title: Ten-pin bowling

text: A "conventional grip," used on non-customized house balls and some custom-drilled balls, involves insertion of fingers to the second knuckle. A "fingertip grip," involving insertion of fingers only to the first knuckle, enables greater revolution rates and resultant hook potential. A "thumbless grip," often used by so-called "two-handed" bowlers, maximizes ball rotational speed ("rev rate").


title: Ten-pin bowling

text: In traditional scoring, one point is scored for each pin that is knocked over, and when less than all ten pins are knocked down in two rolls in a frame (an "open frame"), the frame is scored with the total number of pins knocked down. However, when all ten pins are knocked down with either the first or second rolls of a frame (a "mark"), "bonus" pins are awarded as follows:


title: Ten-pin bowling

text: The maximum score is 300, achieved by getting twelve strikes in a row within the same game (known as a perfect game).


title: Ten-pin bowling

text: The maximum score is 300, achieved with ten consecutive strikes (as opposed to twelve in traditional scoring), but with no bonus pins received in the tenth frame.


title: Ten-pin bowling

text: World Bowling scoring is thought to make bowling easier to follow than with traditional scoring, increase television viewership, and help bowling to become an Olympic sport.


title: Ten-pin bowling

text: Another variant of scoring, a 12-frame system introduced at the November 2014 World Bowling Tour (WBT) finals, resembles golf's match play scoring in counting the greater number of "frames" won rather than measuring accumulated pinfall score. A frame may be won immediately by a higher pincount on the first roll of the frame, and a match may be won when one player is ahead by more frames than remain of the possible 12 frames. This variant reduces match length and scoring complexity for two-player matches.


title: Ten-pin bowling

text: Modern ten-pin bowling derives mainly from the German Kegelspiel, or kegeling, which used nine pins set in a diamond formation. The enjoyment of kegeling by German peasants contrasted with (lawn) bowls that was reserved for the upper classes, consistent with bowling's enduring reputation as a common man's sport.


title: Ten-pin bowling

text: A of Ipswich, England shows a man bowling outdoors with a triangular formation of ten pins. An outdoor version of ten-pin bowling was , also in Ipswich, at least as early as 1828.


title: Ten-pin bowling

text: An 1841 Connecticut law banned ninepin bowling because of its perceived association with gambling and crime, and people were said to circumvent the prohibition by adding a tenth pin. Other locations (e.g., 1838, re Baltimore and 1842, Charles Dickens re New York) also recount that strategy. Even earlier, an 1834 Washington, D.C. ordinance had limited the time (before 8 p.m. and not on Sundays) and place (more than 100 yards from inhabited houses) of "nine pin and ten pins" or "any game in the likeness or imitation thereof ... played with any number of pins whatsoever". U.S. newspapers referred to "ten pin alleys" at least as early as 1820


title: Ten-pin bowling

text: In the mid-1800s, various alternatives to free-standing pins received U.S. patents to solve perceived problems in pinsetting and ball return, aiming to avoid the need for human pinsetters to perform these functions. One scheme (1851) involved pins with spherical bases that when hit by a ball merely fell over, in place, to be rotated back to a vertical position. A second arrangement (1853) involved resetting the pins via cords descending from respective pin bottoms to weights beneath the pin deck. Another design (1869) involved suspending the pins with overhead cords.


title: Ten-pin bowling

text: In 1884, the Brunswick Corporation became the first American bowling ball manufacturer, and by 1905 introduced the Mineralite (hard rubber) ball that was considered so revolutionary over wooden balls that it was displayed at the Century of Progress Exposition in 1934. In 1886, Joe Thum—who would become known as the "father of bowling"—began opening bowling alleys and over decades strove to elevate the sport's image to compete with upper-class diversions such as theaters and opera houses.


title: Ten-pin bowling

text: In 1875, delegates from New York City and Brooklyn bowling clubs formed the National Bowling Association (NBA) to standardize rules, but disagreements prevailed. In 1887 Albert G. Spalding wrote "Standard Rules for Bowling in the United States," and in the mid-1890s the United Bowling Clubs (UBC) was organized with 120 members. The American Bowling Congress (ABC) was established in 1895, followed by the Women's International Bowling Congress (WIBC) in the 1910s, such organizations promoting standardized rules and striving to improve the sport's image.


title: Ten-pin bowling

text: From 1920 to 1929, the number of ABC-sanctioned alleys grew from 450 to about 2,000, with Prohibition leading to the growth of family-appropriate "dry" alleys. The 1933 repeal of Prohibition allowed breweries to sponsor teams and bowlers, adding to bowling's reputation as a working-class sport. Though at the turn of the twentieth century most bowling alleys were small establishments, post-Prohibition bowling lanes shifted from side entertainment at fancy Victorian venues or seedier saloons to independent establishments that embraced the Art Deco style and fit the era's perceived "need for speed".


title: Ten-pin bowling

text: Gottfried Schmidt invented the first mechanical pinsetter in his garage in 1936, one implementation of which was publicly exhibited in 1946 before AMF placed a production model into service in 1952.


title: Ten-pin bowling

text: The 1940s through the 1970s became known as the "golden age of bowling", with ABC membership growing from 700,000 (1940), to 1.1 million (1947), to 2.3 million (1958), to 4.5 million (1963), Women's International Bowling Congress membership growing from 82,000 (1940) to 866,000 (1958), American Junior Bowling Congress membership growing from 8,000 (1940) to 175,000 (1958), and sanctioned individual lanes growing from 44,500 (1947) to 159,000 (1963).


title: Ten-pin bowling

text: Bowling's growth was fueled by the deployment of automatic mechanical pinsetters by AMF (1952) and Brunswick (1955), television broadcasts (said to be "ubiquitous" in the 1950s), modernization and stylization of establishments with amenities to attract broader clientele, and formation of bowling leagues. Though President Truman had installed a bowling alley in the White House in 1947, a report of the American Society of Planning Officials in 1958 characterized bowling alleys as the "poor man's country club".


title: Ten-pin bowling

text: ABC bylaws had included a "white-males-only" clause since its inception in the 1890s, but numerous lobbying efforts and legal actions after World War II by civil rights and labor organizations led to a reversal of this policy in 1950.


title: Ten-pin bowling

text: Sports agent Eddie Elias founded the Professional Bowlers Association (PBA) in 1958 with 33 members. The "Pro Bowlers Tour" TV program aired from 1962 through 1997.


title: Ten-pin bowling

text: In the 1930s and 1940s, professional bowling was dominated by "beer leagues" with many of the best bowlers sponsored by beer companies, but by 1965 the PBA tour was televised nationally on ABC Sports with sponsors such as Coca-Cola and Ford.


title: Ten-pin bowling

text: In parallel with professional bowling was "action bowling" or "pot bowling"—bowling matches based on monetary bets—historically associated with the New York underworld from the 1940s to the 1970s.


title: Ten-pin bowling

text: The first ten-pin lanes in Europe had been installed in Sweden in 1909, but attempts to popularize the sport in Europe were unsuccessful over the next several decades, though hundreds of lanes were installed on U.S. military bases in the U.K. during World War II. Various countries developed the sport to some extent, and the Fédération Internationale des Quilleurs (FIQ; now World Bowling) was formed in 1952 to coordinate international amateur competition.


title: Ten-pin bowling

text: A firmer establishment of the sport began in the U.K. in 1960 in London (Stamford Hill) in January 1960, and the British Tenpin Bowling Association was formed the following year. The first British made tenpin was by H Massil and sons who received the permit no.1 from the British Tenpin Bowling Association (BTBA). Various other countries, including Australia, Mexico and Japan, adopted the trend over the ensuing decade. After initial faddish growth in the U.K., however, the sport did not thrive as it did in the U.S., and by the 1970s many British bowling alleys were converted to serve competing pastimes, such as bingo.


title: Ten-pin bowling

text: In the 1960s and early 1970s, top bowling professionals made twice as much money as NFL football stars, received million-dollar endorsement contracts, and were treated as international celebrities. The $100,000 Firestone Tournament of Champions launched in 1965, in a decade that saw ABC membership peak at almost 4.6 million male bowlers. The number of sanctioned bowling alleys peaked at about 12,000 in the mid-1960s, mostly in blue-collar urban areas, and Women's International Bowling Congress (WIBC) membership peaked at 4.2 million members in 1979.


title: Ten-pin bowling

text: In the late 1960s, the participation sport of bowling found itself competing with spectator sports and outdoor recreational activities. The number of certified bowling centers was to eventually decline from its 1960s high of 12,000 to 6,542 in 1998 and 3,976 in 2013. The decline was noted acutely in waning league participation over the intervening decades.


title: Ten-pin bowling

text: Tournament prize funds in the 1980s included the PBA National Championship ($135,000, its largest) and the Firestone Tournament of Champions ($150,000), and PBA membership approached 2,500. Ten-pin bowling became an exhibition sport at the 1988 Summer Olympics (Seoul), has been a medal sport since its debut at the 1991 Pan American Games (Havana), and was included in the 1998 Commonwealth Games (Kuala Lumpur).


title: Ten-pin bowling

text: Outside elite and professional bowling, participation in leagues—traditionally the more profitable end of the business—declined from a 1980 peak (8 million), compelling alleys to further diversify into entertainment amenities. As busier, two-earner households became more common in the 1980s to make league participation more difficult, the number of spectator sports and competing leisure time opportunities (jogging, tennis, skiing) grew. While league bowling decreased by 40 percent between 1980 and 1993, the total number of bowlers actually increased by 10 percent during that period, with nearly 80 million Americans going bowling at least once during 1993. In 1995, the National Bowling Stadium (Reno, Nevada) was constructed at a cost of $47.5 million, but the PBA Pro Bowlers Tour TV program was canceled in 1997 after a 35-year run.


