title: Moral panic

text: There have been calls to regulate violence in video games for nearly as long as the video game industry has existed, with "Death Race" being a notable early example. In the 1990s, improvements in video game technology allowed for more lifelike depictions of violence in games such as "Mortal Kombat" and "Doom". The industry attracted controversy over violent content and concerns about effects they might have on players, generating frequent media stories that attempted to associate video games with violent behavior, in addition to a number of academic studies that reported conflicting findings about the strength of correlations. According to Christopher Ferguson, sensationalist media reports and the scientific community unintentionally worked together in "promoting an unreasonable fear of violent video games". Concerns from parts of the public about violent games led to cautionary, often exaggerated news stories, warnings from politicians and other public figures, and calls for research to prove the connection, which in turn led to studies "speaking beyond the available data and allowing the promulgation of extreme claims without the usual scientific caution and skepticism".


title: Moral panic

text: Since the 1990s, there have been attempts to regulate violent video games in the United States through congressional bills as well as within the industry. Public concern and media coverage of violent video games reached a high point following the Columbine High School massacre in 1999, after which videos were found of the perpetrators, Eric Harris and Dylan Klebold, talking about violent games like "Doom" and making comparisons between the acts they intended to carry out and aspects of games.


title: Moral panic

text: Ferguson and others have explained the video game moral panic as part of a cycle that all new media go through. In 2011, the U.S. Supreme Court ruled in "Brown v. Entertainment Merchants Association" that legally restricting sales of video games to minors would be unconstitutional and deemed the research presented in favour of regulation, as "unpersuasive".


title: Moral panic

text: Some critics have pointed to moral panic as an explanation for the War on Drugs. For example, a Royal Society of Arts commission concluded that "the Misuse of Drugs Act 1971 ... is driven more by 'moral panic' than by a practical desire to reduce harm".


title: Moral panic

text: Some have written that one of the many rungs supporting the moral panic behind the War on Drugs was a separate but related moral panic, which peaked in the late 1990s, involving media's gross exaggeration of the frequency of the surreptitious use of date rape drugs. News media have been criticized for advocating "grossly excessive protective measures for women, particularly in coverage between 1996 and 1998", for overstating the threat and for excessively dwelling on the topic. For example, a 2009 Australian study found that drug panel tests were unable to detect any drug in any of the 97 instances of patients admitted to the hospital believing their drinks might have been spiked.


title: Moral panic

text: The media narrative of a sex offender, highlighting egregious offenses as typical behaviour of any sex offender, and media distorting the facts of some cases, has led legislators to attack judicial discretion, making sex offender registration mandatory based on certain listed offenses rather than individual risk or the actual severity of the crime, thus practically catching less serious offenders under the domain of harsh sex offender laws. In the 1990s and 2000s, there have been instances of moral panics in the United Kingdom and the United States, related to colloquial uses of the term pedophilia to refer to such unusual crimes as high-profile cases of child abduction.


title: Moral panic

text: The moral panic over pedophilia began in the 1970s after the sexual revolution. While homosexuality was becoming more socially accepted after the sexual revolution, pro-contact pedophiles believed that the sexual revolution never helped pro-contact pedophiles. In the 1970s, pro-contact pedophile activist organizations such as Paedophile Information Exchange (PIE) and North American Man/Boy Love Association (NAMBLA) were formed in October 1974 and December 1978, respectively. Despite receiving some support, PIE received much backlash when they advocated for abolishing or lowering age of consent laws. As a result, people protested against PIE.


title: Moral panic

text: Until the first half of the 1970s, sex was not yet part of the concept of domestic child abuse, which used to be limited to physical abuse and neglect. The sexual part of child abuse became prominent in the United States due to the encounter of two political agendas: the fight against battered child syndrome by pediatricians during the 1960s and the feminist anti-rape movement, in particular the denunciation of domestic sexual violence. These two movements overlapped in 1975, creating a new political agenda about child sexual abuse. Laura Lowenkron wrote: "The strong political and emotional appeal of the theme of 'child sexual abuse' strengthened the feminist criticism of the patriarchal family structure, according to which domestic violence is linked to the unequal power between men and women and between adults and children." Although the concern over child sexual abuse was caused by feminists, the concern over child sexual abuse also attracted traditional groups and conservative groups. Lowenkron added: "Concerned about the increasing expansion and acceptance of so-called 'sexual deviations' during what was called the libertarian age from the 1960s to the early 1970s", conservative groups and traditional groups "saw in the fight against 'child sexual abuse' the chance" to "revive fears about crime and sexual dangers".


title: Moral panic

text: In the 1980s, the media began to report more frequently on cases of children being raped, kidnapped, or murdered, leading to the moral panic over sex offenders and pedophiles becoming very intense in the early 1980s. In 1981, for instance, a six-year-old boy named Adam Walsh was abducted, murdered, and beheaded. Investigators believe the murderer was serial killer Ottis Toole. The murder of Adam Walsh took over nationwide news and led to a moral panic over child abduction, followed by the creation of new laws for missing children. According to criminologist Richard Moran, the Walsh case "created a nation of petrified kids and paranoid parents ... Kids used to be able to go out and organize a stickball game, and now all playdates and the social lives of children are arranged and controlled by the parents."


title: Moral panic

text: Also during the 1980s, inaccurate and heavily flawed data about sex offenders and their recidivism rates was published. This data led to the public believing sex offenders to have a particularly high recidivism rate; this in turn led to the creation of sex offender registries. Later information revealed that sex offenders, including child sex offenders, have a low recidivism rate. Other highly publicized cases, similar to the murder of Adam Walsh, that contributed to the creation of sex offender registries and sex offender laws include the abduction and murder of 11-year-old boy Jacob Wetterling in 1989; the rape and murder of 7-year-old girl Megan Kanka in 1994; and the rape and murder of 9-year-old girl Jessica Lunsford in 2005.


title: Moral panic

text: Another contributing factor in the moral panic over pedophiles and sex offenders was the day-care sex-abuse hysteria in the 1980s and early 1990s, including the McMartin preschool trial. This led to a panic where parents became hypervigilant with concerns of predatory child sex offenders seeking to abduct children in public spaces, such as playgrounds.


title: Moral panic

text: Society's opinion on sex offenders is generally extremely negative, with sex offenders being one of the most hated types of people in society. According to Daniel J. Wood: "Many studies have been conducted to evaluate the public's attitude toward sex offenders and most, to put it bluntly, would like to torture them before they are sentenced to death." Similarly, pedophiles and child molesters are also some of the most hated types of people in society. Pedophilia in particular is extremely despised, which some have referred to as a social stigma. One study reported high levels of anger, fear and social rejection towards pedophiles who have not committed a crime. Moreover, some surveys have ranked child sexual abuse as morally worse than murder.


title: Moral panic

text: There was a moral panic in reaction to a series of horse maimings in southern England during the 1990s, extensively reported in the tabloid and broadsheet press. In the United States, the Enumclaw horse sex case triggered an anti-bestiality frenzy, leading to intense demand for bestiality law in the state of Washington, with stories published on the internet drumming up a moral panic in a wider audience.


title: Moral panic

text: Scholars have described aspects of public discourse on gender, homosexuality, and transgender children as being part of a moral panic. The transgender military ban in the United States enacted by president Donald Trump has been described as an effort to advance this moral panic. Anti-LGBT rhetoric and the anti-gender movement in Latin America and Poland have similarly been described as a moral panic.


title: Moral panic

text: Many critics of contemporary anti-prostitution activism argue that much of the current concern about human trafficking and its more general conflation with prostitution and other forms of sex work have hallmarks of moral panic. They further argue that this moral panic shares much in common with the 'white slavery' panic of a century earlier, which in the US prompted passage of the 1910 "Mann Act". Nick Davies argues that the following major factors contributed towards this effect. Since the collapse of Communism, Western Europe was flooded with sex workers from Eastern Europe, and the term "sex trafficking" came to mean any organized movement of sex workers, losing the connotation of force and coercion. This change of the definition entered, e.g., into the UK's Sexual Offences Act 2003. Second, academic researchers on sex trade provided a range of estimates of the trafficked persons, including estimates based on various assumptions, up to the very pessimistic ones. The media picked the most alarmist numbers, which were uncritically used by politicians, who in their turn were quoted for further misleading information.


title: Moral panic

text: After the September 11 attacks in 2001, some scholars identified a rising fear of Muslims in the western world, which they described as a moral panic. This exaggeration of the threat posed by Islam served a political purpose, contributing to the concept of a global war on terror, including the war in Afghanistan and a war in Iraq.


title: Moral panic

text: Following the September 11 attacks, there was a dramatic increase in hate crimes against Muslims and Arabs in the United States, with rates peaking in 2001 and later surpassed in 2016.


title: Moral panic

text: QAnon, a late-2010s to early 2020s far-right conspiracy theory that began on 4chan and which alleged that a secret cabal of Satan-worshipping, cannibalistic pedophiles is running a global child sex-trafficking ring, has been described as a moral panic and compared to the 1980s panic over satanic ritual abuse.


title: Moral panic

text: In the early 2020s, primarily in the US, there has been what has been described as a moral panic about what is referred to as critical race theory (CRT), particularly about it allegedly being taught in elementary schools. As of June 2021, 7 US states have passed laws intended to ban CRT from being taught in public schools, and similar laws have been proposed in 13 more US states. This is despite the fact that CRT is taught in law schools and universities, and not at the grade-school level. There have been efforts to ban books from public school curriculum, such as "Beloved" by Toni Morrison and "Maus" by Art Spiegelman, because of their depictions of American slavery and the Holocaust. In 2022, Florida Governor Ron DeSantis pushed and passed a law allowing parents to sue schools that they view as teaching CRT, which he referred to as a “pernicious ideology”.


title: Moral panic

text: Paul Joosse has argued that while classic moral panic theory styled itself as being part of the "sceptical revolution" that sought to critique structural functionalism, it is actually very similar to Émile Durkheim's depiction of how the collective conscience is strengthened through its reactions to deviance (in Cohen's case, for example, "right-thinkers" use folk devils to strengthen societal orthodoxies). In his analysis of Donald Trump's victory in the 2016 United States presidential election, Joosse reimagined moral panic in Weberian terms, showing how charismatic moral entrepreneurs can at once deride folk devils in the traditional sense while avoiding the conservative moral recapitulation that classic moral panic theory predicts. Another criticism is that of disproportionality: there is no way to measure what a proportionate reaction should be to a specific action.


