept of breaking a single video frame into interlaced lines. In the USA, RCA engineer Randall C. Ballard patented the same idea in 1932. Commercial implementation began in 1934 as cathode-ray tube screens became brighter, increasing the level of flicker caused by progressive (sequential) scanning.


title: Interlaced video

text: In 1936, when the UK was setting analog standards, early thermionic valve based CRT drive electronics could only scan at around 200 lines in 1/50 of a second (i.e. approximately a 10 kHz repetition rate for the sawtooth horizontal deflection waveform). Using interlace, a pair of 202.5-line fields could be superimposed to become a sharper 405 line frame (with around 377 used for the actual image, and yet fewer visible within the screen bezel; in modern parlance, the standard would be "377i"). The vertical scan frequency remained 50 Hz, but visible detail was noticeably improved. As a result, this system supplanted John Logie Baird's 240 line mechanical progressive scan system that was also being trialled at the time.


title: Interlaced video

text: From the 1940s onward, improvements in technology allowed the US and the rest of Europe to adopt systems using progressively higher line-scan frequencies and more radio signal bandwidth to produce higher line counts at the same frame rate, thus achieving better picture quality. However the fundamentals of interlaced scanning were at the heart of all of these systems. The US adopted the 525 line system, later incorporating the composite color standard known as NTSC, Europe adopted the 625 line system, and the UK switched from its idiosyncratic 405 line system to (the much more US-like) 625 to avoid having to develop a (wholly) unique method of color TV. France switched from its similarly unique 819 line monochrome system to the more European standard of 625. Europe in general, including the UK, then adopted the PAL color encoding standard, which was essentially based on NTSC, but inverted the color carrier phase with each line (and frame) in order to cancel out the hue-distorting phase shifts that dogged NTSC broadcasts. France instead adopted its own unique, twin-FM-carrier based SECAM system, which offered improved quality at the cost of greater electronic complexity, and was also used by some other countries, notably Russia and its satellite states. Though the color standards are often used as synonyms for the underlying video standard - NTSC for 525i/60, PAL/SECAM for 625i/50 - there are several cases of inversions or other modifications; e.g. PAL color is used on otherwise "NTSC" (that is, 525i/60) broadcasts in Brazil, as well as vice versa elsewhere, along with cases of PAL bandwidth being squeezed to 3.58 MHz to fit in the broadcast waveband allocation of NTSC, or NTSC being expanded to take up PAL's 4.43 MHz.


title: Interlaced video

text: Interlacing was ubiquitous in displays until the 1970s, when the needs of computer monitors resulted in the reintroduction of progressive scan, including on regular TVs or simple monitors based on the same circuitry; most CRT based displays are entirely capable of displaying both progressive and interlace regardless of their original intended use, so long as the horizontal and vertical frequencies match, as the technical difference is simply that of either starting/ending the vertical sync cycle halfway along a scanline every other frame (interlace), or always synchronising right at the start/end of a line (progressive). Interlace is still used for most standard definition TVs, and the 1080i HDTV broadcast standard, but not for LCD, micromirror (DLP), or most plasma displays; these displays do not use a raster scan to create an image (their panels may still be updated in a left-to-right, top-to-bottom scanning fashion, but always in a progressive fashion, and not necessarily at the same rate as the input signal), and so cannot benefit from interlacing (where older LCDs use a "dual scan" system to provide higher resolution with slower-updating technology, the panel is instead divided into two "adjacent" halves that are updated "simultaneously"): in practice, they have to be driven with a progressive scan signal. The deinterlacing circuitry to get progressive scan from a normal interlaced broadcast television signal can add to the cost of a television set using such displays. Currently, progressive displays dominate the HDTV market.


title: Interlaced video

text: In the 1970s, computers and home video game systems began using TV sets as display devices. At that point, a 480-line NTSC signal was well beyond the graphics abilities of low cost computers, so these systems used a simplified video signal that made each video field scan directly on top of the previous one, rather than each line between two lines of the previous field, along with relatively low horizontal pixel counts. This marked the return of progressive scanning not seen since the 1920s. Since each field became a complete frame on its own, modern terminology would call this 240p on NTSC sets, and 288p on PAL. While consumer devices were permitted to create such signals, broadcast regulations prohibited TV stations from transmitting video like this. Computer monitor standards such as the TTL-RGB mode available on the CGA and e.g. BBC Micro were further simplifications to NTSC, which improved picture quality by omitting modulation of color, and allowing a more direct connection between the computer's graphics system and the CRT.