title: Ten-pin bowling

text: In 1991, equipment manufacturer DBA Products released "The Lane Walker"—the first computer-driven lane cleaning and oiling machine, programmable to clean up to 50 lanes.


title: Ten-pin bowling

text: The early 1990s brought the development of reactive resin ("reactive") balls with chemically "tacky" surfaces that enhance traction to dramatically enhance hook and substantially increase the likelihood of striking, raising average scores even for less experienced bowlers.


title: Ten-pin bowling

text: The Sporting Goods Manufacturers Association (SGMA) reported 1997 bowling product sales of $215 million, the SGMA president attributed an increase in popularity to bowling alley remodeling, technological innovations in balls and lanes, computerized scoring, and promotion by bowling organizations.


title: Ten-pin bowling

text: From 1998 to 2013, the number of American bowling centers fell by one quarter. Similarly, in the two decades following 1997, the number of USBC-certified "lanes"—also indicative of business viability—declined by one-third. This business decline is often attributed to waning league participation: USBC membership—indicative of league participation that was the main source of revenue—declined by two-thirds in those two decades, and the portion of alley revenue attributable to leagues is estimated to have dropped from 70% to 40%. Political scientist Robert D. Putnam's book "Bowling Alone" (2000) asserts, with some controversy, that the retreat from league bowling epitomizes a broader societal decline in social, civic and community engagement in the U.S.


title: Ten-pin bowling

text: As an indication of the decline, AMF Bowling, the largest operator of bowling centers in the world at the time, filed for Chapter 11 bankruptcy in 2001, and again in 2012. By 2013, AMF Bowling had merged with New York-based Bowlmor (no relation to the defunct, 1940s-founded "Bowl-Mor" firm that invented the automatic pinsetter for candlepin bowling), the company becoming known as Bowlmor AMF.


title: Ten-pin bowling

text: In 2000, three former tech industry executives bought a debt-laden PBA—which saw its 36-year television contract with ABC Sports end in 1997—and turned it from a non-profit league into a for-profit organization, and invested heavily in marketing. The January 2005 merger of four U.S. bowling organizations to form the USBC formed a "central brand" aiming to grow the sport. Beginning late in the decade of the 2000s, the two-handed approach became popularized, first by Australian Jason Belmonte, with some hoping that the controversial delivery style would boost popularity of the sport. In January 2013, the eight-team PBA League began competition, the strategy being that basing teams in specific geographic localities would generate viewer enthusiasm and corporate sponsorship in the same manner as teams in other professional sports. Still, continuing the reversal of bowling's peak popularity in the 1960s, in the 2012–2013 season the average yearly winnings of the ten highest-earning PBA competitors was less than US$155,000, and the average for the remaining 250 competitors was $6,500—all much less than a rookie NFL football player's minimum base salary of $375,000.


title: Ten-pin bowling

text: Estimates of the number of total (league and non-league) bowlers in the U.S. have varied, from 82 million (1997, International Bowling Museum) to 51.6 million (2007, research firm White Hutchinson) to 71 million (2009, USBC), the USBC stating in 2019 that bowling is still the #1 participation sport in the U.S. More broadly, the International Bowling Museum stated in 2016 that bowling is played by 95 million people in more than 90 countries. In an era of continual decline in league participation, bowling centers promoted "party bowling" and black-light-and-disco-ball "cosmic bowling" and experienced a shift from blue-collar participants to open-play (non-league) family-oriented clientele in combined bowling and entertainment centers, some offering laser tag, indoor playgrounds, go-karting, climbing walls, arcade games, skating rinks, gourmet restaurants, and nightclub-style bowling lounges. School sport programs expanded, the USBC stating that more than 5,000 high schools offered bowling as a competitive sport, with 50,000 student bowlers participating in 2009–2010. In 2011, the Bowling Proprietor's Association of America stated that more than 60% of U.S. bowlers were under


title: Ten-pin bowling

text: age 34, that 46% were girls and women, and that children participated in bowling at a higher rate than any other population group.


title: Ten-pin bowling

text: In contrast to the U.S., the 2000s and 2010s brought a bowling renaissance in the U.K., achieved by accommodating sophisticated modern tastes by providing (for example) retro style bowling alleys outfitted with 1950s Americana, "boutique bowling", "VIP lanes", and cameras for instant replays, and by rejuvenating bowling "alleys" into diverse-entertainment bowling "centres". The population of ten-pin bowling centres grew from a low of barely 50 (in the 1980s) to over 200 (2006), with almost a third of Britons going bowling in 2016 and league participation growing over 20% over two years (2015-2017).


title: Ten-pin bowling

text: Though ten-pin bowling was a demonstration sport in the 1988 Summer Olympics (Seoul) and has been included in the Pan American Games since 1991, after making the short list for inclusion in the 2020 Summer Olympics (Tokyo), it was cut. One commentator noted that the sport's limited geographic popularity (the U.S., Australia and a few European and South American countries), and aging demographic of those who follow the sport, make it difficult to convince an Olympic Committee that wants to appeal to youth.


title: Ten-pin bowling

text: World Bowling (WB) was formed in 2014 from component organizations of the "Fédération Internationale des Quilleurs" (FIQ, International Federation of Bowlers), which in 1952 developed from the International Bowling Association (IBA) which began operations in 1926. Since 1979 the International Olympic Committee has recognized the FIQ, and later, WB, as the sport's world governing body. WB establishes rules for the uniform practice of bowling throughout the world, and promotes bowling as an Olympic sport. The World Tenpin Bowling Association "membership discipline" (component organization) of WB serves the amateur sport of ten-pin bowling worldwide, adopting uniform playing rules and equipment specifications.


title: Ten-pin bowling

text: The British Tenpin Bowling Association (BTBA, formed in 1961) is the official governing body recognized by World Bowling as the official sanctioning body in England, and as such "is responsible for the protection, integrity and development of the sport". Its stated vision is "to ensure that all people, irrespective of their age, disability, ethnic origin, marital status, sexual orientation or social status have a genuine and equal opportunity to participate in the sport at all levels and in all roles".


title: Ten-pin bowling

text: The National Association of Youth Bowling Clubs (NAYBC) is a BTBA subcommittee serving youth bowlers and youth bowling clubs.


title: Ten-pin bowling

text: The British Universities Tenpin Bowling Association (BUTBA, formed in 2008) organizes bowling events for present and former university and college students.


title: Ten-pin bowling

text: The Tenpin Bowling Proprietors Association (TBPA, formed in 1961 as an umbrella organization) is a trade association for the British ten-pin bowling industry.


title: Ten-pin bowling

text: The United States Bowling Congress (USBC) was formed as the governing body for the U.S. on January 1, 2005, by the merger of:


title: Ten-pin bowling

text: As the national governing body for bowling, its stated mission is to provide services, resources and the standards for the sport, its stated goals including growing the sport and promoting values of "credibility, dedication, excellence, heritage, inclusiveness, integrity, philanthropy and sportsmanship".


title: Ten-pin bowling

text: The International Bowling Museum and Hall of Fame is located on the International Bowling Campus in Arlington, Texas, U.S.


title: Ten-pin bowling

text: World Bowling oversees quadrennial World Championship tournaments, and international championships for various sectors, including for women, seniors, youth and junior bowlers.


title: Ten-pin bowling

text: The QubicaAMF Bowling World Cup (begun in 1965) is recognized as bowling's largest event in terms of number of countries competing, according to the USBC in 2018.


title: Ten-pin bowling

text: The Professional Bowlers Association (PBA) Tour has held anywhere from 15 to 25 events annually in recent years, mainly at U.S. locations. The PBA Tour includes "major" championship events:


title: Ten-pin bowling

text: the PBA Players Championship. Dozens more PBA tournaments are held in various U.S. geographical segments as part of the PBA Regional Tour.


title: Ten-pin bowling

text: The United States Bowling Congress (USBC) has various tournaments for the PBA tour, PWBA, youth and seniors, including the USBC Masters and U.S. Open (both major tournaments on the PBA tour), and USBC Queens and U.S. Women's Open (both major tournaments on the PWBA tour), plus the USBC Team USA Trials/U.S. National Amateur Bowling Championships. Additionally, the USBC has regional tournaments and certifies local tournaments.


title: Ten-pin bowling

text: The European Tenpin Bowling Federation (ETBF) owns the European Bowling Tour (organized in 2000), including its final tournament, the European Bowling Tour Masters (first edition: 2008).


title: Ten-pin bowling

text: The Commonwealth Tenpin Bowling Federation (CTBF), made up of World Bowling member federations within the Commonwealth of Nations, owns the Commonwealth Tenpin Bowling Championships, which has held tournaments at irregular intervals since 2002.


title: Ten-pin bowling

text: The Weber Cup is an annual, three-day USA vs. Europe tournament, named after Dick Weber, that began in 2000 and has been held almost exclusively in the U.K.


title: Ten-pin bowling

text: In the decade of the 2000s, the World Ranking Masters, owned by World Bowling, ranked standings in the Pan American Bowling Confederation (PABCON), Asian Bowling Federation (ABF), and European Tenpin Bowling Federation (ETBF).


title: Ten-pin bowling

text: Though ten-pin bowling has not progressed beyond a demonstration sport at the Olympic Games, international games modeled after the Olympics (awarding medals) do include the sport, including the World Games (governed by the International World Games Association), the Asian Games (governed by the Olympic Council of Asia, OCA) and the Pan American Games (governed by the Pan American Sports Organization, PASO). The Maccabiah Games (governed by the Israeli Bowling Federation, IBF, with events played according to WTBA-ETBF rules) host ten-pin tournaments as medal events.