title: Moral panic

text: Writing in 1995 about the moral panic that arose in the UK after a series of murders by juveniles, chiefly that of two-year-old James Bulger by two 10-year-old boys but also including that of 70-year-old Edna Phillips by two 17-year-old girls, the sociologist Colin Hay pointed out that the folk devil was ambiguous in such cases; the child perpetrators would normally be thought of as innocent.


title: Moral panic

text: In 1995, Angela McRobbie and Sarah Thornton argued "that it is now time that every stage in the process of constructing a moral panic, as well as the social relations which support it, should be revised". Their argument is that mass media has changed since the concept of moral panic emerged so "that 'folk devils' are less marginalized than they once were", and that "folk devils" are not only castigated by mass media but supported and defended by it as well. They also suggest that the "points of social control" that moral panics used to rest on "have undergone some degree of shift, if not transformation".


title: Moral panic

text: British criminologist Yvonne Jewkes (2004) has also raised issue with the term "morality", how it is accepted unproblematically in the concept of "moral panic" and how most research into moral panics fails to approach the term critically but instead accepts it at face value. Jewkes goes on to argue that the thesis and the way it has been used fails to distinguish between crimes that quite rightly offend human morality, and thus elicit a justifiable reaction, and those that demonise minorities. The public are not sufficiently gullible to keep accepting the latter and consequently allow themselves to be manipulated by the media and the government.


title: Moral panic

text: Another British criminologist, Steve Hall (2012), goes a step further to suggest that the term "moral panic" is a fundamental category error. Hall argues that although some crimes are sensationalized by the media, in the general structure of the crime/control narrative the ability of the existing state and criminal justice system to protect the public is also overstated. Public concern is whipped up only for the purpose of being soothed, which produces not panic but the opposite, comfort and complacency.


title: Moral panic

text: Echoing another point Hall makes, sociologists Thompson and Williams (2013) argue that the concept of "moral panic" is not a rational response to the phenomenon of social reaction, but itself a product of the irrational middle-class fear of the imagined working-class "mob". Using as an example a peaceful and lawful protest staged by local mothers against the re-housing of sex-offenders on their estate, Thompson and Williams argue that the sensationalist demonization of the protesters by moral panic theorists and the liberal press was just as irrational as the demonization of the sex offenders by the protesters and the tabloid press.


title: Moral panic

text: Many sociologists and criminologists (Ungar, Hier, Rohloff) have revised Cohen's original framework. The revisions are compatible with the way in which Cohen theorizes panics in the third "Introduction to Folk Devils and Moral Panics".


title: ABS-CBN

text: ABS-CBN (an initialism of its two predecessors' names, Alto Broadcasting System and Chronicle Broadcasting Network) is a Philippine commercial broadcast network that serves as the flagship property of ABS-CBN Corporation, a company under Lopez Holdings Corporation owned by the López family. The network is headquartered at the ELJ Communications Center and ABS-CBN Broadcasting Center in Quezon City, with additional offices and production facilities in 25 major cities including Baguio, Naga, Bacolod, Iloilo, Cebu, Davao, and Bulacan, where ABS-CBN's production and post-production facility in Horizon IT Park is located. ABS-CBN is colloquially referred to as the Kapamilya" Network; the branding was originally introduced in 1999 and was officially introduced in 2003 during the celebration of its 50th anniversary and was used until its May 5, 2020 shutdown when the network's branding changed to Kapamilya Forever" in support for the network's franchise renewal on May 13, 2020. ABS-CBN is the largest media company in the country and oldest television broadcaster in Southeast Asia.


title: ABS-CBN

text: ABS-CBN is the first television network in Southeast Asia to broadcast in color, and one of the oldest commercial television broadcasters in Asia. It has also been the leading television network in the Philippines with advertising revenues of 21.2 billion pesos for the fiscal year of 2015. Throughout 2020, ABS-CBN suffered various legal challenges which resulted in the loss of the network's broadcast franchise, and consequently, the ability to broadcast on terrestrial television and radio.


title: ABS-CBN

text: Since the shutdown, the network rebranded itself as a mass content company, producing television programs, films and other entertainment content, through partnerships with independent production companies and broadcasters, including A2Z and TV5. The network's social media accounts are mainly managed by the ABS-CBN Digital Media, which have an estimated less than 100 million followers across multiple social media websites. The network's Entertainment YouTube channel is the most-subscribed and most-viewed channel in Southeast Asia, with over 36.7 million subscribers and over 44.1 billion views, ahead of Thailand's WorkpointTV.


title: ABS-CBN

text: Bolinao Electronics Corporation (BEC) was founded on June 13, 1946. BEC was established by James Lindenberg, one of the founding fathers of Philippine television, an American electronics engineer who went into radio equipment assembly and radio broadcasting. At that time, the largest media company was Manila Broadcasting Company (MBC), with DZRH as the leading radio station. In 1949, James Lindenberg shifted Bolinao to radio broadcasting with DZBC and masterminded the introduction of television to the country in 1953.


title: ABS-CBN

text: In 1951, Lindenberg partnered with Antonio Quirino, brother of then-Philippine President Elpidio Quirino, in order to try their hand at television broadcasting. In 1952, BEC was renamed as Alto Broadcasting System or ABS (with Alto Sales Corporation as its corporate name). "Alto" was a contraction of Quirino's and his wife's first names, Tony and Aleli. Though they had little money and resources, ABS was able to put up its TV tower by July 1953 and import some 300 television sets. The initial test broadcasts began in September of the same year. The very first full-blown broadcast was on October 23, 1953, of a party in Tony Quirino's humble abode. The television station was known as DZAQ-TV. The first program to air was a garden party at the Quirino residence in Sitio Alto, San Juan. After the premiere telecast, the station followed a four-hour-a-day schedule, from six to ten in the evening.


title: ABS-CBN

text: ABS-CBN's very first-ever television broadcast was on October 23, 1953, as Alto Broadcasting System (ABS) on DZAQ-TV, just 3 months after the first broadcast of Japan's NHK General TV and Nippon Television. It is also the first television network in Southeast Asia to broadcast in color, the first television network in the Philippines to formally launch a digital terrestrial television service, and the first broadcast television network in the Philippines to formally launch in HD.


title: ABS-CBN

text: The flagship television station of ABS-CBN was DWWX-TV (ABS-CBN TV-2 Manila). As such, the network was informally referred to as "Channel 2" or ""dos"" (Spanish for "two") even if the network was seen in other channel numbers elsewhere in the country. The network operated across the Philippine archipelago through the ABS-CBN Regional division which controlled 80 television stations. Its programs are also available outside the Philippines through the global subscription television channel The Filipino Channel (TFC) which is available in over three million paying households worldwide as well as terrestrially in Guam through KEQI-LD. From 2011 to 2020, the network had been on test broadcast for digital terrestrial television using the Japanese standard ISDB-T in select areas in the Philippines. It also partnered with KANTAR Media Inc. the ratings provider of ABS-CBN and other media entity. On October 3, 2015, ABS-CBN started to broadcast in high-definition through its affiliate direct-to-home cable and satellite television providers.


title: ABS-CBN

text: The ABS-CBN logo features three main elements, the vertical line rooted in a horizontal origin, the three extending circles, and the text ABS-CBN. The vertical line or bar represents a tower (broadcasting tower) as well as dignifying the company and representing its core business of broadcasting, with the circles symbolizing a transmitter tower's signals, and representing the red, green and blue or RGB colors which makes up a pixel shown on the television. The three island groups of the Philippines, Luzon, Visayas, and Mindanao, are also denoted by the three circles, as well as its wide presence, "range for imagination", and its "pioneering, embracing" spirit.


title: ABS-CBN

text: One unique thing about ABS-CBN's logo is that it also has a horizontal version, usually used to save space as the main vertical logo usually takes up more space than the horizontal one. The design of the horizontal version of the logo contains the ABS-CBN text, split into two parts, "ABS" and "CBN", without the dash connecting them, and ABS-CBN's iconic symbol squeezed in between them.


title: ABS-CBN

text: The first logo to have a horizontal version going by this design was the logo launched in 1986, the year they re-launched their operations after 14 years of hibernation under martial law and Marcos' authoritarian rule. From 1986 up until 2014, the elements of the horizontal logo, text, and symbol were evenly sized. In the 2014 version of the horizontal logo, the symbol of ABS-CBN was squeezed in between was slightly larger than the ABS (Alto Broadcasting System) and CBN (Chronicle Broadcasting Network) names.


title: ABS-CBN

text: Channel 2 was used as the frequency of the flagship station of ABS-CBN in Metro Manila from November 14, 1969, to September 23, 1972, and from September 14, 1986, to May 5, 2020. The network started using a channel logo with the "2" logo for use as a promotion from 1969 to 1972 with the slogan "The Family Channel".


title: ABS-CBN

text: After the closure of ABS-CBN due to the declaration of martial law, the DZAQ call sign and the channel 2 frequency were awarded to BBC as DWWX-TV from 1973 to 1986.


title: ABS-CBN

text: After the revival of ABS-CBN in 1986, the channel "2" logo is introduced into ABS-CBN in March. The features of the "2" logo rendered in Broadway typeface was a wing-shaped blue crest with a white curve at the top and a white line at the tail. This logo was used from 1986 to 1987 and had the slogan "Watch Us Do It Again!".


title: ABS-CBN

text: In March 1987, the first tri-ribbon "2" logo was laced with a rhomboidal star. It carried the slogan "The Star Network" when it aired as a station ID to reclaim its dominance in TV ratings. It was created using the Scanimate system the network took over from BBC-2. By 1988, the tri-ribbon was changed to red, green and blue stripes from the three white stripes it first used. The tri-ribbon logo showed a shooting star in the form of the number "2" in the idents which came out. Similarly, most numerical channel logos within this slogan have a star and versions came into regional TV channels - DYCB-TV 3 in Cebu, D-3-ZO-TV in Baguio, DYXL-TV 4 in Bacolod, DXAS-TV 4 in Davao and other regional stations. The tri-ribbon 2 was also used on microphone flags until the early 2000s.


title: ABS-CBN

text: The Sarimanok, a legendary bird in Philippine folklore, was first used in 1966 to identify color broadcasts, somewhat similar to how the NBC peacock has been utilized. In 1993, which happens to be the Chinese Year of the Rooster, ABS-CBN relaunched the Sarimanok with a new station ID featuring the legendary bird. The "Sarimanok" ID became utmostly associated with the channel that ABS-CBN opted it to become the station's mascot. ABS-CBN later named its new 24-hour news channel the Sarimanok News Network, the precursor of the ABS-CBN News Channel. It was revived again in 2004 to promote regional broadcasts nationwide. The Sarimanok has appeared in the ABS-CBN's 2013 summer station ID as the artwork.