title: Interlaced video

text: By the mid-1980s, computers had outgrown these video systems and needed better displays. Most home and basic office computers suffered from the use of the old scanning method, with the highest display resolution being around 640x200 (or sometimes 640x256 in 625-line/50 Hz regions), resulting in a severely distorted tall narrow pixel shape, making the display of high resolution text alongside realistic proportioned images difficult (logical "square pixel" modes were possible but only at low resolutions of 320x200 or less). Solutions from various companies varied widely. Because PC monitor signals did not need to be broadcast, they could consume far more than the 6, 7 and 8 MHz of bandwidth that NTSC and PAL signals were confined to. IBM's Monochrome Display Adapter and Enhanced Graphics Adapter as well as the Hercules Graphics Card and the original Macintosh computer generated video signals of 342 to 350p, at 50 to 60 Hz, with approximately 16 MHz of bandwidth, some enhanced PC clones such as the AT&T 6300 (aka Olivetti M24) as well as computers made for the Japanese home market managed 400p instead at around 24 MHz, and the Atari ST pushed that to 71 Hz with 32 MHz bandwidth - all of which required dedicated high-frequency (and usually single-mode, i.e. not "video"-compatible) monitors due to their increased line rates. The Commodore Amiga instead created a true interlaced 480i60/576i50 RGB signal at broadcast video rates (and with a 7 or 14 MHz bandwidth), suitable for NTSC/PAL encoding (where it was smoothly decimated to 3.5~4.5 MHz). This ability (plus built-in genlocking) resulted in the Amiga dominating the video production field until the mid-1990s, but the interlaced display mode caused flicker problems for more traditional PC applications where single-pixel detail is required, with "flicker-fixer" scan-doubler peripherals plus high-frequency RGB monitors (or Commodore's own specialist scan-conversion A2024 monitor) being popular, if expensive, purchases amongst power users. 1987 saw the introduction of VGA, on which PCs soon standardized, as well as Apple's Macintosh II range which offered displays of similar, then superior resolution and color depth, with rivalry between the two standards (and later PC quasi-standards such as XGA and SVGA) rapidly pushing up the quality of display available to both professional and home users.


title: Interlaced video

text: In the late 1980s and early 1990s, monitor and graphics card manufacturers introduced newer high resolution standards that once again included interlace. These monitors ran at higher scanning frequencies, typically allowing a 75 to 90 Hz field rate (i.e. 37.5 to 45 Hz frame rate), and tended to use longer-persistence phosphors in their CRTs, all of which was intended to alleviate flicker and shimmer problems. Such monitors proved generally unpopular, outside of specialist ultra-high-resolution applications such as CAD and DTP which demanded as many pixels as possible, with interlace being a necessary evil and better than trying to use the progressive-scan equivalents. Whilst flicker was often not immediately obvious on these displays, eyestrain and lack of focus nevertheless became a serious problem, and the trade-off for a longer afterglow was reduced brightness and poor response to moving images, leaving visible and often off-colored trails behind. These colored trails were a minor annoyance for monochrome displays, and the generally slower-updating screens used for design or database-query purposes, but much more troublesome for color displays and the faster motions inherent in the increasingly popular window-based operating systems, as well as the full-screen scrolling in WYSIWYG word-processors, spreadsheets, and of course for high-action games. Additionally, the regular, thin horizontal lines common to early GUIs, combined with low color depth that meant window elements were generally high-contrast (indeed, frequently stark black-and-white), made shimmer even more obvious than with otherwise lower fieldrate video applications. As rapid technological advancement made it practical and affordable, barely a decade after the first ultra-high-resolution interlaced upgrades appeared for the IBM PC, to provide sufficiently high pixel clocks and horizontal scan rates for hi-rez progressive-scan modes in first professional and then consumer-grade displays, the practice was soon abandoned. For the rest of the 1990s, monitors and graphics cards instead made great play of their highest stated resolutions being "non-interlaced", even where the overall framerate was barely any higher than what it had been for the interlaced modes (e.g. SVGA at 56p versus 43i to 47i), and usually including a top mode technically exceeding the CRT's actual resolution (number of color-phosphor triads) which meant there was no additional image clarity to be gained through interlacing and/or increasing the signal bandwidth still further. This experience is why the PC industry today remains against interlace in HDTV, and lobbied for the 720p standard, and continues to push for the adoption of 1080p (at 60 Hz for NTSC legacy countries, and 50 Hz for PAL); however, 1080i remains the most common HD broadcast resolution, if only for reasons of backward compatibility with older HDTV hardware that cannot support 1080p - and sometimes not even 720p - without the addition of an external scaler, similar to how and why most SD-focussed digital broadcasting still relies on the otherwise obsolete MPEG2 standard embedded into e.g. DVB-T.


title: House of Nassau

text: The House of Nassau is a diversified aristocratic dynasty in Europe. It is named after the lordship associated with Nassau Castle, located in present-day Nassau, Rhineland-Palatinate, Germany. The lords of Nassau were originally titled "Count of Nassau", then elevated to the princely class as "Princely Counts". Early on they divided into two main branches: the elder (Walramian) branch, that gave rise to the German king Adolf, and the younger (Ottonian) branch, that gave rise to the Princes of Orange and the monarchs of the Netherlands.


