title: Salt Bae

text: Nusret Gökçe (; born 1983), nicknamed Salt Bae, is a Turkish butcher, chef, food entertainer and restaurateur whose technique for preparing and seasoning meat became an Internet meme in January 2017.


title: Salt Bae

text: He owns Nusr-Et, a chain of luxury steak houses. , he has Nusr-Et branches in Turkey, Greece, the United States, the United Kingdom, the United Arab Emirates, Qatar, and Saudi Arabia. The name of his restaurant chain comes from his own name and "Et", which means "meat" in Turkish.


title: Salt Bae

text: Nusret Gökçe was born in Erzurum to a Kurdish family. His father, Faik, was a mineworker. The family's finances forced him to leave school in the sixth grade (aged 11–12) to work as a butcher's apprentice in the Kadıköy district of Istanbul.


title: Salt Bae

text: Gökçe visited several countries including Argentina and the United States between 2007 and 2010, where he worked in local restaurants for free, in order to gain experience as a cook and a restaurateur. After his return to Turkey, Gökçe opened his first restaurant in Istanbul in 2010, and later opened a Dubai restaurant in 2014.


title: Salt Bae

text: In January 2017 he became more widely known as Salt Bae through a series of viral Internet videos and memes that show him "suavely" cutting meat and sprinkling salt, such as "Ottoman Steak", posted on his restaurant's Twitter account. The post was viewed 10 million times on Instagram, after which he was dubbed "Salt Bae" due to his peculiar way of sprinkling salt: dropping it from his fingertips to his forearm, and then onto the dish. Due to the viral exposure gained from this post, Gökçe's profile has expanded enormously and he has served a wide range of celebrities and politicians from around the world.


title: Salt Bae

text: Despite the international fame, early professional reviews in 2018 of his New York City steakhouse were generally negative. The "New York Post"s Steve Cuozzo called the restaurant "Public Rip-off No. 1" and Joshua David Stein writing in "GQ" called the steak mundane and the hamburgers overcooked. Other critics described the dishes as "over-salted as they are overpriced", the "meat was tough with globs of fat and gristle, and severely lacking in flavor", and that "finishing a meal there constitutes some kind of personal victory over your own body and instincts and mouth". Reviewers described the dining experience as "overpriced".


title: Salt Bae

text: However, for entertainment, reviewers were more positive. "Eater"s Robert Sietsema states, "If you are intent on judging New York's new branch of Nusr-Et only as a steakhouse, you'll probably be disappointed ... If, on the other hand, you appraise the place as dinner theater, you will find it satisfying—but only if Salt Bae is in the house".


title: Salt Bae

text: In December 2017, Gökçe was criticized for a photo taken in 2016 - in which he posed in front of, and mimicked, a photo of former President Fidel Castro of Cuba. In September 2018, Czech internet personality Týnuš Třešničková became a victim of a failed fire show in the Nusr-Et steakhouse in Istanbul, resulting in 35% total body surface area burns. Several other guests also faced less serious body burns. That same month, Gökçe was criticized by U.S. Senator Marco Rubio and the Miami city council after President Nicolás Maduro of Venezuela had a meal at his restaurant in Istanbul.


title: Salt Bae

text: In November 2019, four of Gökçe's former employees accused him of getting a share of their tips. They alleged that they were fired from his New York restaurant when they tried to ask questions about the tips. A trial was set to take place to investigate the issue, until Gökçe reached a settlement with his former employees and paid them $230,000. Explaining why he had fired them, he said: "I was not satisfied with the performance of the four employees... Since they were fired, they acted with the feeling of 'look what we are going to do to you' and put forward these tip allegations."


title: Salt Bae

text: In late September 2020, his restaurant in Boston was ordered to close by public health officials several days after it opened due to violations of COVID-19 safety standards. It reopened in early October 2020. In October 2021, Gökçe came under scrutiny from the British media over a £37,000 bill for a meal at one of his UK restaurants.


title: Salt Bae

text: In December of 2022, during the 2022 FIFA World Cup Final between Argentina and France, Gökçe was again the focus of online criticism after joining the Argentine players on the field post-match and handling the trophy, a gesture reserved for winners and heads of state.


title: Shigeru Miyamoto

text: Born in Sonobe, Japan, Miyamoto graduated from Kanazawa Municipal College of Industrial Arts. He originally sought a career as a manga artist, until developing an interest in video games. With the help of his father, he joined Nintendo in 1977 after impressing then-president Hiroshi Yamauchi with his toys. He helped create art for the arcade game "Sheriff", and was later tasked with designing a new arcade game, leading to the 1981 game "Donkey Kong".


title: Shigeru Miyamoto

text: Miyamoto's platform game "Super Mario Bros." (1985) and the action-adventure game "The Legend of Zelda" (1986) helped the Nintendo Entertainment System dominate the console game market. His games have been flagships of every Nintendo video game console, from the arcade machines of the late 1970s to the present day. He managed Nintendo's Entertainment Analysis & Development software division, which developed many Nintendo games, and he played an important role in the creation of other influential games such as "Pokémon Red and Blue" and "Metroid Prime". Following the death of Nintendo president Satoru Iwata in July 2015, Miyamoto became acting president alongside Genyo Takeda until he was formally appointed "Creative Fellow" a few months later.


title: Shigeru Miyamoto

text: Miyamoto was born on November 16, 1952 in the Japanese town of Sonobe, Kyoto Prefecture. His parents were of "modest means", and his father taught the English language.


title: Shigeru Miyamoto

text: From an early age, Miyamoto explored the natural areas around his home. He discovered a cave, and, after days of hesitation, went inside. His expeditions into the Kyoto countryside inspired his later work, particularly "The Legend of Zelda", a seminal video game.


title: Shigeru Miyamoto

text: Miyamoto graduated from Kanazawa Municipal College of Industrial Arts with a degree in industrial design. He had a love for manga and initially hoped to become a professional manga artist before considering a career in video games. He was influenced by manga's classical kishōtenketsu narrative structure, as well as Western genre television shows. He was inspired to enter the video game industry by the 1978 arcade hit "Space Invaders".


title: Shigeru Miyamoto

text: In the 1970s, Nintendo was a relatively small Japanese company that sold playing cards and other novelties, although it had started to branch out into toys and games in the 1960s. Through a mutual friend, Miyamoto's father arranged an interview with Nintendo president Hiroshi Yamauchi. After showing some of his toy creations, he was hired in 1977 as an apprentice in the planning department.


title: Shigeru Miyamoto

text: Miyamoto helped create the art for the coin-operated arcade game, "Sheriff". He first helped the company develop a game after the 1980 release "Radar Scope". The game achieved moderate success in Japan, but by 1981, Nintendo's efforts to break it into the North American video game market had failed, leaving them with a large number of unsold units and on the verge of financial collapse. Nintendo president Hiroshi Yamauchi decided to convert unsold "Radar Scope" units into a new arcade game. He tasked Miyamoto with the conversion, about which Miyamoto has said self-deprecatingly that "no one else was available" to do the work. Nintendo's head engineer, Gunpei Yokoi, supervised the project.


title: Shigeru Miyamoto

text: Miyamoto imagined many characters and plot concepts, but eventually settled on a love triangle between a gorilla, a carpenter, and a woman. He meant to mirror the rivalry between comic characters Bluto and Popeye for the woman Olive Oyl, although Nintendo's original intentions to gain rights to "Popeye" failed. Bluto evolved into an ape, a form Miyamoto claimed was "nothing too evil or repulsive". This ape would be the pet of the main character, "a funny, hang-loose kind of guy". Miyamoto also named "Beauty and the Beast" and the 1933 film "King Kong" as influences. Miyamoto had high hopes for his new project, but lacked the technical skills to program it himself; instead, he conceived the game's concepts, then consulted technicians on whether they were possible. He wanted to make the characters different sizes, move in different manners, and react in various ways. However, Yokoi viewed Miyamoto's original design as too complex. Yokoi suggested using see-saws to catapult the hero across the screen but this proved too difficult to program. Miyamoto next thought of using sloped platforms and ladders for travel, with barrels for obstacles. When he asked that the game have multiple stages, the four-man programming team complained that he was essentially asking them to make the game repeat, but the team eventually successfully programmed the game. When the game was sent to Nintendo of America for testing, the sales manager disapproved of its vast differentiation from the maze and shooter games common at the time. When American staffers began naming the characters, they settled on "Pauline" for the woman, after Polly James, wife of Nintendo's Redmond, Washington, warehouse manager, Don James. The playable character, initially "Jumpman", was eventually named for Mario Segale, the warehouse landlord. These character names were printed on the American cabinet art and used in promotional materials. The staff also pushed for an English name, and thus it received the title "Donkey Kong".


title: Shigeru Miyamoto

text: "Donkey Kong" was a success, leading Miyamoto to work on sequels "Donkey Kong Jr." in 1982 and "Donkey Kong 3" in 1983. In January 1983, the 1982 Arcade Awards gave Donkey Kong the Best Single-player video game award and the Certificate of Merit as runner-up for Coin-Op Game of the Year. In his next game, he gave Mario a brother: Luigi. He named the new game "Mario Bros." Yokoi convinced Miyamoto to give Mario some superhuman abilities, namely the ability to fall from any height unharmed. Mario's appearance in "Donkey Kong"—overalls, a hat, and a thick mustache—led Miyamoto to change aspects of the game to make Mario look like a plumber rather than a carpenter. Miyamoto felt that New York City provided the best setting for the game, with its "labyrinthine subterranean network of sewage pipes". To date, games in the "Mario Bros." franchise have been released for more than a dozen platforms. Shortly after, Miyamoto also worked the character sprites and game design for the "Baseball", "Tennis", and "Golf" games on the NES.


title: Shigeru Miyamoto

text: As Nintendo released its first home video game console, the Family Computer (rereleased in North America as the Nintendo Entertainment System), Miyamoto made two of the most momentous titles for the console and in the history of video games as a whole: "Super Mario Bros." (a sequel to "Mario Bros.") and "The Legend of Zelda" (an entirely original title).