title: ABS-CBN

text: The logo of the pre-merger Alto Broadcasting System (ABS) had a symbol composed of a transmitter with a circle denoting its signals, a precursor of sorts to ABS-CBN's current logos. The logo of the pre-merger Chronicle Broadcasting Network (CBN), on the other hand, had three blocks and the CBN letters in them. In 1961, the ABS-CBN brand was introduced and its first logo had a big letter B, unifying the names ABS and CBN, in a box placed between their channel numbers 3 (ABS' DZAQ-TV) and 9 (CBN's DZXL-TV).


title: ABS-CBN

text: A modified version of ABS symbol was launched in 1963, consisting of a triangle denoting a transmitter tower and four circles denoting the broadcast signal (similar to the 1953 ABS logo), enclosed in a rounded box and with the ABS-CBN text above, in a form that would evolve over the years to the present-day logo.


title: ABS-CBN

text: The logo soon after took on its current iteration: a vertical line, denoting a transmitter tower, with three concentric circles signifying Luzon, Visayas, and Mindanao, enclosed in a square frame, in 1967. The new logo became identical and inspired by the logo of the former German broadcaster and ARD member Sender Freies Berlin (SFB) based in Berlin. The logo also resembles a lollipop, spinning top toy (trumpo in Filipino), and logos of American recording companies Columbia Records and CBS Records International (although Columbia Records and CBS Records International has a vertical line underneath the circles instead of within the circles and also have a left-slant line and a black circle at the middle). At that time, it was rendered in black and white because color TV (despite the fact that it was ABS-CBN that introduced it the previous year) wasn't common yet and the logo style at that time separated ABS and CBN's names, putting ABS' name on top and CBN's on the bottom.


title: ABS-CBN

text: The network used a colored variation of the 1967 logo when color television was introduced and they re-launched operations in 1986, after 14 years of forced closure under martial law. The logo had the three rings detached from the transmitter and colored the three rings in red, green, and blue, and substituted the square frame with an outlined black box. The RGB-colored logo has remained relatively unchanged since then, though two modifications in 1993 (network's 40th anniversary) and 1996 (ABS-CBN Corporation's 50th anniversary) saw minor tweaks in the letters, the rings and the box. This is the longest logo to be used by the network after People Power Revolution alongside the 2000 logo, have used for 14 years from 1986 to 2000.


title: ABS-CBN

text: On January 1, 2000 (the first day of the new millennium), the ABS and CBN acronym again merged after 33 years but the ABS-CBN text is located below the symbol instead of the above like the 1963 logo and the hyphen is used between acronyms instead of a dot. The outlined black box that enclosed the three rings and the vertical line (that maintained their 1996 design) was replaced by a grey square (a crystal plane when rendered in 3D). The ABS-CBN text now adapts the Rotis Semi Serif typeface. Like with the 1986 logo, this is the longest logo to be used after the People Power Revolution which was also used for 14 years from 2000 to 2014.


title: ABS-CBN

text: The minimally altered version of the 2000 logo was introduced on October 7, 2013, as the secondary logo and officially became the network's primary logo on January 1, 2014, as part of its 60th anniversary and preparation for digital television broadcasts, and aiming to maintain the iconic structure of ABS-CBN's logo while at the same time giving it a new look suited for a period of popularity for social and digital media. This greatly modifies the "ABS-CBN" text, now using the modified version of Rotis Semi Serif typeface which dropped the once-standard serifs on the letters, giving the three RGB rings thicker width and perfected concentricity, and adopting a white square instead of a grey one from the previous 2000 logo. The only remaining aspect from the 2000 logo to be used on the 2014 logo is the letter "S" and hyphen, with the "S" still using the 2000 typeface.


title: ABS-CBN

text: ABS-CBN Regional (formerly ABS-CBN Regional Network Group) served as the regional network division of ABS-CBN. It was responsible for simultaneously airing most of the shows seen on ABS-CBN's flagship station in the provinces, with all stations (including Cebu, Bacolod and Davao) were reopened in 1988 after 16 years of the network's hibernation due to Martial law in September 1972 aside from Manila's flagship station, which also reopened after the People Power Revolution in September 1986. ABS-CBN Regional had several stations in each region outside Mega Manila to ensure nationwide coverage.


title: ABS-CBN

text: The local stations also produced their own newscasts which air prior to "TV Patrol" and another local programming which air on Sundays. The launch of the local game show "Kapamilya Winner Ka!" (now renamed as "Kapamilya, Mas Winner Ka!") in the Visayas and Mindanao, "Bagong Morning Kapamilya" in North Luzon (Baguio and Dagupan), the 17th local "TV Patrol" in Southern Tagalog (Region IV-A), and the 18th local "TV Patrol" in Palawan (IV-B; the network had an affiliate station) provided more relevance to regional audiences.


title: ABS-CBN

text: On April 15, 2011, RNG launched Choose Philippines, a new website aimed to promote tourism in the Philippines by sharing photos and stories of the most extravagant places, culture and arts.


title: ABS-CBN

text: ABS-CBN Regional ceased its operations on August 28, 2020, with 12 TV Patrol's regional newscasts and 10 morning shows ended their broadcast, after almost 32 years following the denial of its legislative franchise on July 10. It was replaced by "Regional News Group" in September 2020.


title: ABS-CBN

text: The majority of the programs shown on the network are created by ABS-CBN Corporation's Entertainment division. ABS-CBN Entertainment is responsible for original programs ranging from musical and variety shows, showbiz, lifestyle, comedy talk shows, comedy, gag shows, and sitcoms. It also distributes shows from other ABS-CBN drama and television production units. Original and adapted telenovelas and drama anthologies are produced by Dreamscape Entertainment, Star Creatives Television and other production drama units created by ABS-CBN, while news, public service, and documentary programs are produced by ABS-CBN News and Current Affairs and by other independent production outfits. ABS-CBN also acquires and syndicates program formats from abroad and in the Philippines to serve as a replacement on its free-to-air television channels, such as TV5 and A2Z Channel 11. ABS-CBN currently distributes and syndicates their entertainment and news programs on various networks, free-to-air and cable channels, websites and steaming platforms, and live stream through various social media such as A2Z, ALLTV, ANC, Cinema One, Cine Mo!, iQIYI, iWantTFC, Jeepney TV, Kapamilya Channel, Kapamilya Online Live, KTX, Kumu, Metro Channel, Myx, TeleRadyo, TV5, The Filipino Channel, WeTV iflix, Viu, YouTube, Netflix and others, while there main terrestrial ABS-CBN network is currently unavailable due to the network's franchise controversy. ABS-CBN also airs and syndicates regional programs, TV specials, and sporting and awarding events.


title: ABS-CBN

text: In 1992, AGB Nielsen Philippines was founded and a new pace in television history was introduced. In 2007, TNS Philippines started to offer media research through Kantar Media Philippines (formerly Kantar/TNS). In 2008, AGB Nielsen Philippines released the all-time highest rating shows in the Philippines, with 7 of the top 10 highest rating shows all from ABS-CBN with the shows like "The Battle: Pacquiao vs. Morales", "Rosalinda", "Esperanza", "Meteor Garden", "Pangako Sa 'Yo", "Miss Universe 1994", and "Maria Mercedes".


title: ABS-CBN

text: Throughout the years, ABS-CBN has been involved in several controversies and scandals involving its talents, employees, and programs.


title: ABS-CBN

text: On July 22, 2004, during the arrival of Angelo de la Cruz at the Ninoy Aquino International Airport (NAIA) (a truck driver who was held hostage and threatened with beheading in Iraq abducted by armed rebels west of Baghdad while trucking fuel from Saudi Arabia), live breaking news coverage was aired on GMA Network and other television stations in the Philippines. GMA Network used audio-video coverage from Reuters, which GMA Network subscribed to. During the said broadcast, a live feed from Reuters was simultaneously aired with its own live broadcast. During the first five-second of the live feed, GMA Network did notice that the live feed from Reuters was also airing at another local station, its main competitor ABS-CBN. The live video was restricted only to ABS-CBN and Reuters did not inform GMA Network that the video coverage was only intended for ABS-CBN. The local Court of Appeals junked the case filed by ABS-CBN Corporation against GMA Network Inc. for what was claimed to be illegal copying of its live video footage. In a ruling, the local fourth division of the appellate court set aside the resolution of the local Justice Department, which approved the filing of the violation of Republic Act 8293 (or the Intellectual Property Code) against GMA Network. It ruled out that the act of GMA Network airing the live video coverage was focused on good faith since there was no meaning to instigate damage to ABS-CBN Corporation. The local court also said GMA Network acted in good faith when it decided to instantaneously stop using the live video feed from Reuters upon learning ABS-CBN was also covering the said news event and its following exertion to authenticate the ABS-CBN Corporation restriction arrangement with the news service, Reuters. The local court also stressed that apart from the lack of intent of GMA Network to affect the video from ABS-CBN, the action also cannot be reflected intrusion of Sections 212.4 and 185.1 of Republic Act 8293 since it was just a short excerpt compared with the totality of the matter.


title: ABS-CBN

text: Two major incidents involving ABS-CBN have involved the network's variety show "Wowowee". The first incident was a demand for tickets to a one-year anniversary episode of the show at the PhilSports Arena in 2006 caused a deadly stampede killing 76 people. Over a year later in August 2007, the show became entrenched in another scandal involving the possibility of a new game on the show being rigged as evident by a "mechanical glitch" which occurred during an episode, which grew greater after "Eat Bulaga!" host Joey de Leon and "Wowowee" host Willie Revillame started exchanging attacks on-air against each other during their respective and competing shows. The incident later led to a probe by the Department of Trade and Industry led by senator Mar Roxas (which was jokingly suggested by Joey during a speech he made on "Eat Bulaga!" in reference to the Hello Garci scandal, dubbing it "Hello Pappy").


title: ABS-CBN

text: In late 2007, ABS-CBN and GMA Network accused AGB Nielsen Philippines of tampering with the ratings during their 2007 ratings surveys. On January 8, 2008, Quezon City regional trial court (RTC) junked ABS-CBN's case against AGB Nielsen, saying it was prematurely filed.