title: House of Nassau

text: At the end of the Holy Roman Empire and the Napoleonic Wars, the Walramian branch had inherited or acquired all the Nassau ancestral lands and proclaimed themselves, with the permission of the Congress of Vienna, the "Dukes of Nassau", forming the independent state of Nassau with its capital at Wiesbaden; this territory today mainly lies in the German Federal State of Hesse, and partially in the neighbouring State of Rhineland-Palatinate. The Duchy was annexed in 1866 after the Austrian-Prussian War as an ally of Austria by Prussia. It was subsequently incorporated into the newly created Prussian Province of Hesse-Nassau.


title: House of Nassau

text: Today, the term Nassau is used in Germany as a name for a geographical, historical and cultural region, but no longer has any political meaning. All Dutch and Luxembourgish monarchs since 1815 have been senior members of the House of Nassau. However, in 1890 in the Netherlands and in 1912 in Luxembourg, the male lines of heirs to the two thrones became extinct, so that since then, they have descended in the female line from the House of Nassau.


title: House of Nassau

text: According to German tradition, the family name is passed on only in the male line of succession. The House would therefore, from this German perspective, have been extinct since 1985. However, both Dutch and Luxembourgish monarchial traditions, constitutional rules and legislation in that matter differ from the German tradition, and thus neither country considers the House extinct. The Grand Duke of Luxembourg uses "Duke of Nassau" as his secondary title and a title of pretense to the dignity of Chief of the House of Nassau (being the most senior member of the eldest branch of the House), but not to lay any territorial claims to the former Duchy of Nassau which is now part of the Federal Republic of Germany.


title: House of Nassau

text: The area that came to be the county of Nassau was part of the Duchy of Franconia. When Franconia fragmented in the early 13th century with the fall of the Hohenstaufen, Nassau emerged as an independent state as part of the Holy Roman Empire.


title: House of Nassau

text: Count Dudo-Henry of Laurenburg (ca. 1060 – ca. 1123) (; ) is considered the founder of the House of Nassau. Dudo was a son of Rupert (German: "Ruprecht"), the Archbishop of Mainz's Vogt in Siegerland. Dudo was himself lord or Vogt of Lipporn and Miehlen and owned large parts of the lands of Lipporn/Laurenburg. There are more persons known who, as owners of the lands of Lipporn/Laurenburg (and thus the predecessors of Dudo), probably also were his ancestors. The first is a certain Drutwin mentioned in 881 as a landowner in Prüm, and who is the oldest known possible ancestor of the House of Nassau.


title: House of Nassau

text: Dudo is mentioned as "Tuto de Lurinburg" between 1093 and 1117. Dudo built the castle of Laurenburg on the Lahn a few kilometers upriver from Nassau around 1090 as the seat of his lordship. He is first mentioned in a document in the purported founding-charter of Maria Laach Abbey in 1093 (although many historians consider the document to be fabricated). In 1159, Nassau Castle became the ruling seat, and the house is now named after this castle. In a charter dated 1134 (after his death) he is mentioned as Count of Laurenburg.


title: House of Nassau

text: In 1117, Dudo donated land to Schaffhausen Abbey for construction of a monastery in Lipporn. Around 1117, Dudo, Count of Laurenburg founded at Lipporn a Benedictine priory dedicated and named for Saint Florin of Koblenz, and dependent on the Benedictine All Saints Abbey in Schaffhausen. About 1126, his son, Rupert I, Count of Laurenburg, the Vogt of Lipporn, established it as a separate and independent abbey. The Romanesque buildings were constructed between 1126 and 1145, presumably with a three-nave basilica. The Abbey included both a monastery for monks and a small, separate one for nuns.


title: House of Nassau

text: In 1122, Dudo received the castle of Idstein in the Taunus as a fief under the Archbishopric of Mainz. This was part of the inheritance of Count Udalrich of Idstein-Eppstein. He also received the Vogtship of the richly endowed Benedictine Bleidenstadt Abbey (in present-day Taunusstein).


title: House of Nassau

text: The Counts of Laurenburg and Nassau expanded their authority under the brothers Robert ("Ruprecht") I (1123–1154) and Arnold I of Laurenburg (1123–1148). Robert was the first person to call himself Count of Nassau, but the title was not confirmed until 1159, five years after Robert's death. Robert's son Walram I (1154–1198) was the first person to be legally titled Count of Nassau.


title: House of Nassau

text: The chronology of the Counts of Laurenburg is not certain and the link between Robert I and Walram I is especially controversial. Also, some sources consider Gerhard, listed as co-Count of Laurenburg in 1148, to be the son of Robert I's brother, Arnold I. However, Erich Brandenburg in his "Die Nachkommen Karls des Großen" states that it is most likely that Gerhard was Robert I's son, because Gerard was the name of Beatrix of Limburg's maternal grandfather.