title: Ten-pin bowling

text: Usually, each team is scheduled to oppose each of the other teams over the course of a season. Position rounds—in which the first place team opposes the second place team, third place opposes fourth place, and so on—are often inserted into the season schedule.


title: Ten-pin bowling

text: Customarily, team position standings are computed after each series, awarding a first number of points for each game won and a second number of points for achieving the higher team score for that series, the particular numbers being specified in each league's rules. Further, in leagues having "match point" scoring, individual bowlers on one team are matched against respective members of the opposing team, the winners receiving points that supplement their team's game and series points.


title: Ten-pin bowling

text: The number of league bowlers in the U.S. peaked at 8 million in 1980, declining to approximately 1.3 million in the ensuing 40 years.


title: Ten-pin bowling

text: Ernest Fosberg (East Rockford, Ill.) bowled the first recognized 300 in 1902, before awards were given out. In 1908, A.C. Jellison and Homer Sanders (both of St. Louis) each bowled 300 games in the same season, the ABC awarding the gold medal for the highest score of the year to Jellison after a three-game tie-breaker match, without regard to the chronological order of their accomplishments.


title: Ten-pin bowling

text: On January 7, 2006, Elliot John Crosby became the youngest British bowler to bowl a BTBA-sanctioned 300 game at the age of 12 years, 2 months and 10 days, breaking the 1994 record of Rhys Parfitt (age 13 years, 4 months).


title: Ten-pin bowling

text: On November 17, 2013, Hannah Diem (Seminole, Florida) became the youngest American bowler to bowl a USBC-certified 300 game at the age of 9 years, 6 months and 19 days, breaking the 2006 record of Chaz Dennis (age 10) and the 2006 female record of Brandie Reamy (age 12).


title: Ten-pin bowling

text: Jeremy Sonnenfeld (Sioux Falls, S.D.) rolled the first certified 900 series in 1997. A well-publicized court-contested 900 series by Glenn Allison in 1982, considered by many to be the first-ever 900 series, was denied certification due to non-conforming lane conditions.


title: Ten-pin bowling

text: The 905 perfect games that were rolled during the 1968–69 season increased 38-fold to 34,470 in the 1998–99 season. Likewise, the number of perfect-game league bowlers increased from about one of 3150 (1900–1980) to about one of 27 (2007), a greater-than-hundredfold increase that many thought threatened to jeopardize the integrity of the sport. Specifically, the USBC Technical Director wrote that the "USBC is concerned that technology has overtaken player skill in determining success in the sport of bowling," announcing in 2007 the completion of a ball motion study undertaken "to strike a better balance between player skill and


title: Ten-pin bowling

text: Separately, a USBC pin carry study completed in about 2008 found that dramatically increased entry angles improve pin carry to result in higher scores—regardless of whether the bowlers supplied additional effort or improved their skill. Among the factors allowing higher scores were technological advances in coverstock and core design combined with improved lane surfaces and accommodative oil patterns.


title: Ten-pin bowling

text: Specifically, the reactive resin balls and particle balls that came out in the 1990s increased frictional engagement with the lane to provide greater hook potential that made high entry angles easier to achieve. Moreover, changes in lane surface technology, as well as the introduction of voids into pins to make them lighter and more top-heavy, helped to raise average scores as early as the 1970s. Expanded choices in oil viscosity and electronically controlled lane oiling machines permitted alley owners to customize house oil patterns to optimize the advantages of the new ball technologies. Technological progress allowed some 1990s league scores to surpass those of professionals in the 1950s.


title: Ten-pin bowling

text: Responding to such concerns, the USBC initiated "sport bowling" leagues and tournaments that provide "sport", "challenge" and "PBA Experience" oil patterns that are more challenging than the accommodative patterns of typical house shots. Still, the USBC has encountered enduring issues concerning how to maintain "average integrity" (fair handicapping) across leagues using oil patterns of differing difficulty.


title: Ten-pin bowling

text: As a result of various USBC studies, including a bowling technology study published in February 2018, the USBC Equipment and Specifications Committee established new specifications focusing mainly on balls. The overall result of the new specifications was said to slightly limit hook potential, more specifically eliminating balance holes (as of the 2020–21 season) and setting a new specification for oil absorption. The USBC stated that the new specifications will slow oil pattern transition, cause bowlers to move less, and keep the same scoring pace with lower oil volume.


title: Ten-pin bowling

text: Beginning in 1962, ABC's "Pro Bowlers Tour" was broadcast on Saturday afternoons to be viewed by millions, and—with various entertainment-oriented programs including "Make That Spare," "Celebrity Bowling" and "Bowling for Dollars"—confirmed the sport's popularity. The "Pro Bowlers Tour" garnered excellent ratings in the 1960s and early 1970s, as a lead-in to ABC's "Wide World of Sports". However, television ratings fell substantially, from 9.1 in the mid-1970s to 2.0 in 1997, the year in which "Pro Bowlers Tour" was canceled.


title: Ten-pin bowling

text: The decline in bowling event coverage has been attributed to a variety of factors, including time demands burdening the schedules of two-income households, small purses (winnings) for professional tournaments, declining participation in league bowling, the perceived demographic of bowlers (old, or of low social class), waning popularity with the public, competing sports programming on cable television, lack of corporate sponsorship, lack of an inspiring bowling star (2004), and an aging audience for TV bowling. A 2006 PBA article describing the PBA bowlers in the documentary "A League of Ordinary Gentlemen" called bowling athletes "the Rodney Dangerfields of professional sports".


title: Ten-pin bowling

text: The decline in coverage has also been attributed to the perception that bowling is less an athletic sport (not being in the Olympic Games) and more of a recreational pastime (such as for children's birthday parties). This perception is reinforced by the easy lane conditions provided to bowling leagues that enable seasoned league bowlers to achieve scores rivaling those of professionals who must bowl under more challenging lane conditions.


title: Ten-pin bowling

text: Former PBA Commissioner Mark Gerberich said that ABC paid the PBA $200,000 per broadcast in 1991, but by 1997 "we were paying $150,000 to stay on TV." Said to be "near bankruptcy" in 2000, the PBA changed ownership to one that emphasized marketing with the goal of running the organization as a for-profit business. ESPN featured bowling from 2000 to 2018 on Sunday afternoons, with CBS Sports Network also airing a smaller number of bowling tournaments.


title: Ten-pin bowling

text: In 2019, the PBA entered an agreement, expected to last four years, in which Fox Sports would sell advertising and sponsorships for the sport to establish the sport's presence on broadcast television, also providing cable, streaming, and social media programming. In September 2019, Bowlero Corporation purchased the PBA.


title: Ten-pin bowling

text: In J. K. Rowling's "Harry Potter and the Philosopher's Stone, " Professor Albus Dumbledore is a fan of ten-pin bowling.


title: Ten-pin bowling

text: "Pin Gods" (1996) presents the early challenges of three young bowlers breaking into professional bowling.


title: Ten-pin bowling

text: The PBS "Independent Lens" documentary "A League of Ordinary Gentlemen" (2006) chronicles the stories of four PBA Tour bowlers at different stages of their careers, following the purchase of the PBA and appointment of former Nike executive Steve Miller as Director.


title: Ten-pin bowling

text: In the animated short cartoon "The Bowling Alley-Cat" (1942), cat and mouse Tom and Jerry do battle inside a bowling center.


title: Ten-pin bowling

text: In "Dreamer" (1979), Tim Matheson plays a man aspiring to be a professional bowler who faces a challenger played by Dick Weber.


title: Ten-pin bowling

text: In "Greedy" (1994), Michael J. Fox plays an "honest but luckless pro bowler with a bad wrist and a good woman."


title: Ten-pin bowling

text: The Farrelly brothers' comedy "Kingpin" (1996) is a bowling comedy about which Randy Quaid said in an interview, "If we can't laugh at bowling, what can we laugh at?"


title: Ten-pin bowling

text: In the Coen Brothers' "The Big Lebowski" (1998), "the Dude" (Jeff Bridges), a "slacker's slacker," hangs out with his buddies at a bowling alley, in which John Goodman's character pulls out a gun to threaten a competitor who stepped over the foul line and refused to accept the mandatory zero score for the shot.


title: Ten-pin bowling

text: In the Disney Channel's "Alley Cats Strike" (2000), high school students engage in a bowling rivalry.


title: Ten-pin bowling

text: What is believed to be the first bowling video game was released in the 1977, a built-in provided with the RCA Studio II console. A pseudo-3D game was released in 1982 for the Emerson Arcadia 2001 console, and a multi-player game was released by SNK in 1991, almost a decade before convincing 3D graphics arrived. "Wii Sports", which was released in 2006, includes a bowling game for the 3D-motion-controlled console, and mobile-device bowling games have since become increasingly popular. Several organizations—including the PBA and entertainment franchises such as "Animaniacs," "The Simpsons," "Monsters, Inc.," and "The Flintstones"—have granted licenses to use their names for video games.


title: Proxemics

text: Proxemics is the study of human use of space and the effects that population density has on behaviour, communication, and social interaction.


title: Proxemics

text: Proxemics is one among several subcategories in the study of nonverbal communication, including haptics (touch), kinesics (body movement), vocalics (paralanguage), and chronemics (structure of time).


title: Proxemics

text: Edward T. Hall, the cultural anthropologist who coined the term in 1963, defined proxemics as "the interrelated observations and theories of humans use of space as a specialized elaboration of culture". In his foundational work on proxemics, "The Hidden Dimension," Hall emphasized the impact of proxemic behavior (the use of space) on interpersonal communication. According to Hall, the study of proxemics is valuable in evaluating not only the way people interact with others in daily life, but also "the organization of space in [their] houses and buildings, and ultimately the layout of [their] towns". Proxemics remains a hidden component of interpersonal communication that is uncovered through observation and strongly influenced by culture.