title: Shigeru Miyamoto

text: In both games, Miyamoto decided to focus more on gameplay than on high scores, unlike many games of the time. "Super Mario Bros." largely took a linear approach, with the player traversing the stage by running, jumping, and dodging or defeating enemies. It was a culmination of Miyamoto's gameplay concepts and technical knowledge drawn from his experiences of designing "Donkey Kong", "Mario Bros", "Devil World" (1984), the side-scrolling racing game "Excitebike" (1984), and the 1985 NES port of side-scrolling beat 'em up "Kung-Fu Master" (1984). This culminated in his concept of a platformer set in an expansive world that would have the player "strategize while scrolling sideways" over long distances, have aboveground and underground levels, and have colorful backgrounds rather than black backgrounds.


title: Shigeru Miyamoto

text: By contrast, Miyamoto employed nonlinear gameplay in "The Legend of Zelda", forcing the player to think their way through riddles and puzzles. The world was expansive and seemingly endless, offering "an array of choice and depth never seen before in a video game." With "The Legend of Zelda", Miyamoto sought to make an in-game world that players would identify with, a "miniature garden that they can put inside their drawer." He drew his inspiration from his experiences as a boy around Kyoto, where he explored nearby fields, woods, and caves; each "Zelda" game embodies this sense of exploration. "When I was a child," Miyamoto said, "I went hiking and found a lake. It was quite a surprise for me to stumble upon it. When I traveled around the country without a map, trying to find my way, stumbling on amazing things as I went, I realized how it felt to go on an adventure like this." He recreated his memories of becoming lost amid the maze of sliding doors in his family home in "Zelda"s labyrinthine dungeons. In February 1986, Nintendo released it as the launch game for the Nintendo Entertainment System's new Disk System peripheral.


title: Shigeru Miyamoto

text: Miyamoto worked on various other different games for the Nintendo Entertainment System, including "Ice Climber" and "Kid Icarus". He also worked on sequels to both "Super Mario Bros" and "The Legend of Zelda". "", released only in Japan at the time, reuses gameplay elements from "Super Mario Bros.", though the game is much more difficult than its predecessor. Nintendo of America disliked "Super Mario Bros. 2", which they found to be frustratingly difficult and otherwise little more than a modification of "Super Mario Bros." Rather than risk the franchise's popularity, they cancelled its stateside release and looked for an alternative. They realized they already had one option in "" (Dream Factory: Heart-Pounding Panic), also designed by Miyamoto. This game was reworked and released as "Super Mario Bros. 2" (not to be confused with the Japanese game of the same name) in North America and Europe. The Japanese version of "Super Mario Bros. 2" was eventually released in North America as "Super Mario Bros.: The Lost Levels".


title: Shigeru Miyamoto

text: The successor to "The Legend of Zelda", "", bears little resemblance to the first game in the series. "The Adventure of Link" features side-scrolling areas within a larger world map rather than the bird's eye view of the previous title. The game incorporates a strategic combat system and more RPG elements, including an experience points (EXP) system, magic spells, and more interaction with non-player characters (NPCs). Link has extra lives; no other game in the series includes this feature. "The Adventure of Link" plays out in a two-mode dynamic. The overworld, the area where the majority of the action occurs in other "The Legend of Zelda" games, is still from a top-down perspective, but it now serves as a hub to the other areas. Whenever Link enters a new area such as a town, the game switches to a side-scrolling view. These separate methods of traveling and entering combat are one of many aspects adapted from the role-playing genre. The game was highly successful at the time, and introduced elements such as Link's "magic meter" and the Dark Link character that would become commonplace in future Zelda games, although the role-playing elements such as experience points and the platform-style side-scrolling and multiple lives were never used again in the official series. The game is also looked upon as one of the most difficult games in the "Zelda" series and 8-bit gaming as a whole. Additionally, "The Adventure of Link" was one of the first games to combine role-playing video game and platforming elements to a considerable degree.


title: Shigeru Miyamoto

text: Soon after, "Super Mario Bros. 3" was developed by Nintendo Entertainment Analysis & Development; the game took more than two years to complete. The game offers numerous modifications on the original "Super Mario Bros.", ranging from costumes with different abilities to new enemies. Bowser's children were designed to be unique in appearance and personality; Miyamoto based the characters on seven of his programmers as a tribute to their work on the game. The Koopalings' names were later altered to mimic names of well-known, Western musicians in the English localization. In a first for the "Mario" series, the player navigates via two game screens: an overworld map and a level playfield. The overworld map displays an overhead representation of the current world and has several paths leading from the world's entrance to a castle. Moving the on-screen character to a certain tile will allow access to that level's playfield, a linear stage populated with obstacles and enemies. The majority of the game takes place in these levels.


title: Shigeru Miyamoto

text: A merger between Nintendo's various internal research and development teams led to the creation of Nintendo Entertainment Analysis & Development (Nintendo EAD), which Miyamoto eventually headed. Nintendo EAD had approximately fifteen months to develop "F-Zero", a launch game for the Super Nintendo Entertainment System. Miyamoto worked through various games on the Super Nintendo Entertainment System, one of them "Star Fox". For the game, programmer Jez San convinced Nintendo to develop an upgrade for the Super Nintendo, allowing it to handle three-dimensional graphics better: the Super FX chip. Using this new hardware, Miyamoto and Katsuya Eguchi designed the "Star Fox" game with an early implementation of three-dimensional graphics.


title: Shigeru Miyamoto

text: Miyamoto produced two major "Mario" games for the system. The first, "Super Mario World", was a launch game. It features an overworld as in "Super Mario Bros. 3" and introduces a new character, Yoshi, who appears in many other Nintendo games. The second "Mario" game for the system, "Super Mario RPG", went in a somewhat different direction. Miyamoto led a team consisting of a partnership between Nintendo and Square; it took nearly a year to develop the graphics. The story takes place in a newly rendered Mushroom Kingdom based on the "Super Mario Bros." series.


title: Shigeru Miyamoto

text: Miyamoto also created "The Legend of Zelda: A Link to the Past" for the Super Nintendo Entertainment System, the third entry in the series. Dropping the side-scrolling elements of its predecessor, "A Link to the Past" introduced to the series elements that are still commonplace today, such as the concept of an alternate or parallel world, the Master Sword, and other new weapons and items.


title: Shigeru Miyamoto

text: Shigeru Miyamoto mentored Satoshi Tajiri, guiding him during the creation process of "Pocket Monsters: Red and Green" (released in English as "Pokémon Red" and "Blue"), the initial video games in the Pokémon series. He also acted as the producer for these games and worked on social gameplay concepts such as trading. Pokémon would go on to be one of the most popular entertainment franchises in the world, spanning video games, anime, and various other merchandise.


title: Shigeru Miyamoto

text: Miyamoto made several games for the Nintendo 64, mostly from his previous franchises. His first game on the new system, and one of its launch games, is "Super Mario 64", for which he was the principal director. In developing the game, he began with character design and the camera system. Miyamoto and the other designers were initially unsure of which direction the game should take, and spent months to select an appropriate camera view and layout. The original concept involved a fixed path much like an isometric-type game, before the choice was made to settle on a free-roaming 3D design. He guided the design of the Nintendo 64 controller in tandem with that of "Super Mario 64".


title: Shigeru Miyamoto

text: Using what he had learned about the Nintendo 64 from developing "Super Mario 64" and "Star Fox 64", Miyamoto produced his next game, "", leading a team of several directors. Its engine was based on that of "Super Mario 64" but was so heavily modified as to be a somewhat different engine. Individual parts of "Ocarina of Time" were handled by multiple directors—a new strategy for Nintendo EAD. However, when things progressed slower than expected, Miyamoto returned to the development team with a more central role assisted in public by interpreter Bill Trinen. The team was new to 3D games, but assistant director Makoto Miyanaga recalls a sense of "passion for creating something new and unprecedented". Miyamoto went on to produce a sequel to "Ocarina of Time", known as "". By reusing the game engine and graphics from "Ocarina of Time", a smaller team required only 18 months to finish "Majora's Mask".


title: Shigeru Miyamoto

text: Miyamoto worked on a variety of "Mario" series spin-offs for the Nintendo 64, including "Mario Kart 64" and "Mario Party".


title: Shigeru Miyamoto

text: Miyamoto produced various games for the GameCube, including the launch game "Luigi's Mansion". The game was first revealed at Nintendo Space World 2000 as a technical demo designed to show off the graphical capabilities of the GameCube. Miyamoto made an original short demo of the game concepts, and Nintendo decided to turn it into a full game. "Luigi's Mansion" was later shown at E3 2001 with the GameCube console. Miyamoto continued to make additional "Mario" spinoffs in these years. He also produced the 3D game series "Metroid Prime", after the original designer Yokoi, a friend and mentor of Miyamoto's, died. In this time he developed "Pikmin" and its sequel "Pikmin 2", based on his experiences gardening. He also worked on new games for the "Star Fox", "Donkey Kong", "F-Zero", and "The Legend of Zelda" series on both the GameCube and the Game Boy Advance systems. With the help of Hideo Kojima, he guided the developers of "". He helped with many games on the Nintendo DS, including the remake of "Super Mario 64", titled "Super Mario 64 DS", and the new game "Nintendogs", a new franchise based on his own experiences with dogs.


title: Shigeru Miyamoto

text: Miyamoto played a major role in the development of the Wii, a console that popularized motion control gaming, and its launch game "Wii Sports", which helped show the capability of the new control scheme. Miyamoto went on to produce other titles in the "Wii" series, including "Wii Fit". His inspiration for "Wii Fit" was to encourage conversation and family bonding.


title: Shigeru Miyamoto

text: At E3 2004, Miyamoto unveiled "", appearing dressed as the protagonist Link with a sword and shield. Also released for the GameCube, the game was among the Wii's launch games and the first in the "Zelda" series to implement motion controls. He also helped with "", which featured more accurate motion controls. He also produced two "Zelda" titles for the Nintendo DS, "" and "". These were the first titles in the series to implement touch screen controls.