title: ABS-CBN

text: On January 22, 2008, Asia-Pacific Director Jacqueline Park of the International Federation of Journalists (IFJ) supported the petition for writ of amparo filed by the ABS-CBN Broadcasting Corporation's 11 employees (led by Ces Oreña-Drilon) with the Supreme Court to rule on the legality of journalists' arrests concerning the failed Manila Peninsula rebellion. It stated: "We support employees from ABS-CBN in standing up for their democratic rights to work free from harassment and intimidation, especially from government officials and authorities." The Supreme Court required the respondents to file comments to the Amparo petition within 10 days. Harry Roque, National Union of Journalists of the Philippines (NUJP)'s lawyer, announced its filing of a class lawsuit for injunction with damages (Article 33, New Civil Code of the Philippines) against the Philippine National Police, among others.


title: ABS-CBN

text: ABS-CBN demanded from their former reality show star, Willie Revillame, citing copyright infringement due to stark similarities in Revillame's show, "Willing Willie" on TV5, and ABS-CBN's "Wowowee". ABS-CBN listed 5 acts of plagiarism allegedly committed by Willing Willie in their complaint as follows:


title: ABS-CBN

text: A 25-page ruling later on dated May 22, 2015 junked the case against Revillame, declaring it moot. After the Quezon City RTC demanded a bond from Revillame to answer any further damage the network might sustain, it was later discharged. Revillame signed a contract with GMA network two days prior to the ruling, to work on a new show entitled, "Wowowin".


title: ABS-CBN

text: Since April 2017, ABS-CBN came under fire by Philippine President Rodrigo Duterte due to the network refusing to air his 2016 presidential campaign ads in favor of a smear ad paid for by-then vice presidential candidate Antonio Trillanes. However, according to the country's Commission on Elections spokesperson James Jimenez, the controversial ad was well within Election Law, under "Partisan Political Activity" Duterte publicly stated that he will oppose the 25-year franchise renewal of ABS-CBN; former Laguna governor E.R. Ejercito wholeheartedly supported Duterte's plan. Opposition lawmakers as well as labor groups objected to Duterte's stand on ABS-CBN as the franchise non-renewal will compromise the employees of the network; stating that the blocking of the franchise renewal had no merit. Opposition groups also claimed that the non-renewal of the franchise violates press freedom.


title: ABS-CBN

text: Under Philippine law, broadcasting networks require a congressional franchise (Republic Act) to operate television and radio stations for 25 years; the absence of one will lead to the suspension of such operations. ABS-CBN's legislative franchise, which was approved by the virtue of Republic Act No. 7966 (granted last March 30, 1995), was set to expire on May 4, 2020, because the franchise will become effective fifteen days after its publication on the Official Gazette on April 19, 1995. At least 12 lawmakers have filed their own versions for a new franchise of the network. House Speaker Alan Peter Cayetano has made the assurance that Congress will tackle the franchise with fairness.


title: ABS-CBN

text: On February 24, 2020, the CEO of the network apologized to President Rodrigo Duterte for not airing his political advertisements during his 2016 polls, which Duterte accepted, and the Congress finally made its decision to tackle their franchise renewal.


title: ABS-CBN

text: During a Senate Hearing on the same day, public services panel chair Grace Poe stated they were to tackle ABS-CBN's compliance with the terms and conditions of its franchise. The conclusion was that there was no breach of laws or franchise terms.


title: ABS-CBN

text: On May 5, 2020, the National Telecommunications Commission issued a cease and desist order to stop the network's broadcast, including its radio stations DZMM and MOR, following the expiration of its broadcast franchise the day before. The cease and desist order covers 42 television stations operated by ABS-CBN across the country, including Channel 2, 10 digital broadcast channels, 18 FM stations, and 5 AM stations.


title: ABS-CBN

text: The network subsequently signed off following the airing of news program "TV Patrol". Along with the order, NTC wanted to recall ABS-CBN's assigned frequencies. ABS-CBN explained that it would not be in public interest to have the frequencies recalled, as this would hinder their ability to immediately restart broadcasts in the event a new franchise was granted. Additionally, there were fresh measures in the Congress to grant provisional franchise, which later rolled into a series of hearings to grant a fresh 25-year franchise. NTC was told to refrain from carrying out the recall by the Congress. On July 10, 2020, members of the House of Representatives, voted 70–11 to deny the franchise application of ABS-CBN, citing several issues on the network's franchise. According to a survey released by the Social Weather Stations or SWS, released following the rejection of the network's franchise renewal, showed that majority (75%) of Filipinos want the network back.


title: Michaelis–Menten kinetics

text: In biochemistry, Michaelis–Menten kinetics is one of the best-known models of enzyme kinetics. It is named after German biochemist Leonor Michaelis and Canadian physician Maud Menten. The model takes the form of an equation describing the rate of enzymatic reactions, by relating reaction rate formula_1 (rate of formation of product, formula_2) to formula_3, the concentration of a substrate "S". Its formula is given by


title: Michaelis–Menten kinetics

text: This equation is called the Michaelis–Menten equation. Here, formula_5 represents the maximum rate achieved by the system, happening at saturating substrate concentration for a given enzyme concentration. When the value of the Michaelis constant formula_6 is numerically equal to the substrate concentration, then the reaction rate is half of formula_5. Biochemical reactions involving a single substrate are often assumed to follow Michaelis–Menten kinetics, without regard to the model's underlying assumptions.


title: Michaelis–Menten kinetics

text: In 1901, French physical chemist Victor Henri found that enzyme reactions were initiated by a bond (more generally, a binding interaction) between the enzyme and the substrate. His work was taken up by German biochemist Leonor Michaelis and Canadian physician Maud Menten, who investigated the kinetics of an enzymatic reaction mechanism, invertase, that catalyzes the hydrolysis of sucrose into glucose and fructose. In 1913, they proposed a mathematical model of the reaction. It involves an enzyme, E, binding to a substrate, S, to form a complex, ES, which in turn releases a product, P, regenerating the original enzyme. This may be represented schematically as


title: Michaelis–Menten kinetics

text: where formula_8 (forward rate constant), formula_9 (reverse rate constant), and formula_10 (catalytic rate constant) denote the rate constants, the double arrows between S (substrate) and ES (enzyme-substrate complex) represent the fact that enzyme-substrate binding is a reversible process, and the single forward arrow represents the formation of P (product).


title: Michaelis–Menten kinetics

text: Under certain assumptions – such as the enzyme concentration being much less than the substrate concentration – the rate of product formation is given by


title: Michaelis–Menten kinetics

text: The reaction order depends on the relative size of the two terms in the denominator. At low substrate concentration formula_12, so that the reaction rate formula_13 varies linearly with substrate concentration <chem>[S]</chem> (first-order kinetics). However at higher <chem>[S]</chem> with formula_14, the reaction becomes independent of <chem>[S]</chem> (zero-order kinetics) and asymptotically approaches its maximum rate formula_15, where <chem>[E]_0</chem> is the initial enzyme concentration. This rate is attained when all enzyme is bound to substrate. formula_10, the turnover number, is the maximum number of substrate molecules converted to product per enzyme molecule per second. Further addition of substrate does not increase the rate which is said to be saturated.


title: Michaelis–Menten kinetics

text: The value of the Michaelis constant formula_6 is numerically equal to the <chem>[S]</chem> at which the reaction rate is at half-maximum, and is a measure of the substrate's affinity for the enzyme—a small formula_6 indicates high affinity, meaning that the rate will approach formula_5 with lower <chem>[S]</chem> than those reactions with a larger formula_6. The constant is not affected by the concentration or purity of an enzyme. The value of formula_6 is dependent on both the identity of enzyme and that of the substrate, as well as conditions such as temperature and pH.


title: Michaelis–Menten kinetics

text: The model is used in a variety of biochemical situations other than enzyme-substrate interaction, including antigen–antibody binding, DNA–DNA hybridization, and protein–protein interaction. It can be used to characterise a generic biochemical reaction, in the same way that the Langmuir equation can be used to model generic adsorption of biomolecular species. When an empirical equation of this form is applied to microbial growth, it is sometimes called a Monod equation.


title: Michaelis–Menten kinetics

text: The constant formula_22 (catalytic efficiency) is a measure of how efficiently an enzyme converts a substrate into product. Diffusion limited enzymes, such as fumarase, work at the theoretical upper limit of , limited by diffusion of substrate into the active site.


title: Michaelis–Menten kinetics

text: Michaelis–Menten kinetics have also been applied to a variety of spheres outside of biochemical reactions, including alveolar clearance of dusts, the richness of species pools, clearance of blood alcohol, the photosynthesis-irradiance relationship, and bacterial phage infection.


title: Michaelis–Menten kinetics

text: The equation can also be used to describe the relationship between ion channel conductivity and ligand concentration.


title: Michaelis–Menten kinetics

text: Michaelis Menten can also be applied to limiting nutrients and phytoplankton growth in the global ocean. The relationship is


title: Michaelis–Menten kinetics

text: where V is uptake of the nutrient by phytoplankton, S is the concentration of the limiting nutrient, formula_5 is the maximum uptake rate by phytoplankton, and K is the half saturation constant. The relationship can also be understood for growth rate formula_5 and K also depend on phytoplankton physiology and genetics. Oligotrophic regions—regions that are nutrient depleted—often have phytoplankton populations characterized by low formula_5 and low K, which help them to efficiently take up the nutrient that is at low concentrations. These phytoplankton tend to be small, with large area to volume ratios. Phytoplankton in eutrophic regions—nutrient-replete regions—are often characterized by high formula_5 and K, which make them less efficient at taking up a given nutrient, but allows them to take up more of that nutrient. These phytoplankton tend to be large (e.g. diatoms) with a smaller area to volume ratio. Their larger formula_5 enables them to become larger. This relationship is generally applied to nitrate concentrations, as that is the limiting nutrient in much of the ocean, but other nutrients—for example, iron and phosphate—might also be limiting.


title: Michaelis–Menten kinetics

text: Applying the law of mass action, which states that the rate of a reaction is proportional to the product of the concentrations of the reactants (i.e. formula_29), gives a system of four non-linear ordinary differential equations that define the rate of change of reactants with time formula_30


title: Michaelis–Menten kinetics

text: In this mechanism, the enzyme E is a catalyst, which only facilitates the reaction, so that its total concentration, free plus combined, formula_32 is a constant (i.e. formula_33). This conservation law can also be observed by adding the first and third equations above.