title: Proxemics

text: Hall described the interpersonal distances of humans (the relative distances between people) in four distinct zones:


title: Proxemics

text: The distance surrounding a person forms a space. The space within intimate distance and personal distance is called "personal space". The space within social distance and out of personal distance is called "social space", and the space within public distance is called "public space".


title: Proxemics

text: Personal space is the region surrounding a person which they regard as psychologically theirs. Most people value their personal space and feel discomfort, anger, or anxiety when their personal space is encroached. Permitting a person to enter personal space and entering somebody else's personal space are indicators of perception of those people's relationship. An intimate zone is reserved for close friends, lovers, children and close family members. Another zone is used for conversations with friends, to chat with associates, and in group discussions. A further zone is reserved for strangers, newly formed groups, and new acquaintances. A fourth zone is used for speeches, lectures, and theater; essentially, public distance is that range reserved for larger audiences.


title: Proxemics

text: Entering somebody's personal space is normally an indication of familiarity and sometimes intimacy. However, in modern society, especially in crowded urban communities, it can be difficult to maintain personal space, for example when in a crowded train, elevator or street. Many people find such physical proximity to be psychologically disturbing and uncomfortable, though it is accepted as a fact of modern life. In an impersonal, crowded situation, eye contact tends to be avoided. Even in a crowded place, preserving personal space is important, and intimate and sexual contact, such as frotteurism and groping, is unacceptable physical contact.


title: Proxemics

text: The amygdala is suspected of processing people's strong reactions to personal space violations since these are absent in those in which it is damaged and it is activated when people are physically close. Research links the amygdala with emotional reactions to proximity to other people. First, it is activated by such proximity, and second, in those with complete bilateral damage to their amygdala, such as patient S.M., lack a sense of personal space boundary. As the researchers have noted: "Our findings suggest that the amygdala may mediate the repulsive force that helps to maintain a minimum distance between people. Further, our findings are consistent with those in monkeys with bilateral amygdala lesions, who stay within closer proximity to other monkeys or people, an effect we suggest arises from the absence of strong emotional responses to personal space violation."


title: Proxemics

text: A person's personal space is carried with them everywhere they go. It is the most inviolate form of territory. Body spacing and posture, according to Hall, are unintentional reactions to sensory fluctuations or shifts, such as subtle changes in the sound and pitch of a person's voice. Social distance between people is reliably correlated with physical distance, as are intimate and personal distance, according to the delineations below. Hall did not mean for these measurements to be strict guidelines that translate precisely to human behavior, but rather a system for gauging the effect of distance on communication and how the effect varies between cultures and other environmental factors.


title: Proxemics

text: The distances mentioned above are horizontal distance. There is also vertical distance that communicates something between people. In this case, however, vertical distance is often understood to convey the degree of dominance or sub-ordinance in a relationship. Looking up at or down on another person can be taken literally in many cases, with the higher person asserting greater status.


title: Proxemics

text: Teachers, and especially those who work with small children, should realize that students will interact more comfortably with a teacher when they are in same vertical plane. Used in this way, an understanding of vertical distance can become a tool for improved teacher-student communication. On the other hand, a disciplinarian might put this information to use in order to gain psychological advantage over an unruly student.


title: Proxemics

text: Hall used biometric concepts to categorize, explain, and explore the ways people connect in space. These variations in positioning are impacted by a variety of nonverbal communicative factors, listed below.


title: Proxemics

text: Whereas Hall's work uses human interactions to demonstrate spatial variation in proxemics, the field of neuropsychology describes personal space in terms of the kinds of "nearness" to an individual body.


title: Proxemics

text: Previc further subdivides extrapersonal space into "focal-extrapersonal" space, "action-extrapersonal" space, and "ambient-extrapersonal" space. Focal-extrapersonal space is located in the lateral temporo-frontal pathways at the center of our vision, is retinotopically centered and tied to the position of our eyes, and is involved in object search and recognition. Action-extrapersonal-space is located in the medial temporo-frontal pathways, spans the entire space, and is head-centered and involved in orientation and locomotion in topographical space. Action-extrapersonal space provides the "presence" of our world. Ambient-extrapersonal space initially courses through the peripheral parieto-occipital visual pathways before joining up with vestibular and other body senses to control posture and orientation in earth-fixed/gravitational space. Numerous studies involving peripersonal and extrapersonal neglect have shown that peripersonal space is located dorsally in the parietal lobe whereas extrapersonal space is housed ventrally in the temporal lobe.


title: Proxemics

text: While personal space describes the immediate space surrounding a person, territory refers to the area which a person may "lay claim to" and defend against others. There are four forms of human territory in proxemic theory. They are:


title: Proxemics

text: These different levels of territory, in addition to factors involving personal space, suggest ways for us to communicate and produce expectations of appropriate behavior.


title: Proxemics

text: In addition to spatial territories, the interpersonal territories between conversants can be determined by "socio-petal socio-fugal axis", or the "angle formed by the axis of the conversants' shoulders". Hall has also studied combinations of postures between dyads (two people) including lying prone, sitting, or standing.


title: Proxemics

text: Personal space is highly variable, due to cultural differences and personal preferences. On average, preferences vary significantly between countries. A 2017 study found that personal space preferences with respect to strangers ranged between more than 120 cm in Romania, Hungary and Saudi Arabia, and less than 90 cm in Argentina, Peru, Ukraine and Bulgaria.


title: Proxemics

text: The cultural practices of the United States show considerable similarities to those in northern and central European regions, such as Germany, Scandinavia, and the United Kingdom. Greeting rituals tend to be the same in Europe and in the United States, consisting of minimal body contact—often confined to a simple handshake. The main cultural difference in proxemics is that residents of the United States like to keep more open space between themselves and their conversation partners (roughly compared to in Europe). European cultural history has seen a change in personal space since Roman times, along with the boundaries of public and private space. This topic has been explored in "A History of Private Life" (2001), under the general editorship of Philippe Ariès and Georges Duby. On the other hand, those living in densely populated places likely have lower expectations of personal space. Residents of India or Japan tend to have a smaller personal space than those in the Mongolian steppe, both in regard to home and individual spaces. Different expectations of personal space can lead to difficulties in intercultural communication.


title: Proxemics

text: Hall notes that different culture types maintain different standards of personal space. Realizing and recognizing these cultural differences improves cross-cultural understanding, and helps eliminate discomfort people may feel if the interpersonal distance is too large ("stand-offish") or too small (intrusive).


title: Proxemics

text: People make exceptions to and modify their space requirements. A number of relationships may allow for personal space to be modified, including familial ties, romantic partners, friendships and close acquaintances, where there is a greater degree of trust and personal knowledge. Personal space is affected by a person's position in society, with more affluent individuals expecting a larger personal space. Personal space also varies by gender and age. Males typically use more personal space than females, and personal space has a positive relation to age (people use more as they get older). Most people have a fully developed (adult) sense of personal space by age twelve.


title: Proxemics

text: Under circumstances where normal space requirements cannot be met, such as in public transit or elevators, personal space requirements are modified accordingly. According to the psychologist Robert Sommer, one method of dealing with violated personal space is dehumanization. He argues that on the subway, crowded people often imagine those intruding on their personal space as inanimate. Behavior is another method: a person attempting to talk to someone can often cause situations where one person steps forward to enter what they perceive as a conversational distance, and the person they are talking to can step back to restore their personal space.


title: Proxemics

text: Implementing appropriate proxemic cues has been shown to improve success in monitored behavioral situations like psychotherapy by increasing patient trust for the therapist (see active listening). Instructional situations have likewise seen increased success in student performance by lessening the actual or perceived distance between the student and the educator (perceived distance is manipulated in the case of instructional videoconferencing, using technological tricks such as angling the frame and adjusting the zoom). Studies have shown that proxemic behavior is also affected when dealing with stigmatized minorities within a population. For example, those who do not have experience dealing with disabled persons tend to create more distance during encounters because they are uncomfortable. Others may judge that the disabled person needs to have an increase of touch, volume, or proximity.


title: Proxemics

text: The idea has been floated that the COVID-19 pandemic has made people adverse to hugs or handshakes. Long-term effects, if any, are uncertain. In an article in "Psychology Today," author Jane Adams discussed "boundary style," as the way we behave when we come in contact with people. "Some changes in how we interact with others may be temporary while others could be long-lasting," she says.


title: Proxemics

text: The theory of proxemics is often considered in relation to the impact of technology on human relationships. While physical proximity cannot be achieved when people are connected virtually, perceived proximity can be attempted, and several studies have shown that it is a crucial indicator in the effectiveness of virtual communication technologies. These studies suggest that various individual and situational factors influence how close we feel to another person, regardless of distance. The mere-exposure effect originally referred to the tendency of a person to positively favor those who they have been physically exposed to most often. However, recent research has extended this effect to virtual communication. This work suggests that the more someone communicates virtually with another person, the more he is able to envision that person's appearance and workspace, therefore fostering a sense of personal connection. Increased communication has also been seen to foster common ground, or the feeling of identification with another, which leads to positive attributions about that person. Some studies emphasize the importance of shared physical territory in achieving common ground, while others find that common ground can be achieved virtually, by communicating often.


title: Proxemics

text: Much research in the fields of communication, psychology, and sociology, especially under the category of organizational behavior, has shown that physical proximity enhances peoples' ability to work together. Face-to-face interaction is often used as a tool to maintain the culture, authority, and norms of an organization or workplace. An extensive body of research has been written about how proximity is affected by the use of new communication technologies. The importance of physical proximity in co-workers is often emphasized.


title: Proxemics

text: Part of Facebook's earning comes from on-site advertising. During these years, Facebook has offered companies the ability to post and present content in a timeline format on their free brand or business page. By doing so, companies can deliver a more comprehensive promotional message and increase audience engagement. If a user "likes" a brand page, corporate content posted on the brand page will appear in the user's news feed. Many users felt angry about the overly implanted ads that showed up in their Facebook timeline.