title: Shigeru Miyamoto

text: Miyamoto produced three major "Mario" titles for Wii from 2007 to 2010: "Super Mario Galaxy", "New Super Mario Bros. Wii", and "Super Mario Galaxy 2".


title: Shigeru Miyamoto

text: Unlike in the 2000s in which he was involved on many projects as producer, Miyamoto's activities in development were less pronounced in that decade with Miyamoto only producing "" and Star Fox Zero in that decade. Otherwise, Miyamoto was credited as General Producer, Executive Producer and Supervisor for most projects, which are positions with much less involvement in comparison to a producer.


title: Shigeru Miyamoto

text: Following the death of Nintendo president Satoru Iwata in July 2015, Miyamoto was appointed as an acting Representative Director, alongside Genyo Takeda. He was relieved of this position in September 2015 when Tatsumi Kimishima assumed the role of the company's president. He was also appointed the position of "Creative Fellow" at the same time, providing expert advice to Kimishima as a "support network" alongside Takeda. In his capacity as Creative Fellow, he provides feedback and guidance to game directors during development.


title: Shigeru Miyamoto

text: In 2018, it was announced that Miyamoto would be working as a producer on "The Super Mario Bros. Movie" based on the "Mario" franchise by Illumination.


title: Shigeru Miyamoto

text: Miyamoto was heavily involved with the design and construction of Super Nintendo World, a themed area featured at Universal Studios Japan and under construction at Universal Studios Hollywood and Universal's Epic Universe. Miyamoto oversaw the design and construction of the land and its attractions and acted as Nintendo's public representative on the land, hosting several promotional materials including a December 2020 Nintendo Direct in which he gave a tour of parts of the land.


title: Shigeru Miyamoto

text: Miyamoto, and Nintendo as a whole, do not use focus groups. Instead, Miyamoto figures out if a game is fun for himself. He says that if he enjoys it, others will too. He elaborates, citing the conception of the "Pokémon" series as an example, "And that's the point – Not to make something sell, something very popular, but to love something, and make something that we creators can love. It's the very core feeling we should have in making games." Miyamoto wants players to experience "kyokan"; he wants "the players to feel about the game what the developers felt themselves."


title: Shigeru Miyamoto

text: He then tests it with friends and family. He encourages younger developers to consider people who are new to gaming, for example by having them switch their dominant hand with their other hand to feel the experience of an unfamiliar game.


title: Shigeru Miyamoto

text: Miyamoto's philosophy does not focus on hyper-realistic graphics, although he realizes they have their place. He is more focused on the game mechanics, such as the choices and challenges in the game. Similar to how manga artists subverted their genre, Miyamoto hopes to subvert some of the basic principles he had popularized in his early games, retaining some elements but eliminating others.


title: Shigeru Miyamoto

text: His game design philosophy typically prioritizes gameplay over storytelling. In a 1992 interview, he said "the important thing is that it feels good when you're playing it" and "that quality is not determined by the story, but by the controls, the sound, and the rhythm and pacing". However, he requires a "compatibility [between] the story and gameplay [because] a good story can smooth over that discrepancy and make it all feel natural".


title: Shigeru Miyamoto

text: His use of real-time rendered cinematics (not prerendered video) serves both his own rapidly interactive development process with no rendering delays, and the player's interaction with the game's continuity. He prefers to change his games right until they are finalized, and to make "something unique and unprecedented". He prefers the game to be interactively fun rather than have elaborate film sequences, stating in 1999, "I will never make movie-like games"; therefore, the more than 90 total minutes of short cutscenes interspersed throughout "Ocarina of Time" deliver more interactive cinematic qualities. His vision mandates a rapid and malleable development process with small teams, as when he directed substantial changes to the overall game scenario in the final months of the development of "Ocarina of Time". He said, "The reason behind using such a simple process, as I am sure you have all experienced in the workshop, is that there is a total limit on team energy. There is a limit to the work a team can do, and there is a limit to my own energy. We opted not to use that limited time and energy on pre-rendered images for use in cinema scenes, but rather on tests on other inter-active elements and polishing up the game".


title: Shigeru Miyamoto

text: For these reasons, he opposes prerendered cutscenes. Of "Ocarina of Time", he says "we were able to make use of truly cinematic methods with our camera work without relying on [prerendered video]."


title: Shigeru Miyamoto

text: Miyamoto has occasionally been critical of the role-playing game (RPG) genre. In a 1992 interview, when asked whether "Zelda" is an RPG series, he declined but classified it as "a real-time adventure"; he said he was "not interested in [games] decided by stats and numbers [but in preserving] as much of that 'live' feeling as possible", which he said "action games are better suited in conveying". In 2003, he described his "fundamental dislike" of the RPG genre: "I think that with an RPG you are completely bound hand and foot, and can't move. But gradually you become able to move your hands and legs... you become slightly untied. And in the end, you feel powerful. So what you get out of an RPG is a feeling of happiness. But I don't think they're something that's fundamentally fun to play. With a game like that, anyone can become really good at it. With "Mario" though, if you're not good at it, you may never get good." While critical of the RPG gameplay system, he has occasionally praised certain aspects of RPGs, such as Yuji Horii's writing in the "Dragon Quest" series, the "interactive cinematic approach" of the "Final Fantasy" series, and Shigesato Itoi's dialogue in the "Mother" series.


title: Shigeru Miyamoto

text: "Time" called Miyamoto "the Spielberg of video games" and "the father of modern video games," while "The Daily Telegraph" says he is "regarded by many as possibly the most important game designer of all time." "GameTrailers" called him "the most influential game creator in history." Miyamoto has significantly influenced various aspects of the medium. "The Daily Telegraph" credited him with creating "some of the most innovative, ground breaking and successful work in his field." Many of Miyamoto's works have pioneered new video game concepts or refined existing ones. Miyamoto's games have received outstanding critical praise, some being considered the greatest games of all time.


title: Shigeru Miyamoto

text: Miyamoto's games have also sold very well, becoming some of the best-selling games on Nintendo consoles and of all time. As of 1999, his games had sold 250 million units and grossed billions of dollars.


title: Shigeru Miyamoto

text: Calling him one of the few "video-game auteurs," "The New Yorker" credited Miyamoto's role in creating the franchises that drove console sales, as well as designing the consoles themselves. They described Miyamoto as Nintendo's "guiding spirit, its meal ticket, and its playful public face," noting that Nintendo might not exist without him. "The Daily Telegraph" similarly attributed Nintendo's success to Miyamoto more than any other person. "Next Generation" listed him in their "75 Most Important People in the Games Industry of 1995", elaborating that, "He's the most successful game developer in history. He has a unique and brilliant mind as well as an unparalleled grasp of what gamers want to play."


title: Shigeru Miyamoto

text: Miyamoto's first major arcade hit "Donkey Kong" was highly influential. It spawned a number of other games with a mix of running, jumping, and vertical traversal. Particularly novel, the vertical genre was initially referred to as ""Donkey Kong"-type" or ""Kong"-style", before finalizing as "platform". Earlier games either use storytelling or cutscenes, but "Donkey Kong" combines both to introduce the use of cutscenes to visually advance a complete story. It has multiple, distinct levels that progress the storyline. "Computer and Video Games" called "Donkey Kong" "the most momentous" release of 1981.


title: Shigeru Miyamoto

text: Miyamoto's best known and most influential game, "Super Mario Bros.", "depending on your point of view, created an industry or resuscitated a comatose one". "The Daily Telegraph" said it "set the standard for all future videogames". G4 noted its revolutionary gameplay and its role in "almost single-handedly" rescuing the video game industry after the North American video game crash of 1983. The game also popularized the side-scrolling video game genre. "The New Yorker" described Mario as the first folk hero of video games, with as much influence as Mickey Mouse.


title: Shigeru Miyamoto

text: "GameSpot" featured "The Legend of Zelda" as one of the 15 most influential games of all time, for being an early example of open world, nonlinear gameplay, and for its introduction of battery backup saving, laying the foundations for later action-adventure games like "Metroid" and role-playing video games like "Final Fantasy", while influencing most modern games in general. In 2009, "Game Informer" called "The Legend of Zelda" "no less than the greatest game of all time" on their list of "The Top 200 Games of All Time", saying that it was "ahead of its time by years if not decades".


title: Shigeru Miyamoto

text: At the time of the release of "Star Fox", the use of filled, three-dimensional polygons in a console game was very unusual, apart from a handful of earlier titles. Due to its success, "Star Fox" has become a Nintendo franchise, with five more games and numerous appearances by its characters in other Nintendo games such as the "Super Smash Bros." series.


title: Shigeru Miyamoto

text: His game "Super Mario 64" defined the field of 3D game design, particularly with its use of a dynamic camera system and the implementation of its analog control. ""s gameplay system introduced features such as a target lock system and context-sensitive buttons that have since become common elements in 3D adventure games.


title: Shigeru Miyamoto

text: The Wii, which Miyamoto played a major role in designing, is the first wireless motion-controlled video game console.


title: Shigeru Miyamoto

text: Miyamoto's games have received outstanding critical praise, and are widely considered among the greatest of all time.


title: Shigeru Miyamoto

text: Games in Miyamoto's "The Legend of Zelda" series have received outstanding critical acclaim. is a landmark game for Nintendo and is widely considered today to be one of the greatest video games of all time. is widely considered by critics and gamers alike to be one of the greatest video games ever made. "Ocarina of Time" was listed by Guinness World Records as the highest-rated video game in history, citing its Metacritic score of 99 out of 100. "Twilight Princess" was released to universal critical acclaim, and is the third highest-rated game for the Wii. It received perfect scores from major publications such as CVG, "Electronic Gaming Monthly", "Game Informer", GamesRadar, and GameSpy.


title: Shigeru Miyamoto

text: Critical analysis of "Super Mario Bros." has been extremely positive, with many touting it as one of the best video games of all time. In 2009, "Game Informer" put "Super Mario Bros." in second place on its list of "The Top 200 Games of All Time", behind "The Legend of Zelda", saying that it "remains a monument to brilliant design and fun gameplay".