title: Michaelis–Menten kinetics

text: In their original analysis, Michaelis and Menten assumed that the substrate is in instantaneous chemical equilibrium with the complex, which implies


title: Michaelis–Menten kinetics

text: where formula_38 is the dissociation constant for the enzyme-substrate complex. Hence the velocity formula_1 of the reaction – the rate at which P is formed – is


title: Michaelis–Menten kinetics

text: An alternative analysis of the system was undertaken by British botanist G. E. Briggs and British geneticist J. B. S. Haldane in 1925. They assumed that the concentration of the intermediate complex does not change on the time-scale of product formation – known as the quasi-steady-state assumption or pseudo-steady-state-hypothesis. Mathematically, this assumption means formula_42. This is mathematically the same as the previous equation, with formula_9 replaced by formula_44. Hence, following the same steps as above, the velocity formula_1 of the reaction is


title: Michaelis–Menten kinetics

text: The first step in the derivation applies the law of mass action, which is reliant on free diffusion. However, in the environment of a living cell where there is a high concentration of proteins, the cytoplasm often behaves more like a viscous gel than a free-flowing liquid, limiting molecular movements by diffusion and altering reaction rates. Although the law of mass action can be valid in heterogeneous environments, it is more appropriate to model the cytoplasm as a fractal, in order to capture its limited-mobility kinetics.


title: Michaelis–Menten kinetics

text: The resulting reaction rates predicted by the two approaches are similar, with the only difference being that the equilibrium approximation defines the constant as formula_48, whilst the quasi-steady-state approximation uses formula_6. However, each approach is founded upon a different assumption. The Michaelis–Menten equilibrium analysis is valid if the substrate reaches equilibrium on a much faster time-scale than the product is formed or, more precisely, that


title: Michaelis–Menten kinetics

text: Thus it holds if the enzyme concentration is much less than the substrate concentration or formula_6 or both.


title: Michaelis–Menten kinetics

text: In both the Michaelis–Menten and Briggs–Haldane analyses, the quality of the approximation improves as formula_53 decreases. However, in model building, Michaelis–Menten kinetics are often invoked without regard to the underlying assumptions.


title: Michaelis–Menten kinetics

text: Importantly, while irreversibility is a necessary simplification in order to yield a tractable analytic solution, in the general case product formation is not in fact irreversible. The enzyme reaction is more correctly described as


title: Michaelis–Menten kinetics

text: In general, the assumption of irreversibility is a good one in situations where one of the below is true:


title: Michaelis–Menten kinetics

text: This is true under standard "in vitro" assay conditions, and is true for many "in vivo" biological reactions, particularly where the product is continually removed by a subsequent reaction.


title: Michaelis–Menten kinetics

text: In situations where neither of these two conditions hold (that is, the reaction is low energy and a substantial pool of product(s) exists), the Michaelis–Menten equation breaks down, and more complex modelling approaches explicitly taking the forward and reverse reactions into account must be taken to understand the enzyme biology.


title: Michaelis–Menten kinetics

text: The typical method for determining the constants formula_5 and formula_6 involves running a series of enzyme assays at varying substrate concentrations formula_57, and measuring the initial reaction rate formula_58. 'Initial' here is taken to mean that the reaction rate is measured after a relatively short time period, during which it is assumed that the enzyme-substrate complex has formed, but that the substrate concentration held approximately constant, and so the equilibrium or quasi-steady-state approximation remain valid. By plotting reaction rate against concentration, and using nonlinear regression of the Michaelis–Menten equation, the parameters may be obtained.


title: Michaelis–Menten kinetics

text: Before computing facilities to perform nonlinear regression became available, graphical methods involving linearisation of the equation were used. A number of these were proposed, including the Eadie–Hofstee diagram, Hanes–Woolf plot and Lineweaver–Burk plot; of these, the Hanes–Woolf plot is the most accurate. However, while useful for visualization, all three methods distort the error structure of the data and are inferior to nonlinear regression. Assuming a similar error formula_59 on formula_58, an inverse representation leads to an error of formula_61 on formula_62 (Propagation of uncertainty). Without proper estimation of formula_59 values, linearisation should be avoided. In addition, regression analysis using Least squares assumes that errors are normally distributed, which is not valid after a transformation of formula_58 values. Nonetheless, their use can still be found in modern literature.


title: Michaelis–Menten kinetics

text: In 1997 Santiago Schnell and Claudio Mendoza suggested a closed form solution for the time course kinetics analysis of the Michaelis–Menten kinetics based on the solution of the Lambert W function.


title: Michaelis–Menten kinetics

text: The above equation, known nowadays as the Schnell-Mendoza equation, has been used to estimate formula_5 and formula_6 from time course data.


title: Michaelis–Menten kinetics

text: The Michaelis-Menten equation has been used to predict the rate of product formation in enzymatic reactions for more than a century. Specifically, it states that the rate of an enzymatic reaction will increase as substrate concentration increases, and that increased unbinding of enzyme-substrate complexes will decrease the reaction rate. While the first prediction is well established, the second is more elusive. Mathematical analysis of the effect of enzyme-substrate unbinding on enzymatic reactions at the single-molecule level has shown that unbinding of an enzyme from a substrate can reduce the rate of product formation under some conditions, but may also have the opposite effect. As substrate concentrations increase, a tipping point can be reached where an increase in the unbinding rate results in an increase, rather than a decrease, of the reaction rate. The results indicate that enzymatic reactions can behave in ways that violate the classical Michaelis-Menten equation, and that the role of unbinding in enzymatic catalysis still remains to be determined experimentally.


title: Super Mario Bros. 3

text: Super Mario Bros. 3 is a platform game developed and published by Nintendo for the Nintendo Entertainment System (NES). It was released for home consoles in Japan on October 23, 1988, in North America on February 12, 1990 and in Europe on August 29, 1991. It was developed by Nintendo Entertainment Analysis and Development, led by Shigeru Miyamoto and Takashi Tezuka.


title: Super Mario Bros. 3

text: Players control brothers Mario or Luigi, who must save Princess Toadstool and the rulers of seven different kingdoms from the antagonist Bowser. As in previous Mario games, they defeat enemies by stomping on them or using items that bestow magical powers; they also have new abilities, including flight and sliding down slopes. "Super Mario Bros. 3" introduced many elements that became "Super Mario" staples, such as Bowser's children (the Koopalings) and a world map to transition between levels.


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" was praised by critics for its challenging gameplay and is listed as one of the greatest video games of all time. It is the third-best-selling NES game, with more than 17 million copies sold worldwide. It also inspired an animated television series, "The Adventures of Super Mario Bros. 3", produced by DiC Entertainment.


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" was remade for the Super NES as a part of "Super Mario All-Stars" in 1993 and for the Game Boy Advance as "" in 2003. It was rereleased on the Virtual Console service on the Wii U and 3DS, and was included on the NES Classic Mini. On September 19, 2018, it was rereleased on the Nintendo Switch Online service with added netplay.


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" is a two-dimensional, side-scrolling platform game in which the player controls either Mario or Luigi. The game shares similar gameplay mechanics with previous games in the series "Super Mario Bros.", "" in Japan, and "Super Mario Bros. 2" internationally while introducing several new elements. In addition to the running and jumping found in previous games, the player can slide down slopes, pick up and throw special blocks and freely climb vines. Mario can now also fly and float with the Super Leaf and the Tanooki Suit. The game world consists of eight kingdoms, each subdivided into multiple levels. The eight worlds feature distinct visual themes: for example, the second world, "Desert Land" (or "Desert Hill" in Japanese and North American PRG0 versions), contains sand-covered levels with pyramids, while the levels in the fourth world, "Giant Land" ("Big Island"), contain obstacles and enemies twice their normal height and width.


title: Super Mario Bros. 3

text: The player navigates through the game via two game screens: an overworld map and a course. The overworld map displays an overhead representation of the current kingdom and has several paths leading from the world's entrance to a castle. Paths connect to action panels, fortresses, and other map icons, and allow players to take different routes to reach the kingdom's goal. Moving the on-screen character to an action panel or fortress will allow access to that course, a linear stage populated with obstacles and enemies. The majority of the game takes place in these levels, with the player traversing the stage by dashing, jumping, flying, swimming, and dodging or defeating enemies. Players start with a certain number of lives and may gain additional lives by picking up green spotted 1-Up mushrooms hidden in bricks, or by collecting 100 coins, defeating several enemies in a row with a Koopa shell, or bouncing on enemies successively without touching the ground. Mario and Luigi lose a life if they take damage while small, fall into lava or falling into a bottomless pit, or run out of time. The game ends prematurely when all lives are lost, although the player can continue from the beginning of the world they lost their last life in by selecting "Continue". If the player chooses to continue, all fortresses and enemy courses, as well as the tank and ship levels from the eighth world that the player previously completed will remain completed and any locked doors that were unlocked will also remain unlocked. This allows the player to continue from the last fortress level they completed in most cases. The player will also be able to keep all of their items in their inventory.


title: Super Mario Bros. 3

text: Completing stages allows the player to progress through the overworld map and to succeeding worlds. Each world features a final stage with a boss to defeat. The first seven worlds feature an airship controlled by one of the Koopalings, while the player battles Bowser in his castle in the eighth world as the Final Boss. Other map icons include large boulders and locked doors that impede paths. Mini-games and bonus screens on the map provide the player a chance to obtain special power-ups and additional lives. Power-ups obtained in these mini-games are stored in a reserve, and can be activated by the player from the map screen.


title: Super Mario Bros. 3

text: In addition to special items from previous games like the Super Mushroom, Super Star, and the Fire Flower, new power-ups are introduced that provide the player with new options. The Super Leaf and Tanooki Suit give Mario raccoon and tanooki appearances respectively, allowing him to fly for a short period of time. The Tanooki Suit also enables him to turn into Statue Mario to avoid enemies for a short period of time. Changing into a Tanooki statue while jumping results in Mario pounding the ground and killing whatever enemies are directly under him; this is the first appearance of the now standard "ground pound" move in the "Mario" series. The new "Frog Suit" highly increases the character's underwater speed and agility, and boosts jumping height on land. Another new suit, the Hammer Suit, gives Mario the appearance of the Hammer Bro. enemy and allows him to throw hammers at enemies and resist fire attacks when crouching.