title: Proxemics

text: Users that consider Facebook advertising "annoying" and "intrusive" may do so because companies are invading their social domain (territory) with targeted, paid-for, corporate communications. Those that "hate" receiving targeted messages on their social media profiles could be experiencing frustration. It is likely that these users are devoting effort to the creation and maintenance of boundaries around their social role, only to have advertisers break through these boundaries with promotional content.


title: Proxemics

text: Proxemics is an essential component of cinematic mise-en-scène, the placement of characters, props and scenery within a frame, creating visual weight and movement. There are two aspects to the consideration of proxemics in this context, the first being character proxemics, which addresses such questions as: "How much space is there between the characters?", "What is suggested by characters who are close to" ("or, conversely, far away from") "each other?", "Do distances change as the film progresses?" and, "Do distances depend on the film's other content?" The other consideration is camera proxemics, which answers the single question: "How far away is the camera from the characters/action?" Analysis of camera proxemics typically relates Hall's system of proxemic patterns to the camera angle used to create a specific shot, with the long shot or extreme long shot becoming the "public proxemic", a full shot (sometimes called a figure shot, complete view, or medium long shot) becoming the "social proxemic", the medium shot becoming the "personal proxemic", and the close up or extreme close up becoming the "intimate proxemic".


title: Proxemics

text: Film analyst Louis Giannetti has maintained that, in general, the greater the distance between the camera and the subject (in other words, the public proxemic), the more emotionally neutral the audience remains, whereas the closer the camera is to a character, the greater the audience's emotional attachment to that character. Or, as actor/director Charlie Chaplin put it: "Life is a tragedy when seen in close-up, but a comedy in long shot."


title: Proxemics

text: Cyberbullying is a communication phenomenon in which a bully utilizes electronic media in order to harass peers. Adolescents favor texting or computer-mediated communication as an alternative to the more directly combative face-to-face interactions because it takes advantage of evading imposed social norms such as "school rules", which are likely to be especially repressive of aggression involving females. Online bullying has a lot in common with bullying in school: Both behaviors include harassment, humiliation, teasing, and aggression. Cyberbullying presents unique challenges in the sense that the perpetrator can attempt to be anonymous, and attacks can happen at any time of day or night.


title: Proxemics

text: The main factor that encourages cyberbullying is the fact that a cyberbully can hide behind the shield of online anonymity. In other words, social media magnifies the face-to-face "social space" into a virtual space where a cyberbully can say anything about the victims without the pressure of facing them.


title: Proxemics

text: Bailenson, Blascovich, Beall, and Loomis conducted an experiment in 2001, testing Argyle and Dean's (1965) equilibrium theory's speculation of an inverse relationship between mutual gaze, a nonverbal cue signaling intimacy, and interpersonal distance. Participants were immersed in a 3D virtual room in which a virtual human representation (that is, an embodied agent) stood. The focus of this study is on the "subtle nonverbal exchanges" that occur between a person and an embodied agent. Participants in the study clearly did not treat the agent as a mere animation. On the contrary, the results suggest that, in virtual environments, people were influenced by the 3D model and respected personal space of the humanoid representation. The result of the experiment also indicated that women are more affected by the gaze behaviors of the agent and adjust their personal space more accordingly than do men. However, men do subjectively assign gaze behavior to the agent, and their proxemic behavior reflects this perception. Furthermore, both men and women demonstrate less variance in their "proxemic behavior" when the agent displays mutual gaze behavior than when the agent does not.


title: Proxemics

text: Other researchers have established that proxemics can be a valuable tool for measuring the behavioral realism of an agent or an avatar. People tend to perceive nonverbal gestures on an implicit level, and degree of personal space appears to be an accurate way to measure people's perception of "social presence" and realism in virtual environments. Nick Yee in his PhD thesis at Stanford discovered that real world proxemic distances also were applied in the virtual world of Second Life. Other studies demonstrate that implicit behavioral measures such as body posture can be a reliable measure of the user's sense of presence in virtual environments. Similarly, personal space may be a more reliable measure of social presence than a typical ratings survey in immersive virtual environments.


title: Paul Butterfield

text: Paul Vaughn Butterfield (December 17, 1942May 4, 1987) was an American blues harmonica player, singer and band leader. After early training as a classical flautist, he developed an interest in blues harmonica. He explored the blues scene in his native Chicago, where he met Muddy Waters and other blues greats, who provided encouragement and opportunities for him to join in jam sessions. He soon began performing with fellow blues enthusiasts Nick Gravenites and Elvin Bishop.


title: Paul Butterfield

text: In 1963, he formed the Paul Butterfield Blues Band, which recorded several successful albums and was popular on the late-1960s concert and festival circuit, with performances at the Fillmore West, in San Francisco; the Fillmore East, in New York City; the Monterey Pop Festival; and Woodstock. The band was known for combining electric Chicago blues with a rock urgency and for their pioneering jazz fusion performances and recordings. After the breakup of the group in 1971, Butterfield continued to tour and record with the band Paul Butterfield's Better Days, with his mentor Muddy Waters, and with members of the roots-rock group the Band. While still recording and performing, Butterfield died in 1987 at age 44 of an accidental drug overdose.


title: Paul Butterfield

text: Music critics have acknowledged his development of an original approach that places him among the best-known blues harp players. In 2006, he was inducted into the Blues Hall of Fame. Butterfield and the early members of the Paul Butterfield Blues Band were inducted into the Rock and Roll Hall of Fame in 2015. Both panels noted his harmonica skills and his contributions to bringing blues music to a younger and broader audience.


title: Paul Butterfield

text: Butterfield was born in Chicago and raised in the city's Hyde Park neighborhood. The son of a lawyer and a painter, he attended the University of Chicago Laboratory Schools, a private school associated with the University of Chicago. Exposed to music at an early age, he studied classical flute with Walfrid Kujala, of the Chicago Symphony Orchestra. Butterfield was also athletic and was offered a track scholarship to Brown University. However, a knee injury and a growing interest in blues music sent him in a different direction. He met guitarist and singer songwriter Nick Gravenites, who shared an interest in authentic blues music. By the late 1950s, they were visiting blues clubs in Chicago, where musicians such as Muddy Waters, Howlin' Wolf, Little Walter, and Otis Rush encouraged them and occasionally let them sit in on jam sessions. The pair were soon performing as Nick and Paul in college-area coffee houses.


title: Paul Butterfield

text: Eventually, Butterfield, on vocals and harmonica, and Bishop, accompanying him on guitar, were offered a regular gig at Big John's, a folk club in the Old Town district on Chicago's near North Side. With this booking, they persuaded bassist Jerome Arnold and drummer Sam Lay (both from Howlin' Wolf's touring band) to form a group with them in 1963. Their engagement at the club was highly successful and brought the group to the attention of record producer Paul A. Rothchild.


title: Paul Butterfield

text: During their engagement at Big John's, Butterfield met and occasionally sat in with guitarist Mike Bloomfield, who was also playing at the club. By chance, producer Rothchild witnessed one of their performances and was impressed by the chemistry between the two. He persuaded Butterfield to bring Bloomfield into the band, and they were signed to Elektra Records. Their first attempt to record an album, in December 1964, did not meet Rothchild's expectations, although an early version of "Born in Chicago", written by Gravenites, was included on the 1965 Elektra sampler "Folksong '65" and created interest in the band (additional early recordings were released on the Elektra compilation "What's Shakin'" in 1966 and "The Original Lost Elektra Sessions" in 1995). To capture their sound better, Rothchild convinced Elektra president Jac Holzman to record a live album. In the spring of 1965, the Butterfield Blues Band was recorded at the Cafe Au Go Go in New York City. These recordings also failed to satisfy Rothchild, but the group's appearances at the club brought them to the attention of the East Coast music community. Rothchild persuaded Holzman to agree to a third attempt at recording an album.


title: Paul Butterfield

text: In these recording sessions, Rothchild had assumed the role of group manager and used his folk contacts to secure the band more engagements outside of Chicago. At the last minute, the band was booked to perform at the Newport Folk Festival in July 1965. They were scheduled as the opening act the first night when the gates opened and again the next afternoon in an urban blues workshop at the festival. Despite limited exposure on the first night and a dismissive introduction the following day by the folklorist and blues researcher Alan Lomax, the band was able to attract an unusually large audience for a workshop performance. Maria Muldaur, with her husband Geoff, who later toured and recorded with Butterfield, recalled the group's performance as stunning; it was the first time that many of the mostly folk-music fans had heard a high-powered electric blues combo. Among those who took notice was festival regular Bob Dylan, who invited the band to back him for his first live electric performance. With little rehearsal, Dylan performed a short, four-song set the next day with Bloomfield, Arnold, and Lay (along with Al Kooper and Barry Goldberg). The performance was not well received by some and generated a controversy, but it was a watershed event and brought the band to the attention of a much larger audience.


title: Paul Butterfield

text: The band added keyboardist Mark Naftalin, and its debut album, "The Paul Butterfield Blues Band", was finally successfully recorded in mid-1965 and released later that year. The opening song, a newer recording of the previously released "Born in Chicago", is an upbeat blues rocker and set the tone for the album, which included a mix of blues standards, such as "Shake Your Moneymaker", "Blues with a Feeling", and "Look Over Yonders Wall", and compositions by the band. The album, described as a "hard-driving blues album that, in a word, rocked", reached number 123 in the "Billboard" 200 album chart in 1966, but its influence was felt beyond its sales figures. On March 28, 1966, Butterfield appeared on the CBS game show "To Tell the Truth". At the end of his segment, he performed "Born in Chicago" with the house band.