title: Shigeru Miyamoto

text: "Super Mario 64" is acclaimed by many critics and fans as one of the greatest and most revolutionary video games of all time.


title: Shigeru Miyamoto

text: According to Metacritic, "Super Mario Galaxy" and "Super Mario Galaxy 2" are the first- and second-highest rated games for the Wii.


title: Shigeru Miyamoto

text: A 1995 article in "Maximum" stated that "in gaming circles Miyamoto's name carries far more weight than Steven Spielberg's could ever sustain."


title: Shigeru Miyamoto

text: Miyamoto's games have sold very well, becoming some of the best-selling games on Nintendo consoles and of all time.


title: Shigeru Miyamoto

text: Miyamoto's "Mario" series is, by far, the best-selling video game franchise of all time, selling over 500 million units. "Super Mario Bros." is currently the sixth best-selling video game of all time. The game was the all-time best-selling video game for over 20 years until its lifetime sales were ultimately surpassed by "Wii Sports". "Super Mario Bros.", "Super Mario Bros. 3", and "Super Mario Bros. 2" were, respectively, the three best-selling games for the Nintendo Entertainment System. Levi Buchanan of IGN considered "Super Mario Bros. 3"s appearance in the film "The Wizard" as a show-stealing element, and referred to the movie as a "90-minute commercial" for the game. "Super Mario World" was the best-selling game for the Super Nintendo Entertainment System. "Super Mario 64" was the best-selling Nintendo 64 game, and as of May 21, 2003, the game had sold eleven million copies. At the end of 2007, "Guinness World Records" reported sales of 11.8 million copies. As of September 25, 2007, it was the seventh best-selling video game in the United States with six million copies sold. By June 2007, "Super Mario 64" had become the second most popular game on Wii's Virtual Console, behind "Super Mario Bros." "Super Mario Sunshine" is the third best-selling GameCube game.


title: Shigeru Miyamoto

text: The original game in "The Legend of Zelda" series is the fifth best-selling game for the Nintendo Entertainment System. "The Wind Waker" is the fourth best-selling GameCube game. "Twilight Princess" was commercially successful. In the PAL region, which covers most of Asia, Africa, South America, Australia, New Zealand, and most of Western Europe, "Twilight Princess" is the best-selling "Zelda" game ever. During its first week, the game was sold with three out of every four Wii purchases. The game had sold 4.52 million copies on the Wii as of March 1, 2008, and 1.32 million on the GameCube as of March 31, 2007.


title: Shigeru Miyamoto

text: The "Mario Kart" series is currently the most successful racing game franchise of all time. "Mario Kart" titles tend to be among the best-selling games for their respective consoles; "Super Mario Kart" is the third best-selling video game for the Super Nintendo Entertainment System, "Mario Kart 64" is the second best-selling Nintendo 64 game, "" is the second best-selling game for the GameCube, and "Mario Kart Wii" is the second best-selling game for the Wii.


title: Shigeru Miyamoto

text: Miyamoto produced "Wii Sports", another of the best-selling games of all time and part of the Wii series. "Wii Fit" designed by Miyamoto, was the third best selling console game not packaged with a console, with 22.67 million copies sold.


title: Shigeru Miyamoto

text: The name of the main character of the PC game "Daikatana", Hiro Miyamoto, is a homage to Miyamoto. The character Gary Oak from the "Pokémon" anime series is named Shigeru in Japan and is the rival of Ash Ketchum (called Satoshi in Japan). "Pokémon" creator Satoshi Tajiri was mentored by Miyamoto.


title: Shigeru Miyamoto

text: In 1998, Miyamoto was honored as the first person inducted into the Academy of Interactive Arts and Sciences' Hall of Fame. In 2006, Miyamoto was made a "Chevalier" (knight) of the French Ordre des Arts et des Lettres by the French Minister of Culture Renaud Donnedieu de Vabres.


title: Shigeru Miyamoto

text: On November 28, 2006, Miyamoto was featured in "TIME Asia"'s "60 Years of Asian Heroes". He was later chosen as one of Time Magazine's 100 Most Influential People of the Year in both 2007 and also in 2008, in which he topped the list with a total vote of 1,766,424. At the Game Developers Choice Awards, on March 7, 2007, Miyamoto received the Lifetime Achievement Award "for a career that spans the creation of Super Mario Bros. and The Legend of Zelda, and Donkey Kong to the company's recent revolutionary systems, Nintendo DS and Wii." GameTrailers and IGN placed Miyamoto first on their lists for the "Top Ten Game Creators" and the "Top 100 Game Creators of All Time" respectively.


title: Shigeru Miyamoto

text: In a survey of game developers by industry publication "Develop", 30% of the developers, by far the largest portion, chose Miyamoto as their "Ultimate Development Hero". Miyamoto has been interviewed by companies and organizations such as CNN's Talk Asia. He was made a Fellow of BAFTA at the British Academy Video Games Awards on March 19, 2010. In 2012, Miyamoto was also the first interactive creator to be awarded the highest recognition in Spain, the Prince of Asturias Award, in the category of Communications and Humanities.


title: Shigeru Miyamoto

text: Miyamoto was awarded Japan's Person of Cultural Merit in 2019 in recognition for his contributions towards Japan's video game industry. He was the first person in the video game industry to receive the honor.


title: Shigeru Miyamoto

text: Miyamoto has a wife, Yasuko, and two children. In 2010, his son was 25 and working at an advertising agency, while his daughter was 23 and studying zoology at the time. His children played video games in their youth, but he also made them go outside. Although he can speak some English, he is not fluent and prefers to speak in Japanese for interviews.


title: Shigeru Miyamoto

text: Miyamoto does not generally sign autographs, out of concern that he would be inundated. He also does not appear on Japanese television, so as to remain anonymous. More foreign tourists than Japanese people approach him.


title: Shigeru Miyamoto

text: Miyamoto spends little time playing video games in his personal time, preferring to play the guitar, mandolin, and banjo. He avidly enjoys bluegrass music. He has a Shetland Sheepdog named Pikku that provided the inspiration for "Nintendogs". He is also a semi-professional dog breeder. He has been quoted as stating, "Video games are bad for you? That's what they said about rock and roll."


title: Shigeru Miyamoto

text: Miyamoto enjoys rearranging furniture in his house, even late at night. He also stated that he has a hobby of guessing the dimensions of objects, then checking to see if he was correct, and reportedly carries a measuring tape with him everywhere. In December 2016, Miyamoto showcased his hobby on "The Tonight Show Starring Jimmy Fallon", while also performing the "Super Mario Bros." theme on guitar with The Roots during the same show.


title: Bernoulli's principle

text: In fluid dynamics, Bernoulli's principle states that an increase in the speed of a fluid occurs simultaneously with a decrease in static pressure or a decrease in the fluid's potential energy. The principle is named after the Swiss mathematician and physicist Daniel Bernoulli, who published it in his book "Hydrodynamica" in 1738. Although Bernoulli deduced that pressure decreases when the flow speed increases, it was Leonhard Euler in 1752 who derived Bernoulli's equation in its usual form. The principle is only applicable for isentropic flows: when the effects of irreversible processes (like turbulence) and non-adiabatic processes (e.g. thermal radiation) are small and can be neglected.


title: Bernoulli's principle

text: Bernoulli's principle can be applied to various types of fluid flow, resulting in various forms of Bernoulli's equation. The simple form of Bernoulli's equation is valid for incompressible flows (e.g. most liquid flows and gases moving at low Mach number). More advanced forms may be applied to compressible flows at higher Mach numbers.


title: Bernoulli's principle

text: Bernoulli's principle can be derived from the principle of conservation of energy. This states that, in a steady flow, the sum of all forms of energy in a fluid is the same at all points that are free of viscous forces. This requires that the sum of kinetic energy, potential energy and internal energy remains constant. Thus an increase in the speed of the fluid—implying an increase in its kinetic energy (dynamic pressure)—occurs with a simultaneous decrease in (the sum of) its potential energy (including the static pressure) and internal energy. If the fluid is flowing out of a reservoir, the sum of all forms of energy is the same because in a reservoir the energy per unit volume (the sum of pressure and gravitational potential ) is the same everywhere.


title: Bernoulli's principle

text: Bernoulli's principle can also be derived directly from Isaac Newton's second Law of Motion. If a small volume of fluid is flowing horizontally from a region of high pressure to a region of low pressure, then there is more pressure behind than in front. This gives a net force on the volume, accelerating it along the streamline.


title: Bernoulli's principle

text: Fluid particles are subject only to pressure and their own weight. If a fluid is flowing horizontally and along a section of a streamline, where the speed increases it can only be because the fluid on that section has moved from a region of higher pressure to a region of lower pressure; and if its speed decreases, it can only be because it has moved from a region of lower pressure to a region of higher pressure. Consequently, within a fluid flowing horizontally, the highest speed occurs where the pressure is lowest, and the lowest speed occurs where the pressure is highest.


title: Bernoulli's principle

text: In most flows of liquids, and of gases at low Mach number, the density of a fluid parcel can be considered to be constant, regardless of pressure variations in the flow. Therefore, the fluid can be considered to be incompressible, and these flows are called incompressible flows. Bernoulli performed his experiments on liquids, so his equation in its original form is valid only for incompressible flow. A common form of Bernoulli's equation is:


title: Bernoulli's principle

text: Bernoulli’s equation and the Bernoulli constant are applicable throughout any region of flow where the energy per unit of mass is uniform. The energy per unit of mass of liquid in a reservoir is uniform throughout the reservoir so if the reservoir feeds liquid into a pipe or a flow field, Bernoulli’s equation and the Bernoulli constant can be used to analyse the fluid flow everywhere except where viscous forces exist and erode the energy per unit mass.


title: Bernoulli's principle

text: For conservative force fields (not limited to the gravitational field), Bernoulli's equation can be generalized as:


title: Bernoulli's principle

text: The constant in the Bernoulli equation can be normalized. A common approach is in terms of total head or energy head :


title: Bernoulli's principle

text: The above equations suggest there is a flow speed at which pressure is zero, and at even higher speeds the pressure is negative. Most often, gases and liquids are not capable of negative absolute pressure, or even zero pressure, so clearly Bernoulli's equation ceases to be valid before zero pressure is reached. In liquids—when the pressure becomes too low—cavitation occurs. The above equations use a linear relationship between flow speed squared and pressure. At higher flow speeds in gases, or for sound waves in liquid, the changes in mass density become significant so that the assumption of constant density is invalid.