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" includes a multiplayer option which allows two players to play the game by taking turns at navigating the overworld map and accessing stage levels. The first player controls Mario, while the other controls Luigi (a palette swap of Mario). Through this mode, players can access several mini-games, including a remake of the original "Mario Bros." arcade game, in which one player has the opportunity to steal the cards of another, but may lose their turn if they lose the mini-game.


title: Super Mario Bros. 3

text: The plot of "Super Mario Bros. 3" is described in the instruction booklet. The Mushroom World, the setting of the game, is invaded by the Koopalings, Bowser's seven children. The Koopalings conquer each of the seven kingdoms by stealing its king's magical wand and using it to transform him into an animal. Princess Toadstool sends Mario and Luigi to travel to each kingdom, retrieve the stolen wand, and restore its king to normal.


title: Super Mario Bros. 3

text: Mario and Luigi receive notes and special items from Princess Toadstool after rescuing each of the first six kings. When they rescue the seventh king, they instead receive a note from Bowser, boasting that he has kidnapped Toadstool and imprisoned her within the castle of his own realm, Dark Land. The brothers travel through Dark Land, enter his castle, and defeat Bowser in a battle. The game ends with Princess Toadstool being freed from the castle.


title: Super Mario Bros. 3

text: According to Shigeru Miyamoto, "Super Mario Bros. 3" was conceived as a stage play. The title screen features a stage curtain being drawn open, and in the original NES version, in-game objects hang from off-screen catwalks, are bolted to the background, or cast shadows on the skyline. When Mario finishes a level, he walks off the stage.


title: Super Mario Bros. 3

text: Beginning development shortly after the 1986 release of the Famicom Disk System's "", "Super Mario Bros. 3" was developed by Nintendo Entertainment Analysis and Development, a team that consisted of more than ten people. The game took more than two years to complete. The development budget, when converted to US dollars, amounts to about $800,000 to ( adjusted for inflation). Developer Shigeru Miyamoto served as director. He worked closely with the designers and programmers during the conceptual and final stages, encouraging a free interchange of ideas. Miyamoto considered intriguing and original ideas to be key to creating a successful game. Originally, the team intended for the game to be played from an isometric point of view, but the developers found that this made it too difficult to position jumps, so the game was changed to the 2D side view used in previous games. Some isometric elements remain, such as the checkered floor present in the title screen. All pixel art for the game was drawn using Fujitsu FM R-50 HD business computers while HP 64000 mainframe computers with a 6502 processor card was used to write and test code.


title: Super Mario Bros. 3

text: The game was designed to appeal to players of varying skill levels. To assist less-to no skill players, bonus coins and 1-ups are more abundant in earlier worlds, while later worlds present more complex challenges for experienced players. In the two-player mode, the players alternate turns to balance play time. The development team introduced new power-ups and concepts that would give Mario the appearance of different creatures as a means of providing him with new abilities. An early idea changed Mario into a centaur, but was dropped in favor of a raccoon tail with limited flying ability. Other costumes with different abilities were added to his repertoire, and levels were designed to take advantage of these abilities. New enemies were included to add diversity to the game, along with variants of previous enemies, such as Goombas, Hammer Bros., and Koopa Troopas.


title: Super Mario Bros. 3

text: Some of the enemies designed for "Super Mario Bros. 3" were inspired by the team's personal experiences. For example, the Chain Chomp enemy, a barking tethered ball and chain creature with eyes and teeth that lunges at the player when in close proximity, was drawn from Miyamoto's early life, in which a dog lunged at him, but was pulled away from him. Bowser's children, the Koopalings, were designed to be unique in appearance and personality; Miyamoto based the characters on seven of his programmers as a tribute to their work and efforts. Nintendo of America named the Koopalings after well-known musicians: for example, the characters "Ludwig von Koopa" and "Roy Koopa" are named after Ludwig van Beethoven and Roy Orbison respectively.


title: Super Mario Bros. 3

text: The character graphics were created with a special graphics machine ("Character Generator Computer Aided Design") that generated a collection of the graphical shapes used in the game. Shapes in the collection were assigned numbers that the game's code used to access and combine to form complete images on the screen in real time. The "Super Mario Bros. 3" cartridge uses Nintendo's custom MMC3 ASIC to enhance the NES capabilities. The MMC3 chip allows for animated tiles, extra RAM for diagonal scrolling, and a scan line timer to split the screen. The game uses these functions to split the game screen into two portions, a playfield on the top and a status bar on the bottom. On the overworld map, the status bar doubles as an inventory for items and power-ups. This allows the top portion to scroll as the character navigates the stage while the bottom portion remains static to display text and other information.


title: Super Mario Bros. 3

text: Like its predecessors, the music in "Super Mario Bros. 3" was composed by Koji Kondo, who composed several new songs as well as returning melodies from "Super Mario Bros." According to Kondo, who had composed the music in "Super Mario Bros." based on what he believed fit the levels rather than focusing on composing a specific genre of music, the game was the most difficult game for him to compose. Kondo experimented with several different genres of music, unsure of how to follow up the music from the first game after hearing from several people that it sounded a lot like Latin or fusion music, and came up with several different melodies throughout its development before settling on what ultimately made it into the game. The development team decided that music on the title screen was unnecessary.


title: Super Mario Bros. 3

text: During 1988, a shortage of ROM chips, along with Nintendo's preparation of "Super Mario Bros. 2", prevented Nintendo from performing various North American game releases according to their original schedules. The delayed products included "Super Mario Bros. 3" and, according to "Nintendo Power", "". The delay, however, presented Nintendo with an opportunity to promote the game in a feature film. In 1989, Tom Pollack of Universal Studios approached Nintendo of America's marketing department about a video game movie; inspired by Nintendo video game competitions, Pollack envisioned a video game version of "Tommy" for younger audiences. Nintendo licensed its products for inclusion in what would become the film "The Wizard". During the movie's production, the filmmakers requested and were granted approval from Nintendo regarding the script and the portrayal of the company's games. "Super Mario Bros. 3" was one of the products shown in the film and was used in a final scene involving a video game competition. The film was released in December 1989, between the home console releases of the game in Japan and North America.


title: Super Mario Bros. 3

text: The marketing budget for "Super Mario Bros. 3" was , bringing the game's total development and marketing budget to ( adjusted for inflation).


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" was lauded by the video game press. It was widely considered to be one of the best games released for the NES. "Computer and Video Games" editors Paul Rand, Tim Boone and Frank O'Connor awarded the game a 98% score, praising it for its gameplay, replayability, sound, and graphics. Boone commented that the game is nearly flawless in its utterly "stupendous incredibility and absolutely impossible to put down for anything less than a fire alarm and even then you find yourself weighing down the odds." Rand called "Super Mario Bros. 3" the best video game ever, labeling it "the "Mona Lisa" of gaming" and stating that it is "astoundingly brilliant in every way, shape, and form." O'Connor stated that the game "makes "Sonic the Hedgehog" look like a wet Sunday morning and even gives the Super Famicom's "Super Mario World" a run for its money."


title: Super Mario Bros. 3

text: The Japanese publication "Famitsu" gave it a 35 out of 40. Julian Rignall of "Mean Machines" referred to "Super Mario Bros. 3" as the "finest video game" he had ever played, citing its addictiveness, depth, and challenge. A second "Mean Machines" reviewer, Matt Regan, anticipated the game would be a bestseller in the United Kingdom, and echoed Rignall's praise, calling it a "truly brilliant game". Regan further stated that the game offered elements which tested the player's "brains and reflexes", and that though the graphics were simple, they were "incredibly varied". In a preview of the game, "Nintendo Power" gave it high marks in graphics, audio, challenge, gameplay, and enjoyability. The items hidden in the game's levels, such as the warp whistles, were well-received: Rignall regarded them as part of the game's addictiveness, and Sheff stated that finding them provided a sense of satisfaction.


title: Super Mario Bros. 3

text: Criticism focused on particular aspects of the game. Rignall described the audio and visuals as being outdated in comparison to games on the Mega Drive/Genesis and Super NES (the latter platform having already been launched in other regions by the time "Super Mario Bros. 3" was released in Europe).


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" became a best-selling game. In Japan, it appeared at the top of the "Famitsu" sales charts in December 1988 and January 1989, and became the second best-selling game of 1988 after "Dragon Quest III". By mid-1989, "Super Mario Bros. 3" had become the second best-selling game in Japan (non-bundled) up until then, after "Dragon Quest III". "Super Mario Bros. 3" went on to become the overall best-selling game of 1989 in Japan, just above "Tetris" in second place. It also topped the Japanese sales chart in January 1990. By 1993, it had sold cartridges in Japan.


title: Super Mario Bros. 3

text: In North America, the inclusion of "Super Mario Bros. 3" in "The Wizard" served as a preview which generated a high level of anticipation in the United States prior to its release. Levi Buchanan of IGN considered the game's appearance in the film as a show-stealing element, referring to the movie as a "90-minute commercial" for the game. The game sold 250,000 copies in its first two days of release, according to a spokeswoman for Nintendo. It remained the top-selling game in the United States through April and June to September 1990. In 1990, the game sold more than units. By 1993, author David Sheff said the game had sold 11 million unbundled units in Japan and the United States, commenting that, in music industry terms, the game went platinum 11 times. In the United States alone, the game had generated in revenue for Nintendo by early 1992, exceeding the gross revenue of the films "E.T." (1982), "Batman" (1989) and "Jurassic Park" (1993). The game was also a hit in other regions such as Europe and Singapore.


title: Super Mario Bros. 3

text: The game had sold copies by 1995, and copies by 1998. By 2000, the game had sold more than 17 million copies worldwide, and held the record for the best-selling non-bundled video game for a long time. As of 2011, "Super Mario Bros. 3" was the highest-grossing non-bundled home video game up until then, with a 2011 inflation-adjusted revenue of . In 2013, "GamesRadar" reported that the game had sold more than copies for the NES. "Game Informer" also reported in their October 2009 issue that the Virtual Console version had sold one million copies.


title: Super Mario Bros. 3

text: In "Famicom Tsūshin" ("Famitsu") magazine's 1988 Best Hit Game Awards, "Super Mario Bros. 3" won the Best Action Game award. In 1989, "Famitsu" gave it the award for best action game released since 1983.