title: Paul Butterfield

text: Jazz drummer Billy Davenport was invited to replace Lay, who was ailing. In July 1966, the sextet recorded their second album, "East-West", which was released a month later. The album consists of more varied material, with the band's interpretations of blues (Robert Johnson's "Walkin' Blues"), rock (Michael Nesmith's "Mary, Mary"), R&B (Allen Toussaint's "Get Out of My Life, Woman"), and jazz selections (Nat Adderley's "Work Song"). "East-West" reached number 65 in the album chart.


title: Paul Butterfield

text: The 13-minute instrumental track "East-West" incorporates Indian raga influences and some of the earliest jazz-fusion and blues rock excursions, with extended solos by Butterfield and guitarists Mike Bloomfield and Elvin Bishop. It has been described as "the first of its kind and ... the root from which the acid rock tradition emerged". Live versions of the song sometimes lasted nearly an hour, and performances at the San Francisco Fillmore Auditorium "were a huge influence on the city's jam bands". Bishop recalled, "Quicksilver, Big Brother, and the Dead – those guys were just chopping chords. They had been folk musicians and weren't particularly proficient playing electric guitar – [Bloomfield] could play all these scales and arpeggios and fast time-signatures ... He just destroyed them." Several live versions of "East-West" from this period were later released on "East-West Live" in 1996.


title: Paul Butterfield

text: In England in November 1966, Butterfield recorded several songs with John Mayall & the Bluesbreakers, who had recently finished the album "A Hard Road". Butterfield and Mayall contributed vocals, and Butterfield's Chicago-style blues harp was featured. Four songs were released in the UK on a 45-rpm EP, "John Mayall's Bluesbreakers with Paul Butterfield", in January 1967.


title: Paul Butterfield

text: In spite of its success, the Butterfield Blues Band soon changed its lineup. Arnold and Davenport left the band, and Bloomfield went on to form his own group, Electric Flag. With Bishop and Naftalin remaining on guitar and keyboards, the band added bassist Bugsy Maugh, drummer Phillip Wilson, and saxophonists David Sanborn and Gene Dinwiddie. This lineup recorded the band's third album, "The Resurrection of Pigboy Crabshaw", in 1967. The album cut back on extended instrumental jams and went in a more rhythm and blues-influenced horn-driven direction, with songs such as Charles Brown's "Driftin' Blues" (retitled "Driftin' and Driftin'"), Otis Rush's "Double Trouble", and Junior Parker's "Driving Wheel". "The Resurrection of Pigboy Crabshaw" was Butterfield's highest-charting album, reaching number 52 on the album chart. Most of this lineup performed at the seminal Monterey Pop Festival on June 17, 1967.


title: Paul Butterfield

text: On its next album, "In My Own Dream", released in 1968, the band continued to move away from its roots in Chicago blues towards a more soul-influenced, horn-based sound. With Butterfield singing only three songs, the album featured more band contributions. It reached number 79 in the "Billboard" album chart. By the end of 1968, both Bishop and Naftalin had left the band. In April 1969, Butterfield took part in a concert at Chicago's Auditorium Theater and a subsequent recording session organized by record producer Norman Dayron, featuring Muddy Waters backed by Otis Spann, Mike Bloomfield, Sam Lay, Donald "Duck" Dunn, and Buddy Miles. Such Waters warhorses as "Forty Days and Forty Nights", "I'm Ready", "Baby, Please Don't Go", and "Got My Mojo Working" were recorded and later released on the album "Fathers and Sons". Waters commented, "We did a lot of the things over we did with Little Walter and Jimmy Rogers and Elgin [Evans] on drums [an early configuration of Waters's band] ... It's about as close as I've been [to that feel] since I first recorded it". To one reviewer, these recordings represent Paul Butterfield's best performances.


title: Paul Butterfield

text: The Butterfield Blues Band was invited to perform at the Woodstock Festival on August 18, 1969. The band performed seven songs, and although its performance did not appear in the film "Woodstock", one song, "Love March", was included on the album "", released in 1970. In 2009, Butterfield was included in the expanded "40th Anniversary Edition Woodstock" video, and an additional two songs appeared on the box set "".


title: Paul Butterfield

text: The album "Keep On Moving", with only Butterfield remaining from the original lineup, was released in 1969. It was produced by veteran R&B producer and songwriter Jerry Ragovoy, reportedly brought in by Elektra to turn out a "breakout commercial hit". The album was not embraced by critics or long-time fans; however, it reached number 102 in the "Billboard" album chart.


title: Paul Butterfield

text: A live double album by the Butterfield Blues Band, "Live", was recorded March 21–22, 1970, at The Troubadour, in West Hollywood, California. By this time, the band included a four-piece horn section in what has been described as a "big-band Chicago blues with a jazz base". "Live" provides perhaps the best showcase for this unique "blues-jazz-rock-R&B hybrid sound".


title: Paul Butterfield

text: After the release of another soul-influenced album, "Sometimes I Just Feel Like Smilin"' in 1971, the Paul Butterfield Blues Band disbanded. In 1972, a retrospective of their career, "Golden Butter: The Best of the Paul Butterfield Blues Band", was released by Elektra.


title: Paul Butterfield

text: After the breakup of the Butterfield Blues Band and no longer under contract with Elektra, Butterfield retreated to Woodstock, New York, where he eventually formed his next band, Paul Butterfield's Better Days, with drummer Chris Parker, guitarist Amos Garrett, singer Geoff Muldaur, pianist Ronnie Barron and bassist Billy Rich. In 1972–1973, the group recorded the albums "Paul Butterfield's Better Days" and "It All Comes Back", released by Albert Grossman's Bearsville Records. The albums reflected the influence of the participants and explored more roots- and folk-based styles. Although without an easily defined commercial style, both reached the album chart. The band did not last to record a third studio album, but its album "Live at Winterland Ballroom", recorded in 1973, was released in 1999.


title: Paul Butterfield

text: Butterfield next pursued a solo career and appeared as a sideman in several different musical settings. In 1975, he again joined Muddy Waters to record Waters's last album for Chess Records, "The Muddy Waters Woodstock Album". The album was recorded at Levon Helm's Woodstock studio with Garth Hudson and members of Waters's touring band. In 1976, Butterfield performed at the Band's final concert, "The Last Waltz", accompanying the Band on the song "Mystery Train" and backing Muddy Waters on "Mannish Boy". Butterfield kept up his association with former members of the Band, touring and recording with Levon Helm and the RCO All Stars in 1977 and touring with Rick Danko in 1979. A 1984 live performance with Danko and Richard Manuel was recorded and released as "Live at the Lonestar" in 2011.


title: Paul Butterfield

text: As a solo act with backing musicians, Butterfield continued to tour and recorded "Put It in Your Ear" in 1976 and "North South" in 1981, with strings, synthesizers, and funk arrangements. In 1986, he released his final studio album, "The Legendary Paul Butterfield Rides Again", which was an attempt at a comeback with an updated rock sound. On April 15, 1987, he participated in the concert "B.B. King & Friends", with Eric Clapton, Etta James, Albert King, Stevie Ray Vaughan, and others.


title: Paul Butterfield

text: Butterfield has also been seen as pointing blues-based music in new, innovative directions. AllMusic critic Steve Huey commented,


title: Paul Butterfield

text: In 2006, Butterfield was inducted into the Blues Foundation's Blues Hall of Fame, which noted that "the albums released by the Butterfield Blues Band brought Chicago Blues to a generation of Rock fans during the 1960s and paved the way for late 1960s electric groups like Cream". The Rock and Roll Hall of Fame inducted the Paul Butterfield Blues Band in 2015. The induction biography commented that "the Butterfield Band converted the country-blues purists and turned on the Fillmore generation to the pleasures of Muddy Waters, Howlin' Wolf, Little Walter, Willie Dixon and Elmore James".


title: Paul Butterfield

text: In 2017, a documentary titled "Horn from the Heart: the Paul Butterfield Story" premiered at the Newport Beach Film Festival. Directed by John Anderson and produced by Sandra Warren, it won the Outstanding Achievement Award in Filmmaking: Editing. In October 2018, the documentary was released nationally in select US theaters. It has received critical acclaim, including being named a "New York Times" Critic's Pick, as well as features in "Rolling Stone", and "The Wall Street Journal".


title: Paul Butterfield

text: Like many Chicago blues harp players, Butterfield approached the instrument like a horn, preferring single notes to chords, and used it for soloing. His style has been described as "always intense, understated, concise, and serious", and he was "known for purity and intensity of his tone, his sustained breath control, and his unique ability to bend notes to his will". In his choice of notes he has been compared to Big Walter Horton, but he was never seen as an imitator of any particular harp player. Rather, he developed "a style original and powerful enough to place him in the pantheon of true blues greats".


title: Paul Butterfield

text: Butterfield played Hohner harmonicas (and endorsed them). He preferred the diatonic ten-hole Marine Band model. He wrote a harmonica instruction book, "Paul Butterfield Teaches Blues Harmonica Master Class", a few years before his death (it was not published until 1997). In it, he explains various techniques, demonstrated on an accompanying CD. Butterfield played mainly in cross-harp, or second position. Reportedly left-handed, he held the harmonica in a manner opposite that of a right-handed player, i.e., in his right hand, upside down (with the low notes to the right), using his left hand for muting effects.


title: Paul Butterfield

text: Also like other electric Chicago blues harp players, Butterfield frequently used amplification to achieve his sound. He has been associated with a Shure 545 Unidyne microphone, although producer Rothchild noted that around the time of a 1965 recording session, Butterfield favored an Altec harp microphone run through an early model Fender tweed amplifier. Beginning with album "The Resurrection of Pigboy Crabshaw", he used an acoustic harmonica style, following his shift to a more R&B-based approach.