title: Bernoulli's principle

text: In many applications of Bernoulli's equation, the change in the term is so small compared with the other terms that it can be ignored. For example, in the case of aircraft in flight, the change in height is so small the term can be omitted. This allows the above equation to be presented in the following simplified form:


title: Bernoulli's principle

text: where is called "total pressure", and is "dynamic pressure". Many authors refer to the pressure as static pressure to distinguish it from total pressure and dynamic pressure . In "Aerodynamics", L.J. Clancy writes: "To distinguish it from the total and dynamic pressures, the actual pressure of the fluid, which is associated not with its motion but with its state, is often referred to as the static pressure, but where the term pressure alone is used it refers to this static pressure."


title: Bernoulli's principle

text: The simplified form of Bernoulli's equation can be summarized in the following memorable word equation:


title: Bernoulli's principle

text: Every point in a steadily flowing fluid, regardless of the fluid speed at that point, has its own unique static pressure and dynamic pressure . Their sum is defined to be the total pressure . The significance of Bernoulli's principle can now be summarized as "total pressure is constant in any region free of viscous forces". If the fluid flow is brought to rest at some point, this point is called a stagnation point, and at this point the static pressure is equal to the stagnation pressure.


title: Bernoulli's principle

text: If the fluid flow is irrotational, the total pressure is uniform and Bernoulli's principle can be summarized as "total pressure is constant everywhere in the fluid flow". It is reasonable to assume that irrotational flow exists in any situation where a large body of fluid is flowing past a solid body. Examples are aircraft in flight and ships moving in open bodies of water. However, Bernoulli's principle importantly does not apply in the boundary layer such as in flow through long pipes.


title: Bernoulli's principle

text: The Bernoulli equation for unsteady potential flow is used in the theory of ocean surface waves and acoustics. For an irrotational flow, the flow velocity can be described as the gradient of a velocity potential . In that case, and for a constant density , the momentum equations of the Euler equations can be integrated to:formula_12


title: Bernoulli's principle

text: which is a Bernoulli equation valid also for unsteady—or time dependent—flows. Here denotes the partial derivative of the velocity potential with respect to time , and is the flow speed. The function depends only on time and not on position in the fluid. As a result, the Bernoulli equation at some moment applies in the whole fluid domain. This is also true for the special case of a steady irrotational flow, in which case and are constants so equation () can be applied in every point of the fluid domain. Further can be made equal to zero by incorporating it into the velocity potential using the transformation:formula_13


title: Bernoulli's principle

text: The Bernoulli equation for unsteady potential flow also appears to play a central role in Luke's variational principle, a variational description of free-surface flows using the Lagrangian mechanics.


title: Bernoulli's principle

text: Bernoulli developed his principle from observations on liquids, and Bernoulli's equation is valid for ideal fluids: those that are incompressible, irrotational, inviscid, and subjected to conservative forces. It is sometimes valid for the flow of gases: provided that there is no transfer of kinetic or potential energy from the gas flow to the compression or expansion of the gas. If both the gas pressure and volume change simultaneously, then work will be done on or by the gas. In this case, Bernoulli's equation—in its incompressible flow form—cannot be assumed to be valid. However, if the gas process is entirely isobaric, or isochoric, then no work is done on or by the gas (so the simple energy balance is not upset). According to the gas law, an isobaric or isochoric process is ordinarily the only way to ensure constant density in a gas. Also the gas density will be proportional to the ratio of pressure and absolute temperature; however, this ratio will vary upon compression or expansion, no matter what non-zero quantity of heat is added or removed. The only exception is if the net heat transfer is zero, as in a complete thermodynamic cycle or in an individual isentropic (frictionless adiabatic) process, and even then this reversible process must be reversed, to restore the gas to the original pressure and specific volume, and thus density. Only then is the original, unmodified Bernoulli equation applicable. In this case the equation can be used if the flow speed of the gas is sufficiently below the speed of sound, such that the variation in density of the gas (due to this effect) along each streamline can be ignored. Adiabatic flow at less than Mach 0.3 is generally considered to be slow enough.


title: Bernoulli's principle

text: It is possible to use the fundamental principles of physics to develop similar equations applicable to compressible fluids. There are numerous equations, each tailored for a particular application, but all are analogous to Bernoulli's equation and all rely on nothing more than the fundamental principles of physics such as Newton's laws of motion or the first law of thermodynamics.


title: Bernoulli's principle

text: For a compressible fluid, with a barotropic equation of state, and under the action of conservative forces,


title: Bernoulli's principle

text: In engineering situations, elevations are generally small compared to the size of the Earth, and the time scales of fluid flow are small enough to consider the equation of state as adiabatic. In this case, the above equation for an ideal gas becomes:


title: Bernoulli's principle

text: In many applications of compressible flow, changes in elevation are negligible compared to the other terms, so the term can be omitted. A very useful form of the equation is then:


title: Bernoulli's principle

text: The most general form of the equation, suitable for use in thermodynamics in case of (quasi) steady flow, is:


title: Bernoulli's principle

text: Here is the enthalpy per unit mass (also known as specific enthalpy), which is also often written as (not to be confused with "head" or "height").


title: Bernoulli's principle

text: where is the thermodynamic energy per unit mass, also known as the specific internal energy. So, for constant internal energy formula_20 the equation reduces to the incompressible-flow form.


title: Bernoulli's principle

text: The constant on the right-hand side is often called the Bernoulli constant and denoted . For steady inviscid adiabatic flow with no additional sources or sinks of energy, is constant along any given streamline. More generally, when may vary along streamlines, it still proves a useful parameter, related to the "head" of the fluid (see below).


title: Bernoulli's principle

text: where is total enthalpy. For a calorically perfect gas such as an ideal gas, the enthalpy is directly proportional to the temperature, and this leads to the concept of the total (or stagnation) temperature.


title: Bernoulli's principle

text: When shock waves are present, in a reference frame in which the shock is stationary and the flow is steady, many of the parameters in the Bernoulli equation suffer abrupt changes in passing through the shock. The Bernoulli parameter remains unaffected. An exception to this rule is radiative shocks, which violate the assumptions leading to the Bernoulli equation, namely the lack of additional sinks or sources of energy.


title: Bernoulli's principle

text: For a compressible fluid, with a barotropic equation of state, the unsteady momentum conservation equation


title: Bernoulli's principle

text: With the irrotational assumption, namely, the flow velocity can be described as the gradient of a velocity potential . The unsteady momentum conservation equation becomes


title: Bernoulli's principle

text: where is a constant, sometimes referred to as the Bernoulli constant. It is not a universal constant, but rather a constant of a particular fluid system. The deduction is: where the speed is large, pressure is low and vice versa.


title: Bernoulli's principle

text: In the above derivation, no external work–energy principle is invoked. Rather, Bernoulli's principle was derived by a simple manipulation of Newton's second law.


title: Bernoulli's principle

text: Another way to derive Bernoulli's principle for an incompressible flow is by applying conservation of energy. In the form of the work-energy theorem, stating that


title: Bernoulli's principle

text: The system consists of the volume of fluid, initially between the cross-sections and . In the time interval fluid elements initially at the inflow cross-section move over a distance , while at the outflow cross-section the fluid moves away from cross-section over a distance . The displaced fluid volumes at the inflow and outflow are respectively and . The associated displaced fluid masses are – when is the fluid's mass density – equal to density times volume, so and . By mass conservation, these two masses displaced in the time interval have to be equal, and this displaced mass is denoted by :


title: Bernoulli's principle

text: Now, the work by the force of gravity is opposite to the change in potential energy, : while the force of gravity is in the negative -direction, the work—gravity force times change in elevation—will be negative for a positive elevation change , while the corresponding potential energy change is positive. So: formula_31


title: Bernoulli's principle

text: Further division by produces the following equation. Note that each term can be described in the length dimension (such as meters). This is the head equation derived from Bernoulli's principle:


title: Bernoulli's principle

text: The middle term, , represents the potential energy of the fluid due to its elevation with respect to a reference plane. Now, is called the elevation head and given the designation .


title: Bernoulli's principle

text: The term is called the "velocity head", expressed as a length measurement. It represents the internal energy of the fluid due to its motion.


title: Bernoulli's principle

text: The term is also called the "pressure head", expressed as a length measurement. It represents the internal energy of the fluid due to the pressure exerted on the container. The head due to the flow speed and the head due to static pressure combined with the elevation above a reference plane, a simple relationship useful for incompressible fluids using the velocity head, elevation head, and pressure head is obtained.


title: Bernoulli's principle

text: If Eqn. 1 is multiplied by the density of the fluid, an equation with three pressure terms is obtained:


title: Bernoulli's principle

text: Note that the pressure of the system is constant in this form of the Bernoulli equation. If the static pressure of the system (the third term) increases, and if the pressure due to elevation (the middle term) is constant, then the dynamic pressure (the first term) must have decreased. In other words, if the speed of a fluid decreases and it is not due to an elevation difference, it must be due to an increase in the static pressure that is resisting the flow.


title: Bernoulli's principle

text: In modern everyday life there are many observations that can be successfully explained by application of Bernoulli's principle, even though no real fluid is entirely inviscid, and a small viscosity often has a large effect on the flow.


title: Bernoulli's principle

text: One of the most common erroneous explanations of aerodynamic lift asserts that the air must traverse the upper and lower surfaces of a wing in the same amount of time, implying that since the upper surface presents a longer path the air must be moving faster over the top of the wing than the bottom. Bernoulli's principle is then cited to conclude that the pressure must be lower on top of the wing than the bottom.