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" has received universal acclaim from modern critics who consider it one of the best games of all time, and has appeared on many top games lists. The game debuted on "Nintendo Power"s Top 30 best games ever list at number 20 in September 1989. It entered the list's top 10 a few months later and reached number one in May 1990. "Super Mario Bros. 3" remained within the top 20 for more than five years. More than a decade later, the magazine ranked the game number six on their list of 200 Greatest Nintendo Games. In August 2008, "Nintendo Power" listed "Super Mario Bros. 3" as the second best NES video game, praising it for making the series more complex and introducing new abilities that have since become signature abilities in the series. The game placed 11th, behind "Super Mario Bros.", in "Official Nintendo Magazine"s "100 greatest Nintendo games of all time". "Edge" considered "Super Mario Bros. 3" Nintendo's standout game of 1989, and commented that its success outshone the first "Super Mario Bros."s sales milestone; the first game sold 40 million copies, but was bundled with the NES. They lauded the overworld map as an elegant alternative to a menu to select levels. In 2007, ScrewAttack called "Super Mario Bros. 3" the best "Mario" game in the series as well as the best game on the NES, citing the graphics, power-ups, secrets, and popularity, summing it up as "just incredible" and stating, "If you haven't experienced this greatness, we pity you". In a poll conducted by "Dengeki", the game tied with "Super Mario World" as the number three video game their readers first played. GamesRadar also called it the best NES game, saying that while "Super Mario Bros." defined its genre, "Super Mario Bros. 3" perfected it. In 1996, GamesMaster rated the NES version 99th on their "Top 100 Games of All Time."


title: Super Mario Bros. 3

text: In 1997, "Electronic Gaming Monthly" ranked the All-Stars edition the 2nd best console game of all time (behind only "Tetris"), saying it "took the series back to its roots, but expanded upon the original game in every way imaginable. No other game since has been able to recapture the spirit of adventure and enchantment found in Mario 3." The game has been ranked on several of IGN's lists of "top games". In 2005, they rated it 23rd among their Top 100 Games, and praised the precise and intuitive controls. IGN editors from the United States, United Kingdom, and Australia ranked "Super Mario Bros. 3" number 39 in their 2007 Top 100 Games, citing Miyamoto's "ingenious" designs. They further commented that the game improved on the "already-brilliant concepts" of the previous games with new power-ups and enemies. Users and readers of the website placed the game high on similar lists: 32nd in 2005 and 21st in 2006. In 2009, "Game Informer" put "Super Mario Bros. 3" 9th on their list of "The Top 200 Games of All Time", saying that it is "a game with incredible lasting power that we won't soon forget". This is down one place from "Game Informer"s previous ranking in 2001. "Edge" ranked the game #20 on its list of "The 100 Best Games To Play Today", calling it "the one 8-bit game that still shines today, no caveats required." UGO listed "Super Mario Bros. 3" on their list of the "Top 50 Games That Belong On the 3DS", calling it "Arguably the greatest Mario game ever made." GameSpot placed the game on their list of the greatest games of all time. USgamer ranked the game as the third best "Mario" platformer ever. "Super Mario Bros. 3" ranked 34th on Warp Zoned's "Scientifically Proven Best Video Games of All Time" list, a statistical meta-analysis of 44 "top games" lists published between 1995 and 2016.


title: Super Mario Bros. 3

text: The NES version of the game has been ported to several other Nintendo consoles. It was rereleased in emulation as a downloadable Virtual Console game in 2007 for the Wii and in 2014 for the Nintendo 3DS and Wii U consoles. It is one of thirty pre-installed games in the NES Classic Edition console, and is on the Nintendo Switch Online service.


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" was included in the 1993 SNES game "Super Mario All-Stars", a compilation of remakes of NES "Super Mario" games featuring updated graphics and sound, which was also later released on the Wii in 2010 and the Nintendo Switch Online service in 2020.


title: Super Mario Bros. 3

text: An unofficial Game Boy Color version, "Super Mario 3 Special", was released in 2000. This version was developed in Hong Kong and is truncated to only five levels. Former "1Up.com" journalist Ray Barnholt panned "Super Mario 3 Special" as a "horrible, awful, rank piece of software." Barnholt criticized its extremely short length, "atrocious" controls leading him to liken Mario's movement to "a drunken Sonic," poor level design, coloring, and music, and lack of a proper ending.


title: Super Mario Bros. 3

text: A Game Boy Advance version, "Super Mario Advance 4: Super Mario Bros. 3", was released in 2003. In addition to the visual and sound changes from "Super Mario All-Stars", this version also includes support for the Nintendo e-Reader peripheral, which lets the player access new levels and power-ups stored on e-Reader cards. Based on the "All-Stars" version rather than the NES release, it adds Charles Martinet's trademark Mario trademark voice acting and a "Mario Bros." minigame. This version was released on the Wii U Virtual Console from late 2015 through early 2016. "Super Mario Advance 4" is the third highest-rated Game Boy Advance game, according to video game review aggregator Metacritic. It sold in excess of 2.88 million copies in North America, 718,207 in Japan, and at least 100,000 copies in the United Kingdom, earning a Silver sales award from the ELSPA. It received perfect scores from "Pocket Gamer" and "Play", and "IGN" staff and readers alike named it best platform game for the Game Boy Advance. Reviewers and their readers listed it among the year's best Game Boy Advance games overall.


title: Super Mario Bros. 3

text: "Super Mario Bros. 3" introduced several elements carried over to subsequent "Mario" games. A similar overworld map is used in "Super Mario World", "Super Mario Bros. DX" and "New Super Mario Bros.", and Mario's ability to fly has been a feature in games such as "Super Mario World", "Super Mario 64" and "Super Mario Galaxy". The game's "Super Leaf" item has returned in more recent "Mario" games for the Nintendo 3DS, like "Super Mario 3D Land", "Mario Kart 7" and "New Super Mario Bros. 2". Bowser's red hair was first popularized in the game and has since become a part of his standard appearance.


title: Super Mario Bros. 3

text: Through a collaboration between NBC and Nintendo of America, an animated television series, "The Adventures of Super Mario Bros. 3," was created from September to December 1990 by DIC Entertainment. The show aired weekly with 26 episodes and featured numerous characters, enemies, and settings from the video game; the original seven Koopalings are given different names based on their given personalities and are also given a new age order. Other Nintendo products have included various elements of the game as well. Music from "Super Mario Bros. 3" appears as a track on "Nintendo Sound Selection Koopa", a collection of songs from Nintendo games. The game's stages and graphics comprise a background theme in the 2006 Nintendo DS game "Tetris DS". The Koopalings are also world bosses in "Super Mario World", "Mario is Missing!", "Yoshi's Safari", "Hotel Mario" and all "New Super Mario Bros." games except "New Super Mario Bros." Boom Boom, another boss from this game, additionally reappears in "Super Mario 3D Land" and "Super Mario 3D World", alongside a boomerang-wielding female counterpart named Pom Pom. "Super Mario Bros. 3" is one of the games represented as themes in both "Super Mario Maker" and "Super Mario Maker 2".


title: Super Mario Bros. 3

text: In the early 1990s, game developers John Carmack and Tom Hall developed an IBM PC clone of "Super Mario Bros. 3" based on their innovative adaptive tile refresh software that performs smooth, side-scrolling graphics on EGA cards. They demonstrated it to Nintendo leaders, who were impressed with the demo but rejected cloning in favor of exclusivity. Carmack and Hall went on to found Id Software and develop "Commander Keen," a series of platform games inspired by "Super Mario Bros. 3." The "Super Mario Bros. 3" demo had not been readily shared, but a working copy was discovered and preserved in the Museum of Play in July 2021.


title: Super Mario Bros. 3

text: In April 1993, "Famicom Tsūshin" ("Famitsu") magazine awarded "Super Mario Bros. 3" a world record for having the most strategy guide books published, with 20 strategy books published for the game up until then.


title: Super Mario Bros. 3

text: At the 2007 Game Developers Conference, Stanford University curator Henry Lowood, along with game designers Warren Spector and Steve Meretzky, academic researcher Matteo Bittanti and game journalist Christopher Grant named "Super Mario Bros. 3" one of the 10 most important video games of all time, being a member of a "game canon" whose inductees were submitted to the Library of Congress for having "cultural significance or a historical significance". "The New York Times" reported Grant said its inclusion was due to the game's nonlinear play being a "mainstay of contemporary games", and how it allows the player to move backward and forward in levels. On November 20, 2020, a sealed copy with rare alternate cover art featuring "Bros." on the left instead of the center was sold for $156,000, the most money ever paid for a video game at the time.


title: Lucinda Williams

text: Lucinda Gayle Williams (born January 26, 1953) is an American singer-songwriter and a solo guitarist. She recorded her first two albums: "Ramblin' on My Mind" (1979) and "Happy Woman Blues" (1980), in a traditional country and blues style that received critical praise but little public or radio attention. In 1988, she released her third album, "Lucinda Williams", to widespread critical acclaim. Widely regarded as "an Americana classic", the album also features "Passionate Kisses", a song later recorded by Mary Chapin Carpenter for her 1992 album "Come On Come On", which garnered Williams her first Grammy Award for Best Country Song in 1994. Known for working slowly, Williams' fourth album; "Sweet Old World", appeared four years later in 1992. "Sweet Old World" was met with further critical acclaim, and was voted the 11th best album of 1992 in "The Village Voice"s Pazz & Jop, an annual poll of prominent music critics. Robert Christgau, the poll's creator, ranked it 6th on his own year-end list, later writing that the album, as well as "Lucinda Williams", were "gorgeous, flawless, brilliant".


title: Lucinda Williams

text: Williams' commercial breakthrough came in 1998 with "Car Wheels on a Gravel Road", an album presenting a broader scope of songs that fused rock, blues, country and Americana into a distinctive style that remained consistent and commercial in sound. "Car Wheels on a Gravel Road", which includes the singles "Right in Time" and the Grammy nominated "Can't Let Go", became Williams' greatest commercial success to date. The album was certified Gold by the RIAA the following year, and earned her a Grammy Award for Best Contemporary Folk Album, while being universally acclaimed by critics. Williams' follow up album, "Essence", appeared in 2001, to further critical acclaim and commercial success, becoming her first Top 40 album on the "Billboard" 200, peaking at No. 28. Featuring a more downbeat musical tone, with spare, intimate arrangements, "Essence" earned Williams three Grammy nominations in 2002: Best Contemporary Folk Album, Best Female Pop Vocal Performance for the title track, and Best Female Rock Vocal Performance for the single "Get Right with God", which she won.