title: Paul Butterfield

text: Producer Norman Dayron recalled the young Butterfield as "very quiet and defensive and hard-edged. He was this tough Irish Catholic, kind of a hard guy. He would walk around in black shirts and sunglasses, dark shades and dark jackets ... Paul was hard to be friends with." Although they later became close, Michael Bloomfield commented on his first impressions of Butterfield: "He was a bad guy. He carried pistols. He was down there on the South Side, holding his own. I was scared to death of that cat". Writer and AllMusic founder Michael Erlewine, who knew Butterfield early in his recording career, described him as "always intense, somewhat remote, and even, on occasion, downright unfriendly". He remembered Butterfield as "not much interested in other people".


title: Paul Butterfield

text: By 1971, Butterfield had purchased his first house, in rural Woodstock, New York, and began enjoying family life with his second wife, Kathy Peterson, and their infant son, Lee. According to Maria Muldaur, she and her husband were frequent dinner guests, which usually involved sitting around a piano and singing songs. She doubted her abilities, but "it was Butter that first encouraged me to let loose and just sing the blues [and] not to worry about singing pretty or hitting all the right notes ... He loosened all the levels of self-consciousness and doubt out of me ... And he'll forever live in my heart for that and for respecting me as a fellow musician."


title: Paul Butterfield

text: Beginning in 1980, Paul Butterfield underwent several surgical procedures to relieve his peritonitis, a serious and painful inflammation of the intestines. Although strongly opposed to heroin as a bandleader, he developed an addiction to it, which, according to Steve Huey in AllMusic's Butterfield biography, led to "speculation that he was trying to ease his peritonitis symptoms". The financial strain of supporting his drug habit was bankrupting him, and the deaths of his friend and one-time musical partner Mike Bloomfield, and manager Albert Grossman had shaken him. On May 4, 1987, at age 44, Paul Butterfield died at his apartment in the North Hollywood district of Los Angeles. An autopsy by the county coroner concluded that he was the victim of an accidental drug overdose, with "significant levels of morphine (heroin), ... codeine, the tranquilizer Librium and a trace of alcohol."


title: Paul Butterfield

text: By the time of his death, Paul Butterfield was out of the commercial mainstream. Although for some, he was very much the blues man, Maria Muldaur commented "he had the whole sensibility and musicality and approach down pat ... He just went for it and took it all in, and he embodied the essence of what the blues was all about. Unfortunately, he lived that way a little too much."


title: Paul Butterfield

text: In 1964, Butterfield began his association with Elektra Records and eventually recorded seven albums for the label. After the break up of the Butterfield Blues Band in 1971, he recorded four albums for manager Albert Grossman's Bearsville Records – two with Paul Butterfield's Better Days and two solo. His last solo album was released by Amherst Records. After his death in 1987, his former record companies released a number of live albums and compilations.


title: Dangerous World Tour

text: The Dangerous World Tour was the second world concert tour by American singer Michael Jackson to promote his eighth studio album "Dangerous." The tour was sponsored by Pepsi-Cola. All profits were donated to various charities including Jackson's own "Heal the World Foundation". It began in Munich, Germany, on June 27, 1992, and concluded in Mexico City, Mexico, on November 11, 1993, playing 69 concerts in Eurasia and Latin America. Jackson performed in stadiums across the world with all being sold out in countries in Asia, Latin America, and Europe. At the tour's end, it grossed over $140 million and was attended by over 4 million people.


title: Dangerous World Tour

text: In January 1989, Jackson finished his Bad tour, his first as a solo artist, which had grossed over $125 million. Initially he planned not to tour again and concentrate on making albums and films. Following the release of his eighth studio album "Dangerous" in November 1991, a press conference was held on February 3, 1992 at Radio City Music Hall in New York City to announce the Dangerous Tour. The event, attended by 200 people, was organized by Jackson's sponsor Pepsi with the artist also present. Jackson explained his sole reason for touring once more was to raise funds for his newly-formed Heal the World Foundation to aid children and the environment. He aimed to raise $100 million for the charity by Christmas 1993. It was revealed that Jackson planned to perform across Europe, Asia, Latin America, and Australia, with no dates in the United States or Canada. Jackson commented: "I am looking forward to this tour because it will allow me to devote time to visiting children all around the world, as well as spread the message of global love, in the hope that others will be moved to do their share to help heal the world".


title: Dangerous World Tour

text: In June 1992, a Russian Antonov AN-124 cargo jet, then the world's largest operating airplane, was booked to transport the equipment and stage set from Los Angeles to London for the opening European leg. However, problems regarding its civilian aircraft certification led to Jackson using a Federal Express Boeing 747 instead. Upon arrival, the equipment was transported across Europe by 65 lorries. The cargo included 1,000 lights, 10 miles of electrical cable, 9 video screens, and 168 speakers. Around 2 tons of clothing was transported. The outfits were designed by Michael Bush and Dennis Tompkins, who worked with Jackson to gain an idea on what he wanted, and aimed to "bring his ideas to life". Two outfits were 9 feet tall, 7 feet wide, and weighed 40 lbs each, with fibre optic lights controlled by a computerised laser. One jacket was fitted with a battery belt generating 3,000 volts to light the 36 strobe lights on it. Another had hidden flaps to conceal explosive effects. 1,000 yards of fabric from Europe was used to make the costumes, including a black and gold outfit for Jackson which included 18-karat gold. The costumes alone cost $2 million.


title: Dangerous World Tour

text: The show incorporated various stage illusions. Among them was the "toaster" effect where Jackson entered the stage on a rapidly rising catapult from underneath, sending off pyrotechnics at the same time. His sister Janet Jackson said: "That opening was kick-ass. I'm sitting in the sound tower and all the kids are everywhere. And when he jumped out of whatever the hell that thing was [...] the kids in front of me were looking back and I didn't even know it". Most of the 1992 shows included a stage trick during the transition from "Thriller" to "Billie Jean", whereby Jackson walks into two pillars and is secretly switched with a werewolf-masked backup dancer disguised as himself while he changes outfits for "Billie Jean". The masked "Jackson" is placed into a coffin which disappears when dancers posing as the skeletons and zombies drape a cloth over the coffin and pull it out. Jackson then appears on an upper stage level and sings "Billie Jean". When the full trick was not performed, it featured a sequence with the Jackson impersonator and the backup dancers performing dances from "Thriller". In some concerts, the Jackson impersonator would go back stage after singing the main chorus of the song, instead of doing a reprise of the "Thriller" dance, and the Zombie backup-dancers would do a reprise of the dance by themselves. Another such illusion was used to transition to "Beat It" from "Working Day And Night".


title: Dangerous World Tour

text: This was the first tour to have Jackson doing 'the lean' during Smooth Criminal; the song was part of his Bad Tour set list, but its choreography did not match the music video.


title: Dangerous World Tour

text: The original set list for the 1992 leg featured "The Way You Make Me Feel" and "Bad", but these were taken out after the eighth concert in Oslo, Norway. However, these two songs were returned for the performances in Tokyo, Japan.


title: Dangerous World Tour

text: During the Europe leg in 1992, MTV was allowed to film backstage and broadcast six fifteen-minute episodes of the tour. The show was called "The Dangerous Diaries" and was presented by Sonya Saul. MTV released footage of "Billie Jean" and "Black Or White" at the first show in Munich. "Billie Jean" was released with two different versions, one by MTV as a special, and the other on the "Dangerous Diaries" documentary. Both versions have placed a snippet of Jackson's original a cappella recording for "Billie Jean" over the live vocals when Jackson throws his fedora.


title: Dangerous World Tour

text: The October 1, 1992, concert in Bucharest, Romania was filmed for broadcast on the HBO network on October 10. Jackson sold the film rights for the concert for $20 million, then the highest amount for a concert performer to appear on television. The special earned Jackson the second of two CableACE Awards of his career, this one for Outstanding Performance Musical Special.


title: Dangerous World Tour

text: The Toulouse, France concert performed on September 16, 1992, featured a special instrumental performance of the first half of the song "In the Closet" as an interlude between the songs "Heal the World" and "Man in the Mirror". Princess Stéphanie of Monaco, who was the "Mystery Girl" in the actual song, was in attendance at this concert. This concert marked the first and only time that this song was performed during this tour, although it was performed on his next tour.


title: Dangerous World Tour

text: Between the two legs of the tour, Jackson performed a brief but very widely seen and highly acclaimed concert at the Super Bowl XXVII halftime show on January 31, 1993. The National Football League donated $100,000 to the Heal the World Foundation in lieu of payment to Jackson.


title: Dangerous World Tour

text: Slash made guest appearances for three performances of "Black or White": Oviedo, Spain in September 1992, two concerts in Tokyo, Japan on December 30 and 31, 1992, and the last concert in Spain September 26, 1993, in Santa Cruz de Tenerife (Canary Islands).


title: Dangerous World Tour

text: The September 1, 1993 concert in Singapore was scheduled for August 30, 1993, but was rescheduled due to Jackson collapsing before the show. During his visit to Moscow in September, Jackson came up with the song "Stranger in Moscow" which would be released on his 1995 album "" It was during a time when Jackson felt very alone, far away from his family and friends, yet every night throughout his tours fans would stay by his hotel and support him.