title: Bernoulli's principle

text: However, there is no physical principle that requires the air to traverse the upper and lower surfaces in the same amount of time. In fact, theory predicts and experiments confirm that the air traverses the top surface in a shorter time than it traverses the bottom surface, and this explanation based on equal transit time is false. While this explanation is false, it is not the Bernoulli principle that is false, because this principle is well established; Bernoulli's equation is used correctly in common mathematical treatments of aerodynamic lift.


title: Bernoulli's principle

text: There are several common classroom demonstrations that are sometimes incorrectly explained using Bernoulli's principle. One involves holding a piece of paper horizontally so that it droops downward and then blowing over the top of it. As the demonstrator blows over the paper, the paper rises. It is then asserted that this is because "faster moving air has lower pressure".


title: Bernoulli's principle

text: One problem with this explanation can be seen by blowing along the bottom of the paper: if the deflection was caused by faster moving air, then the paper should deflect downward; but the paper deflects upward regardless of whether the faster moving air is on the top or the bottom. Another problem is that when the air leaves the demonstrator's mouth it has the "same" pressure as the surrounding air; the air does not have lower pressure just because it is moving; in the demonstration, the static pressure of the air leaving the demonstrator's mouth is "equal" to the pressure of the surrounding air. A third problem is that it is false to make a connection between the flow on the two sides of the paper using Bernoulli's equation since the air above and below are "different" flow fields and Bernoulli's principle only applies within a flow field.


title: Bernoulli's principle

text: As the wording of the principle can change its implications, stating the principle correctly is important. What Bernoulli's principle actually says is that within a flow of constant energy, when fluid flows through a region of lower pressure it speeds up and vice versa. Thus, Bernoulli's principle concerns itself with "changes" in speed and "changes" in pressure "within" a flow field. It cannot be used to compare different flow fields.


title: Bernoulli's principle

text: A correct explanation of why the paper rises would observe that the plume follows the curve of the paper and that a curved streamline will develop a pressure gradient perpendicular to the direction of flow, with the lower pressure on the inside of the curve. Bernoulli's principle predicts that the decrease in pressure is associated with an increase in speed; in other words, as the air passes over the paper, it speeds up and moves faster than it was moving when it left the demonstrator's mouth. But this is not apparent from the demonstration.


title: Bernoulli's principle

text: Other common classroom demonstrations, such as blowing between two suspended spheres, inflating a large bag, or suspending a ball in an airstream are sometimes explained in a similarly misleading manner by saying "faster moving air has lower pressure".


title: House music

text: House is a music genre characterized by a repetitive four-on-the-floor beat and a typical tempo of 120 beats per minute. It was created by DJs and music producers from Chicago's underground club culture in the late 1970s, as DJs began altering disco songs to give them a more mechanical beat.


title: House music

text: House was pioneered by African American DJs and producers in Chicago such as Frankie Knuckles, Ron Hardy, Jesse Saunders, Chip E., Steve "Silk" Hurley, Farley "Jackmaster" Funk, Marshall Jefferson, Phuture, and others. House music expanded to other American cities such as New York City and became a worldwide phenomenon.


title: House music

text: House has had a large effect on pop music, especially dance music. It was incorporated by major international pop artists including Whitney Houston, Janet Jackson ("Together Again"), Kylie Minogue, Pet Shop Boys and Madonna ("Vogue"), but also produced some mainstream hits on its own, such as "French Kiss" by Lil Louis, "Show Me Love" by Robin S. or "Push the Feeling On" by the Nightcrawlers. Many house DJs also did and continue to do remixes for pop artists. House music has remained popular on radio and in clubs while retaining a foothold on the underground scenes across the globe.


title: House music

text: In its most typical form, the genre is characterized by repetitive 4/4 rhythms including bass drums, off-beat hi-hats, snare drums, claps, and/or snaps at a tempo of between 115 and 125 beats per minute (bpm), synthesizer riffs, deep basslines, and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is usually sounded on beats one, two, three, and four, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drum beats in house music are almost always provided by an electronic drum machine, often a Roland TR-808, TR-909, or a TR-707. Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation. One of the signature rhythm riffs, especially in early (Chicago) house, is built on the clave pattern. Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel.


title: House music

text: Sometimes, the drum sounds are "saturated" by boosting the gain to create a more aggressive edge. One classic subgenre, acid house, is defined through the squelchy sounds created by the Roland TB-303 bass synthesizer. House music could be produced on "cheap and consumer-friendly electronic equipment" and used sound gear, which made it easier for independent labels and DJs to create tracks. The electronic drum machines and other gear used by house DJs and producers were formerly considered "too cheap-sounding" by "proper" musicians. House music producers typically use sampled instruments, rather than bringing in session musicians into a recording studio. Even though a key element of house production is layering sounds, such as drum machine beats, samples, synth basslines, and so on, the overall "texture...is relatively sparse". Unlike pop songs, which emphasize higher-pitched sounds, such as melody, in house music, the lower-pitched bass register is most important.


title: House music

text: House tracks typically involve an intro, a chorus, various verse sections, a midsection and a brief outro. Some tracks do not have a verse, taking a vocal part from the chorus and repeating the same cycle. House music tracks are often based on eight-bar sections which are repeated. They are often built around bass-heavy loops or basslines produced by a synthesizer and/or around samples of disco, soul, jazz-funk or funk songs. DJs and producers creating a house track to be played in clubs edit a "seven or eight-minute 12-inch mix"; if the track is intended to be played on radio, a "three-and-a-half-minute" radio edit is used. House tracks build up slowly, by adding layers of sound and texture, and by increasing the volume.


title: House music

text: House tracks may have vocals like a pop song, but some are "completely minimal instrumental music". If a house track does have vocals, the vocal lines may also be simple "words or phrases" that are repeated.


title: House music

text: One 2009 book states the name house music originated from a Chicago club called the Warehouse, which existed from 1977 to 1983. Clubbers to the Warehouse were primarily black, gay men, who came to dance to music played by the club's resident DJ Frankie Knuckles, who fans refer to as the "godfather of house". Frankie began the trend of splicing together different records when he found that the records he had were not long enough to satisfy his audience of dancers. After the Warehouse closed in 1983, the crowds went to Knuckles' new club, "The Power Plant", while the club was renamed into "Music Box" with Ron Hardy being resident DJ.


title: House music

text: In the Channel 4 documentary "Pump Up the Volume", Knuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side. One of the people in the car with him joked, "you know that's the kind of music you play down at the Warehouse!". South-Side Chicago DJ Leonard "Remix" Rroy, in self-published statements, claims he put such a sign in a tavern window because it was where he played music that one might find in one's home; in his case, it referred to his mother's soul and disco records, which he worked into his sets. The documentary also explored how house music was something that anyone could do. Mostly the documentary looks at some of the DJs from that genre, and how they stumbled into the music.


title: House music

text: Farley "Jackmaster" Funk was quoted as saying "In 1982, I was DJing at a club called The Playground and there was this kid named Leonard 'Remix' Rroy who was a DJ at a rival club called The Rink. He came over to my club one night, and into the DJ booth and said to me, 'I've got the gimmick that's gonna take all the people out of your club and into mine – it's called House music.' Now, where he got that name from or what made him think of it I don't know, so the answer lies with him."


title: House music

text: Chip E.'s 1985 recording "It's House" may also have helped to define this new form of electronic music. However, Chip E. himself lends credence to the Knuckles association, claiming the name came from methods of labeling records at the Importes Etc. record store, where he worked in the early 1980s: bins of music that DJ Knuckles played at the Warehouse nightclub were labelled in the store "As Heard at the Warehouse", which was shortened to simply "House". Patrons later asked for new music for the bins, which Chip E. implies was a demand the shop tried to meet by stocking newer local club hits.


title: House music

text: In a 1986 interview, when Rocky Jones, the club DJ who ran the D.J. International record label, was asked about the "house" moniker, he did not mention Importes Etc., Frankie Knuckles, or the Warehouse by name. However, he agreed that "house" was a regional catch-all term for dance music, and that it was once synonymous with older disco music, before it became a way to refer to "new" dance music.


title: House music

text: Larry Heard, a.k.a. "Mr. Fingers", claims that the term "house" came from DJs creating music in home studios using affordable synthesizers and drum machines, such as the Roland TB-303, Roland TR-808, and TR-909. These synthesizers were used to create the acid house subgenre. Juan Atkins, an originator of Detroit techno, claims the term "house" reflected the association of particular tracks with particular clubs and DJs, considered their "house" records.


title: House music

text: At least three styles of dancing are associated with house music: jacking, footwork, and lofting. These styles include a variety of techniques and sub-styles, including skating, stomping, vosho, pouting cat and shuffle steps (also see Melbourne shuffle). House music dancing styles can include movements from many other forms of dance, such as waacking, voguing, capoeira, jazz dance, Lindy Hop, tap dance, and even modern dance. House dancing is associated with a complete freedom of expression.


title: House music

text: One of the primary elements in house dancing is "the jack" or "jacking" — a style created in the early days of Chicago house that left its trace in numerous record titles such as "Time to Jack" by Chip E. from the "Jack Trax" EP (1985), "Jack’n the House" (1985) by Farley "Jackmaster" Funk (1985) or "Jack Your Body" by Steve "Silk" Hurley (1986). It involves moving the torso forward and backward in a rippling motion matching the beat of the music, as if a wave were passing through it.


title: House music

text: Early house lyrics contained positive, uplifting messages for all people, from every different walk of life but spoke especially to those who were considered to be outsiders, especially African-Americans, Latinos, and the gay subculture. The house music dance scene was one of the most integrated and progressive spaces in the 1980s; the black and gay populations, as well as other minority groups, were able to dance together in a positive environment.


title: House music

text: House music DJs aimed to create a "dream world of emotions" with "stories, keywords and sounds", which helped to "glue" communities together. Many house tracks encourage the audience to "release yourself" or "let yourself go", which is further encouraged by the continuous dancing, "incessant beat", and use of club drugs, which can create a trance-like effect on dancers. Frankie Knuckles once said that the Warehouse club in Chicago was like "church for people who have fallen from grace". House record producer Marshall Jefferson compared it to "old-time religion in the way that people just get happy and screamin'". The role of a house DJ has been compared to a "secular type of priest".