title: Lucinda Williams

text: One of the most celebrated singer-songwriters of her generation, Williams has released a string of albums since that have earned her further critical acclaim and commercial success, including "World Without Tears" (2003), "West" (2007), "Little Honey" (2008), "Blessed" (2011), "Down Where the Spirit Meets the Bone" (2014), "The Ghosts of Highway 20" (2016), and "Good Souls Better Angels" (2020). Among her various accolades, she has won three Grammy Awards, from 17 nominations, and has received two Americana Awards (one competitive, one honorary), from 11 nominations. Williams ranked No. 97 on VH1's 100 Greatest Women in Rock & Roll in 1999, and was named "America's best songwriter" by "Time" magazine in 2002. In 2015, "Rolling Stone" ranked her the 79th greatest songwriter of all time. In 2017, she received the Berklee College of Music Honorary Doctorate of Music Degree, and ranked No. 91 on "Rolling Stone"s 100 Greatest Country Artists of All Time. In 2020, "Car Wheels on a Gravel Road" ranked No. 97, and "Lucinda Williams" ranked No. 426, on "Rolling Stone"s 500 Greatest Albums of All Time. She was inducted into the Austin City Limits Hall of Fame in 2021. That same year, "Passionate Kisses" ranked No. 437 on "Rolling Stone"s 500 Greatest Songs of All Time.


title: Lucinda Williams

text: Williams was born in Lake Charles, Louisiana, the daughter of poet and literature professor Miller Williams, and amateur pianist Lucille Fern Day. Her parents divorced in the mid-1960s. Williams' father gained custody of her and her younger brother, Robert Miller, and sister, Karyn Elizabeth. Like her father, Williams has spina bifida. Her father worked as a visiting professor in Mexico and different parts of the United States, including Baton Rouge; New Orleans; Jackson, Mississippi; and Utah before settling at the University of Arkansas in Fayetteville. Williams never graduated from high school but was accepted into the University of Arkansas. Williams started writing when she was 6 years old. She showed an affinity for music at an early age, and was playing guitar at 12. Her first live performance was in Mexico City at 17, as part of a duo with her friend, banjo player Clark Jones.


title: Lucinda Williams

text: By her early 20s, Williams was playing publicly in Austin and Houston, Texas, concentrating on a blend of folk, rock, and country. She moved to Jackson, Mississippi, in 1978 to record her first album for Folkways Records. Released in 1979, and titled "Ramblin' on My Mind", it was a collection of country and blues covers. Smithsonian Folkways provides a description: "The first recordings from an artist with a gift for interpreting original blues from Robert Johnson to Memphis Minnie to the Carter Family. Williams' unmistakable sound is powerfully direct and filled with melancholy and passion." When the album was re-issued in 1991, the title was shortened to "Ramblin"'.


title: Lucinda Williams

text: Williams' second album, "Happy Woman Blues", appeared the following year, and consisted of her own material. "Trouser Press" felt the record was more "rock-oriented" than Williams' debut album, writing that she used timeworn ideas such as "smoke-stained bars, open roads and a heart that never learns" but reimagined them "in a way that is both contemporary and uncynical". One album track, "I Lost It", was re-recorded 18 years later for Williams' fifth album "Car Wheels on a Gravel Road" (1998). In the 1980s, Williams moved to Los Angeles, California (before finally settling in Nashville, Tennessee), where, at times backed by a rock band and at others performing in acoustic settings, she developed a following and a critical reputation. While based in Los Angeles, she was briefly married to Long Ryders drummer Greg Sowders, whom she had met in a club.


title: Lucinda Williams

text: In 1988, Williams released her third album, "Lucinda Williams", on Rough Trade Records. Produced by Williams, along with Gurf Morlix, and Dusty Wakeman, the album was met with widespread critical acclaim and was voted the 16th best album of the year in "The Village Voice"s annual Pazz & Jop critics poll. It has since been viewed as a leading work in the development of the Americana movement. In 2014, Robin Denselow called it "an Americana classic" in "The Guardian", while Stephen M. Deusner wrote for CMT that it is "a roots-rock landmark, ground zero for today's burgeoning Americana movement". A retrospective review from AllMusic stated "Every song packs an emotional punch line and rewards the listener each time with something new". The single "Changed the Locks", about a broken relationship, received radio play around the country and gained fans among music insiders, including Tom Petty, who would later cover the song in 1996 on the soundtrack album to the Edward Burns film "She's The One". "Lucinda Williams" also features "The Night's Too Long", later recorded by Patty Loveless in 1990 for her album "On Down the Line", and "Passionate Kisses", later recorded by Mary Chapin Carpenter for her album "Come On Come On" (1992). Adhering closely in tempo, feel, and instrumentation to Williams' original recording, "Passionate Kisses" became a major hit for Carpenter, enhancing her crossover appeal and earning her the Grammy Award for Best Female Country Vocal Performance in 1994, while it earned Williams the Grammy Award for Best Country Song.


title: Lucinda Williams

text: In 1991, the song "Lucinda Williams" appeared on Vic Chesnutt's album "West of Rome". The following year, Williams released her fourth album, "Sweet Old World," on the Chameleon label. Also produced alongside Morlix and Wakeman, "Sweet Old World" is a melancholy album dealing with themes of suicide and death. The album received mass critical acclaim, and was voted the 11th best album of 1992 in "The Village Voice"s Pazz & Jop poll. Robert Christgau, the poll's creator, ranked it 6th on his own year-end list, later writing that the album was "gorgeous, flawless, brilliant [with] short-story details ('chess pieces,' 'dresses that zip up the side') packing a textural thrill akin to local color". AllMusic's Steve Huey said it was just as good as her 1988 self-titled album, calling it "a gorgeous, elegiac record that not only consolidates but expands Williams' ample talents." The track "Something About What Happens When We Talk" was later featured in the Cheryl Strayed biographical adventure film "Wild" (2014), starring Reese Witherspoon and Laura Dern.


title: Lucinda Williams

text: During this period, Williams' biggest commercial successes remained as a songwriter. Emmylou Harris said of Williams, "She is an example of the best of what country at least says it is, but, for some reason, she's completely out of the loop and I feel strongly that that's country music's loss." Harris later recorded the title track from "Sweet Old World" for her career-redefining 1995 album, "Wrecking Ball". In 1996, Williams duetted with Steve Earle on the song "You're Still Standin' There" from his album "I Feel Alright". Williams also gained a reputation as a perfectionist and slow worker when it came to recording; six years would pass before her next album release, though she appeared as a guest on other artists' albums and contributed to several tribute compilations during this period.


title: Lucinda Williams

text: The long-awaited release, 1998's "Car Wheels on a Gravel Road", was Williams' breakthrough into the mainstream. The album received widespread critical acclaim, topping the annual Pazz & Jop poll, and received a Grammy Award for Best Contemporary Folk Album in 1999. It became Williams' first album to chart on "Billboard" 200, peaking at No. 68, and remaining on the chart for over five months. The album also went Gold within a year of release. Reviewing for "Entertainment Weekly" in July 1998, David Browne found Williams' hard-edged evocations of Southern rural life refreshing amid a music market overrun by timid, mass-produced female artists, while "The Village Voice" critic Robert Christgau argued at the time that she proved herself to be the era's "most accomplished record-maker" by honing traditional popular music composition, understated vocal emotions, and realistic narratives colored by her native experiences and values. In 2003, "Rolling Stone" magazine called the record an alternative country masterpiece and ranked it No. 304 on their list of The 500 Greatest Albums of All Time, and ranked it No. 305 in 2012's revised list. In September 2020, "Rolling Stone" updated its Top 500 albums of all-time list, which reflected an updated and diverse judging pool, and the album rose to No. 98 on that list.


title: Lucinda Williams

text: The single "Can't Let Go" also enjoyed considerable crossover radio play, and garnered for Williams a Grammy nomination for Best Female Rock Vocal Performance. Another song from the album; "Still I Long for Your Kiss", was featured on the soundtrack album to the 1998 Robert Redford film "The Horse Whisperer". The track "Lake Charles" was later featured in the first episode of the HBO series "True Blood", and was included on the first season's soundtrack album. On February 20, 1999, Williams performed the tracks "Can't Let Go" and "2 Kool 2 Be 4-Gotten" on "Saturday Night Live" (episode "Bill Murray/Lucinda Williams"). Williams toured with Bob Dylan, the Allman Brothers and Tom Petty and the Heartbreakers, and on her own in support of the album. An expanded edition of the album, including three additional studio recordings and a second CD documenting a 1998 concert, was released in 2006. In 1999, she appeared on "", duetting with David Crosby on the title track.


title: Lucinda Williams

text: Williams followed up the success of "Car Wheels on a Gravel Road" with "Essence", released on June 5, 2001. Featuring a less produced, more down-tuned approach both musically and lyrically, "Essence" moved Williams further from the country music establishment, while winning fans in the alternative music world. The album received a Grammy nomination for Best Contemporary Folk Album in 2002, while Williams won the Grammy Award for Best Female Rock Vocal Performance for the single "Get Right with God", an atypically up-tempo gospel-rock tune from the otherwise rather low-key release. The title track includes a contribution on a Hammond organ by alternative country musician Ryan Adams, and earned Williams a nomination for the Grammy Award for Best Female Pop Vocal Performance. At the same ceremony, Williams was nominated for the Grammy Award for Best Female Country Vocal Performance for her cover of "Cold, Cold Heart", from the all-star Hank Williams tribute album, "Timeless: Hank Williams Tribute" (2001). On January 13, 2002, Williams performed with Elvis Costello on the inaugural episode of "CMT Crossroads". Later that year, "Time" magazine christened Williams "America's best songwriter", and CMT ranked her No. 36 on their list of the 40 Greatest Women of Country Music.


title: Lucinda Williams

text: Her seventh album, "World Without Tears", was released on April 8, 2003. A musically adventurous though lyrically downbeat album, this release found Williams experimenting with talking blues stylings and electric blues. It received critical acclaim and was a commercial success, becoming Williams' first Top 20 album on the "Billboard" 200, peaking at No. 18. AllMusic called it "the bravest, most emotionally wrenching record she's ever issued". In his review for the "Los Angeles Times", Robert Hilburn deemed it "a rock 'n' roll workout", writing that its edgiest songs sounded "close to the raw, disoriented feel" of the Rolling Stones' 1972 album "Exile on Main St.". "World Without Tears" earned Williams two Grammy nominations in 2004: Best Contemporary Folk Album, and Best Female Rock Vocal Performance for the single "Righteously". The previous year, Williams was nominated for Best Female Country Vocal Performance for her cover of Greg Brown's "Lately", from "Going Driftless: An Artists' Tribute to Greg Brown".