title: House music

text: Some house lyrics contained messages calling for equality, unity and freedom of expression beyond racial or sexual differences (e.g. "Can You Feel It" by Fingers Inc., 1987, or "Follow Me" by Aly-Us, 1992). Later on in the 1990s, but autonomous from the Chicago scene, the idea of Peace, Love, Unity & Respect (PLUR) became a widespread set of principles for the rave culture.


title: House music

text: One of the main influences of house was disco; house music having been defined as a genre which "...picked up where disco left off in the late 1970's." Like disco DJs, house DJs used a "slow mix" to "lin[k] records together" into a mix. In the post-disco club culture during the early 1980s, DJs from the gay scene made their tracks "less pop-oriented", with a more mechanical, repetitive beat and deeper basslines, and many tracks were made without vocals, or with wordless melodies. Disco became so popular by the late 1970s that record companies pushed even non-disco artists (R&B bands, for example) to produce disco songs. When the backlash against disco started, known as "Disco Demolition Night", dance music went from being produced by major label studios to being created by DJs in the underground club scene.


title: House music

text: While disco was associated with lush orchestration, with string orchestra, flutes and horn sections, various disco songs incorporated sounds produced with synthesizers and electronic drum machines, and some compositions were entirely electronic; examples include Italian composer Giorgio Moroder's late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, Kraftwerk's "'The Man-Machine" album from 1978, Cerrone's "Supernature" (1977), Yellow Magic Orchestra's synth-disco-pop productions from "Yellow Magic Orchestra" (1978) or "Solid State Survivor" (1979), and several early 1980s productions by hi-NRG groups like Lime, Trans-X and Bobby O.


title: House music

text: Also important for the development of house were audio mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, record producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, M & M, and others.


title: House music

text: While most post-disco disc jockeys primarily stuck to playing their conventional ensemble and playlist of dance records, Frankie Knuckles and Ron Hardy, two influential DJs of house music, were known for their unusual and non-mainstream playlists and mixing. Knuckles was influenced by and worked with New York City club Paradise Garage resident Larry Levan. Knuckles, often credited as "the Godfather of House" and resident DJ at the Warehouse from 1977 to 1982, worked primarily with early disco music with a hint of new and different music (whether it was post-punk or post-disco). Knuckles started out as a disco DJ, but when he moved from New York City to Chicago, he changed from the typical disco mixing style of playing records one after another; instead, he mixed different songs together, including Philadelphia soul, New York club tracks, and Euro disco. He also explored adding a drum machine and a reel-to-reel tape player so he could create new tracks, often with a boosted deep register and faster tempos. Knuckles said: "Kraftwerk were main components in the creation of house music in Chicago. Back in the early 80s, I mixed our 80s Philly sound with the electro beats of Kraftwerk and the Electronic body music bands of Europe."


title: House music

text: Ron Hardy produced unconventional DIY mixtapes which he later played straight-on in the successor of the Warehouse, the Music Box (reopened and renamed in 1983 after Knuckles left). Like Frankie Knuckles, Hardy "combined certain sounds, remixing tracks with added synths and drum machines", all "refracted through the futurist lens of European music." Marshall Jefferson, who would later appear with the 1986 house classic "Move Your Body (The House Music Anthem)" (originally released on Trax Records), describes how he got involved in house music after hearing Ron Hardy's music in the Music Box:


title: House music

text: A precursor to house music is the Colonel Abrams hit song "Trapped", produced by Richard James Burgess in 1984, referred to as a proto-house track and a precursor to garage house.


title: House music

text: Rachel Cain, better known as Screamin Rachael, co-founder of the highly influential house label Trax Records, was previously involved in the burgeoning punk scene. Cain cites industrial music (another genre pioneered in Chicago) and post-punk record store Wax Trax! Records (later a record label) as an important connection between the ever-changing underground sounds of Chicago.


title: House music

text: The electronic instrumentation and minimal arrangement of Charanjit Singh's "" (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century. According to Hillegonda C. Rietveld, "elements of hip hop and rap can be found in contemporary house tracks", with hip hop acting as an "accent or inflection" that is inserted into the house sound.


title: House music

text: The constant bass drum in house music may have arisen from DJs experimenting with adding drum machines to their live mixes at clubs, underneath the records they were playing.


title: House music

text: In the early 1980s, Chicago radio jocks Hot Mix 5 from WBMX radio station (among them Farley "Jackmaster" Funk), and club DJs Ron Hardy and Frankie Knuckles played a range of styles of dance music, including older disco records (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, Arthur Baker, and John Robie, and electronic pop. Some DJs made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in electronic effects, drum machines, synthesizers and other rhythmic electronic instrumentation.


title: House music

text: The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had typical elements of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland TR-808 drum machine and a Korg Poly-61 synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979). "On and On" is sometimes cited as the 'first house record', even though it was a remake of a Disco Bootleg "On and On" by Florida producer Mach. Other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited to be the first house tracks.


title: House music

text: Starting in 1985 and 1986, more and more Chicago DJs began producing and releasing original compositions. These compositions used newly affordable electronic instruments and enhanced styles of disco and other dance music they already favored. These homegrown productions were played on Chicago radio stations and in local clubs catering mainly to Black, Mexican Americans, and gay audiences. By 1985, house music encompassed these locally produced recordings. Subgenres of house, including deep house and acid house, quickly emerged and gained traction.


title: House music

text: Deep house's origins can be traced to Chicago producer Mr Fingers's relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986). According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music.


title: House music

text: Acid house, a rougher and more abstract subgenre, arose from Chicago artists' experiments with the squelchy sounds of the Roland TB-303 bass synthesizer that define the genre. Its origin on vinyl is generally cited as Phuture's "Acid Tracks" (Trax Records, 1987). Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context. The group's 12-minute "Acid Tracks" was recorded to tape and played by DJ Ron Hardy at the Music Box, supposedly already in 1985. Hardy once played it four times over the course of an evening until the crowd responded favorably.


title: House music

text: Club play of house tracks by pioneering Chicago DJs such as Ron Hardy and Lil Louis, local dance music record shops such as Importes Etc., State Street Records, Loop Records, Gramaphone Records and the popular Hot Mix 5 shows on radio station WBMX-FM helped popularize house music in Chicago. Later, visiting DJs and producers from Detroit fell into the genre. Trax Records and DJ International Records, Chicago labels with wider distribution, helped popularize house music inside and outside of Chicago.


title: House music

text: The first major success of house music outside the U.S. is considered to be Farley "Jackmaster" Funk's "Love Can't Turn Around" (feat. Jesse Saunders and performed by Darryl Pandy), which peaked at #10 in the UK singles chart in 1986. Around that time, UK record labels started releasing house music by Chicago acts, but as the genre grew popular, the UK itself became one of the new hot spots for house, acid house and techno music, experiencing the so-called second summer of love between 1988 and 1989.


title: House music

text: In Detroit during the early and mid-1980s, a new kind of electronic dance music began to emerge around Juan Atkins, Derrick May and Kevin Saunderson, known as the Belleville Three. The artists fused eclectic, futuristic sounds into a signature Detroit dance sound that was a main influence for the later techno genre. Their music included strong influences from Chicago house, although the term "house" played a less important role in Detroit than in Chicago, and the term "techno" was established instead. One of their most successful hits was a vocal house track named "Big Fun" by Inner City, a group produced by Kevin Saunderson, in 1988.


title: House music

text: Another important and even earlier influence on the Detroit artists was electronic music in the tradition of Germany's Kraftwerk. Atkins had released electro music in that style with his group Cybotron as early as 1981. Cybotron's best known songs are "Cosmic Cars" (1982) and "Clear" (1983); a 1984 release was titled "Techno City". In 1988, Atkins produced the track "Techno Music" that was featured on an influential compilation initially planned to be named "The House Sound of Detroit", but renamed into "Techno! The New Dance Sound of Detroit" after Atkins' song.


title: House music

text: The 1987 song "Strings of Life" by Derrick May (under the name Rhythm Is Rhythm) represented a darker, more intellectual strain of early Detroit electronic dance music. It is considered a classic in both the house and techno genre and shows the connection as well as the "boundary between house and techno." It made way to what was later known as "techno" in the internationally known sense of the word, referring to a harder, faster, colder, more machine-driven and minimal sound than house, as played by Detroit's Underground Resistance and Jeff Mills.


title: House music

text: With house music already important in the 1980s dance club scene, eventually house penetrated the UK singles chart. London DJ "Evil" Eddie Richards spun at dance parties as resident at the Clink Street club. Richards' approach to house focuses on the deep basslines. Nicknamed the UK's "Godfather of House", he and Clink co-residents Kid Batchelor and Mr. C played a key role in early UK house. House first charted in the UK in Wolverhampton following the success of the Northern Soul scene. The record generally credited as the first house hit in the UK was Farley "Jackmaster" Funk's "Love Can't Turn Around", which reached #10 in the UK singles chart in September 1986.


title: House music

text: In January 1987, Chicago DJ/artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK, showing it was possible for house music to achieve crossover success in the main singles chart. The same month also saw Raze enter the top 20 with "Jack the Groove", and several further house hits reached the top ten that year. Stock Aitken Waterman (SAW) expensively-produced productions for Mel and Kim, including the number-one hit "Respectable", added elements of house to their previous Europop sound. SAW session group Mirage scored top-ten hits with "Jack Mix II" and "Jack Mix IV", medleys of previous electro and Europop hits rearranged in a house music style. Key labels in the rise of house music in the UK included:


title: House music

text: In March 1987, the UK tour of influential US DJs such as Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis, on the DJ International Tour boosted house's popularity in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, in 1987 to 1989, UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opened the doors to house music success on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound. Many of the early hits were based on sample montage, and unlike the US soulful vocals, in UK house, rap was often used for vocals (far more than in the US), and humor and wit was an important element.


title: House music

text: The second best-selling British single of 1988 was an acid house record, the Coldcut-produced "The Only Way Is Up" by Yazz. One of the early club anthems, "Promised Land" by Joe Smooth, was covered and charted within a week by UK band The Style Council. Europeans embraced house, and began booking important American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in US pioneer Larry Levan.


title: House music

text: The house music club scene in cities such as Birmingham, Leeds, Sheffield, Wolverhampton and London were provided with dance tracks by many underground Pirate Radio stations. Club DJs also brought in new house styles, which helped bolster this music genre. The earliest UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain. These labels also promoted UK dance music acts. By the end of the 1980s, UK DJs Jenö, Thomas, Markie and Garth moved to San Francisco, and called their group the Wicked Crew. The Wicked Crew's dance sound transmitted UK styles to the US, which helped to trigger the birth of the US west coast's rave scene.


title: House music

text: The manager of Manchester's Factory nightclub and co-owner of The Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The UK midlands also embraced the late 1980s house scene with illegal parties and raves and more legal dance clubs such as The Hummingbird.


title: House music

text: While the acid house hype spawned to the UK and Europe, in Chicago itself it reached its peak around 1988 and then declined in popularity. Instead, a crossover of house and hip-hop music, known as hip house, became popular. Tyree Cooper's single "Turn Up the Bass" featuring Kool Rock Steady from 1988 was an influential breakthrough for this subgenre, although the British trio the Beatmasters claimed having invented the genre with their 1986 release "Rok da House". Another notable figure in the hip house scene was Fast Eddie with "Hip House" and "Yo Yo Get Funky!" (both 1988). Even Farley "Jackmaster" Funk engaged himself in the genre, releasing "Free at Last", a song to free James Brown from jail, featuring The Hip House Syndicate, in 1989, and producing a "Real Hip House" compilation on his label House Records in 1990.


title: House music

text: The early 1990s saw new Chicago house artists emerge, such as Armando Gallop, who had released seminal acid house records since 1987, but became even more influential by co-founding the new Warehouse nightclub in Chicago (on 738 W. Randolph Street) in which he also was resident DJ from 1992 until 1994, and founding Warehouse Records in 1988.


title: House music

text: Another important figure during the early to mid-1990s (until the 2000s) was DJ and producer Paul Johnson, who released the Warehouse-anthem "Welcome to the Warehouse" on Armando's label in 1994 in collaboration with Armando himself. He also had part in the development of an entirely new kind of Chicago house sound, "ghetto house", which was prominently released and popularized through the Dance Mania record label. It was originally founded by Jesse Saunders in 1985 but passed on to Raymond Barney in 1988. It featured notable ghetto house artists like DJ Funk, DJ Deeon, DJ Milton, Paul Johnson and others. The label is regarded as hugely influential in the history of Chicago house music, and has been described as "ghetto house's Motown".


title: House music

text: One of the prototypes for Dance Mania's new ghetto house sound was the single "(It's Time for the) Percolator" by Cajmere, also known as Green Velvet, from 1992. Cajmere started the labels Cajual Records and Relief Records, the latter combining the sound of Chicago, acid and ghetto house with the harder sound of techno. By the early 1990s, artists of note on those two labels included Dajae, DJ Sneak, Derrick Carter, DJ Rush, Paul Johnson, Joe Lewis, and Glenn Underground.


title: House music

text: While house conquered UK and continental Europe, the scene in the U.S. had still not progressed beyond a small number of clubs in Chicago, Detroit, New York City, and Newark. In New York and Newark, the terms "garage house", "garage music", or simply "garage", and "Jersey sound", or "New Jersey house", were coined for a deeper, more soulful, R&B-derived subgenre of house that was developed in the Paradise Garage nightclub in New York City and Club Zanzibar in Newark, New Jersey, during the early-to-mid 1980s. It is argued that garage house predates the development of Chicago house, as it is relatively closer to disco than other dance styles. As Chicago house gained international popularity, New York's and New Jersey's music scene was distinguished from the "house" umbrella.


title: House music

text: In comparison to other forms of house music, garage house and Jersey sound include more gospel-influenced piano riffs and female vocals. The genre was popular in the 1980s in the United States and the 1990s in the United Kingdom. DJs playing it include Tony Humphries at Club Zanzibar, Larry Levan, who was resident DJ at the Paradise Garage from 1977 to 1987, Todd Terry, Kerri Chandler, Masters at Work, Junior Vasquez and others.


title: House music

text: In the late 1980s, Nu Groove Records launched and nurtured the careers of Rheji Burrell and Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez). Nu Groove also had a stable of other NYC underground scene DJs. The Burrell's created the "New York Underground" sound of house, and they did more than 30 releases on this label featuring this sound.


title: House music

text: The emergence of New York's DJ and producer Todd Terry in 1988 demonstrated the continuum from the underground disco approach to a new and commercially successful house sound. Terry's cover of Class Action's "Weekend" (mixed by Larry Levan) shows how Terry drew on newer hip-hop influences, such as the quicker sampling and the more rugged basslines.


title: House music

text: House was also being developed by DJs and record producers in the booming dance club scene in Ibiza notably when DJ Alfredo, the father of Balearic house, began his residency at Amnesia in 1983. While no house artists or labels came from this tiny island at the time, mixing experiments and innovations done by Ibiza DJs helped to influence the house style. By the mid-1980s a distinct Balearic mix of house was discernible. Several influential clubs in Ibiza, such as Amnesia, with DJ Alfredo at the decks, were playing a mix of rock, pop, disco and house. These clubs, fuelled by their distinctive sound and copious consumption of the club drug Ecstasy (MDMA), began to influence the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to key UK clubs such as the Haçienda in Manchester. Ibiza influences also spread to DJs working London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.


title: House music

text: By the late 1980s, house DJing and production had moved to the US's west coast, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw an explosion of underground raves, where DJs mixed dance tracks. L.A. DJs Marques Wyatt and Billy Long spun at Jewel's Catch One. In 1989, the L.A.-based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records. Ozn released the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House", which garnered club and mix show radio play in Chicago, Detroit and New York as well as in the UK and France. The record went up to number five on the "Billboard" Club Chart, marking it as the first house record by a white (Caucasian) artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, did his first releases in 1990, using a jazz-based deep house style. The Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records in the US, Polydor in the UK), featuring Ozn's lush, crooning vocals and jazzy improvisational solos by muted trumpet, underscored deep house's progression into a genre that integrated jazz and pop songwriting and song forms (unlike acid house and techno). The Twilight Zone (1980–89) located on Richmond Street in Toronto's entertainment district was the first after hours club to regularly feature New York and Chicago DJs that first spun house music in Canada. The venue would prove to be the first international gig destination for both Frankie Knuckles and David Morales. One of the club's owners, Tony Assoon, would make regular trips to New York in order to purchase funk, underground disco and house records to dish out on his regular Saturday night slot.


title: House music

text: In Britain, further experiments in the genre boosted its appeal. House and rave clubs such as Lakota and Cream emerged across Britain, hosting house and dance scene events. The 'chilling out' concept developed in Britain with ambient house albums such as The KLF's "Chill Out" and "Analogue Bubblebath" by Aphex Twin. The Godskitchen superclub brand also began in the midst of the early 1990s rave scene. After initially hosting small nights in Cambridge and Northampton, the associated events scaled up at the Sanctuary Music Arena in Milton Keynes, in Birmingham and in Leeds. A new indie dance scene also emerged in the 1990s. In New York, bands such as Deee-Lite, with Bootsy Collins, furthered house's international influence.


title: House music

text: In England, one of the few licensed venues was the Eclipse, which attracted people from up and down the country as it was open until the early hours. Due to the lack of licensed, legal dance event venues, house music promoters began organising illegal events in unused warehouses, aeroplane hangars and in the countryside. The Criminal Justice and Public Order Act 1994 was a government attempt to ban large rave dance events featuring music with "repetitive beats", due to law enforcement allegations that these events were associated with illegal club drugs. There were a number of "Kill the Bill" demonstrations by rave and electronic dance music fans. The Spiral Tribe dance event at Castle Morten was the last of these illegal raves, as the bill, which became law, in November 1994, made unauthorised house music dance events illegal in the UK. Despite the new law, the music continued to grow and change, as typified by Leftfield with "Release the Pressure", which introduced dub and reggae into the house sound.


title: House music

text: A new generation of clubs such as Liverpool's Cream and the Ministry of Sound were opened to provide a venue for more commercial house sounds. Major record companies began to open "superclubs" promoting their own groups and acts. These superclubs entered into sponsorship deals initially with fast food, soft drink, and clothing companies. Flyers in clubs in Ibiza often sported many corporate logos from sponsors. A new subgenre, Chicago hard house, was developed by DJs such as Bad Boy Bill, DJ Lynnwood, and DJ Irene, Richard "Humpty" Vission, mixing elements of Chicago house, funky house and hard house. Additionally, producers such as George Centeno, Darren Ramirez, and Martin O. Cairo developed the Los Angeles Hard House sound. Similar to gabber or hardcore techno from the Netherlands, this was associated with the "rebel", underground club subculture of the time.


title: House music

text: Towards the end of the 1990s and into the 2000s, French DJ/producers such as Daft Punk, Bob Sinclar, Stardust, Cassius, St. Germain and DJ Falcon began producing a new sound in Paris' club scene. Together, they laid the groundwork for what would be known as the French house movement. They combined the harder-edged-yet-soulful philosophy of Chicago house with the melodies of obscure funk records. By using state-of-the-art digital production techniques blended with the retro sound of old-school analog synthesizers, they created a new sound and style which influenced house music around the world.


title: House music

text: Chicago Mayor Richard M. Daley proclaimed 10 August 2005 to be "House Unity Day" in Chicago, in celebration of the "21st anniversary of house music" (actually the 21st anniversary of the founding of Trax Records, an independent Chicago-based house label). The proclamation recognized Chicago as the original home of house music and that the music's original creators "were inspired by the love of their city, with the dream that someday their music would spread a message of peace and unity throughout the world". DJs such as Frankie Knuckles, Marshall Jefferson, Paul Johnson and Mickey Oliver celebrated the proclamation at the Summer Dance Series, an event organized by Chicago's Department of Cultural Affairs.