title: Dangerous World Tour

text: All concerts were professionally filmed by Nocturne Productions Inc., which filmed all of Jackson's tours and private affairs. During the 1992 European leg of the tour, MTV was given permission to film backstage reports, interview the cast and film live performance. The mini-show was hosted by Sonya Saul and had six, 15-minute mini-episodes of concerts in Munich, Werchter, Dublin, Stockholm, Hamburg, Cardiff, London, Leeds, Berlin, Oviedo, and Madrid. Performances include "Billie Jean", "Black or White", "Jam", "Wanna Be Startin' Somethin'", and "Will You Be There". The concert in Bucharest on October 1, 1992, was filmed and broadcast on television all across the world, giving HBO the highest rating garnered in cable TV History, with an alternate version airing on the BBC. The concert film titled "" was officially released on DVD on July 25, 2005. Full concerts at Oslo (July 15, 1992) and Copenhagen (July 20th, 1992) were fundraised for online by the fans & purchased from private owners of those respective concerts, and performances at Bremen (August 8, 1992), Buenos Aires (October 12th, 1993) and several scattered amateur recordings have been shared online and can be found on YouTube.


title: Dangerous World Tour

text: "MJ the Musical" is a jukebox musical that premiered on Broadway in February 2022. "The show takes audiences behind the scenes as Michael prepares for the 1992 Dangerous Tour, providing an in-depth look at his process. As Michael and his collaborators rehearse their epic setlist, we are transported to pivotal creative moments from his career." The show is set to feature over 25 of Michael Jackson's biggest hits.


title: IPad 2

text: The iPad 2 is a tablet designed, developed and marketed by Apple Inc. Compared to the first iPad, as the second model in the iPad line, it gained a faster dual core A5 processor, a lighter build structure, and was the first iPad to feature VGA front-facing and 720p rear-facing cameras designed for FaceTime video calling.


title: IPad 2

text: The device was available initially with three storage sizes – 16, 32, and 64 GB – and two varying connectivity options – Wi-Fi only or Wi-Fi and cellular. Each variation of the device is available with either a black or white front glass panel. However, upon the release of the 3rd generation iPad in March 2012, only the 16 GB variation remained available.


title: IPad 2

text: The device received generally positive reception from various blogs and publications. Although it was praised for its hardware improvement, such as the new Apple A5 chip, the software restriction on the iPad 2 and iOS in general drew criticism from various technology commentators. The device sold well in its first month of sales with 2.4–2.6 million units sold and 11.12 million units were sold in the third quarter of 2011.


title: IPad 2

text: A popular product, with a lower screen resolution and performance than the two Retina models that followed it but a lighter build and longer battery life, it remained in the Apple line-up as an entry-level iPad model for three years until March 2014, latterly with a silent upgrade to a die-shrunk version of the A5 processor. Its basic design formed the core of the first iPad mini, which had the same screen pixel count and similar features at a smaller size.


title: IPad 2

text: Originally shipped with iOS 4.3, with the release of iOS 9 the iPad 2 became the only device powered by the Apple A5 to have received six major versions of IOS.


title: IPad 2

text: Apple sent invitations to journalists on February 23, 2011, for a media event on March 2. On March 2, 2011, CEO Steve Jobs unveiled the device at the Yerba Buena Center for the Arts, despite being on medical leave. Upon the announcement of the iPad 2, the original iPad was discontinued from sales online and at Apple authorized retail stores.


title: IPad 2

text: Apple began selling the iPad 2 on its website on March 11, and in its U.S. retail stores at 5 pm local time on that date. Many stores in major cities, such as New York, sold out within hours. Online shipping delays had increased to three to four weeks on Sunday and four to five weeks by Tuesday.


title: IPad 2

text: The iPad 2 was released internationally in 25 other countries on March 25, 2011. The countries included Australia, Austria, Belgium, Canada, Czech Republic, Denmark, Finland, France, Germany, Greece, Iceland, Italy, Ireland, Hungary, Luxembourg, Mexico, Netherlands, New Zealand, Norway, Poland, Portugal, Spain, Sweden, Switzerland and the United Kingdom.


title: IPad 2

text: The April 29, 2011 release date for Japan was postponed due to the earthquake and tsunami which struck the nation on March 11, 2011. The iPads were delayed due to the NAND flash storage chip used in the iPads being created by Toshiba, which was affected by the earthquake and tsunami thus resulting in the suspension of operations for an indefinite period of time. The slowdown caused analysts to downgrade Apple's stock.


title: IPad 2

text: The iPad 2 was later released in Hong Kong, India, South Korea, Singapore, Philippines, Malaysia and other countries including Japan on April 29, 2011. It was then released in numerous other nations which include China, Estonia, Thailand, Brazil, Russia and Taiwan on two major release dates, May 6 and 27.


title: IPad 2

text: The 32 and 64GB models were discontinued on March 7, 2012, upon the introduction of the third generation iPad. The 16GB Wi-Fi and 16GB Wi-Fi + 3G models were discontinued on March 18, 2014.


title: IPad 2

text: In late March 2011, the iPad 2 was released alongside iOS 4.3, which primarily introduced Airplay Mirroring and Home Sharing among other features. On October 12, 2011, upon the release of the iPhone 4S, the iPad was upgradable to the iOS 5 firmware update which brought over 200 new user features to iOS compatible devices including Notification Center, iMessage, Reminders, and an updated notifications system, using a new "banner" style instead of the previously used pop-up "alert" style.


title: IPad 2

text: The iPad 2 comes with several applications by default, including Safari, Mail, Photos, Video, Music, iTunes (store), Maps, Notes, Calendar, Photo Booth, and Contacts. The App Store is also available as a default application, it enables users to download from a database of 800,000 applications, the price of these applications is set by the developers. Like all iOS devices, the iPad 2 can sync music, videos, apps and photos with a Mac or PC using iTunes, although when using iOS 5 and later, the user does not have to connect the iPad to the computer. iCloud also allows users to backup and sync their data with other compatible iOS devices via the internet. Game Center is available as a native social gaming platform on iOS, games downloaded via the App Store that have this feature enabled are able to integrate their achievement points, high-scores and bonus system across all iOS devices into a single accumulative points and social platform. Although the tablet is not designed to make phone calls over a cellular network, a user can use a wired headset or the built-in speaker and microphone and place phone calls over Wi-Fi or cellular using a VoIP application.


title: IPad 2

text: The iPad 2 also adds the ability to run GarageBand, iMovie, and the iWork apps Pages, Keynote, and Numbers. These applications do not come with the iPad but are instead official applications from Apple sold within the App Store. On March 7, 2012, after the unveiling of the third generation iPad, the firmware of the iPad 2 was upgradable to iOS 5.1. Scott Rohde, a senior Sony executive described the iPad as "a game console disguised as a device that can be appropriated in the business workplace."


title: IPad 2

text: On September 19, 2012, almost a week after the announcement of the iPhone 5, iOS 6 was released for numerous iOS devices, including the iPad 2 and iPhone 4S. However, on iOS 6, not all features are available on the iPad 2. The software upgrade was downloadable as an over the air (OTA) update package and contains two hundred new features, including a mapping software designed by Apple dubbed Apple Maps, a "Clock" app, which features a timer, stopwatch and alarm, and Facebook integration among other new features and tweaks.


title: IPad 2

text: The iPad 2 is compatible with iOS 7, which was released on September 18, 2013. However, some features are not available. For example, like the iPhone 4, the Notification Center and the Control Center use the transparent style instead of the translucent style in later iOS models. Also, AirDrop, which was first released in iOS 7, was only supported by the iPad 4 or later.


title: IPad 2

text: The iPad 2 can run iOS 8, which was released on September 17, 2014, making it the first iOS device to run five major versions of iOS (including iOS 4, 5, 6, 7, and 8). While the OS runs on the device, most of its new features do not work because of relatively aged hardware and therefore, its performance is limited. Users have also reported numerous problems after receiving the update including the accessibility features and battery-related issues. Many users speculated that the iPad 2 was going to be dropped from updating to iOS 8 along with the iPhone 4, the same process that happened with the iPhone 3GS and the iPod Touch (fourth generation) and earlier models, considering that the model was more than 3 years old.


title: IPad 2

text: It was confirmed on June 8, 2015, at Apple's WWDC that the iPad 2 would run iOS 9, making it the first iOS device to run six major versions of iOS. As with previous releases, though, many headline features were unavailable on the iPad 2, including predictive Siri, translucency effects, split-view, slide-over and picture-in-picture multitasking and the Health app. iOS 9 is said to feature performance improvements that may help the aging device function more smoothly, and initial tests suggest that it did not significantly impact available space. Other A5-based devices will also run iOS 9 including the iPhone 4S (five major iOS versions), the iPad Mini (four major iOS versions) and iPod Touch 5G (four major iOS versions).


title: IPad 2

text: On June 13, 2016, with the release of iOS 10, Apple dropped support for the iPad 2 because of its hardware and performance issues. The same goes with its successor and the iPad Mini (1st generation), making iOS 9.3.5 (Wi-Fi) or iOS 9.3.6 (Wi-Fi + Cellular) the final version that will run on the device.


title: IPad 2

text: The iPad 2 is one of many computers and mobile devices susceptible to the "Broadpwn" exploit, which was publicized in July 2017. Apple quickly released an update for iOS 10 to fix the problem, but a fix was never released for iOS 9 or earlier versions of iOS. As a result, older Apple devices incompatible with iOS 10, including the iPad 2, were left vulnerable indefinitely. This has raised concerns of potentially widespread attacks using the exploit, particularly in locations of concentrated iPad 2 deployment, such as certain primary and secondary schools.


title: IPad 2

text: On July 22, 2019, Apple released iOS 9.3.6 for the CDMA model of the iPad 2 to fix issues caused by the GPS week number rollover. The issues would impact accuracy of GPS location and set the device's date and time to an incorrect value, preventing connection to HTTPS servers and, consequently, Apple's servers for activation, iCloud and the iTunes and App stores. The WiFi model and the GSM model are not affected by the rollover as the WiFi model lacks a GPS chipset and the GSM model uses a different chipset.


title: IPad 2

text: The iPad 2 features an Apple A5 package-on-package (PoP) System-on-chip (SoC), which comprises a 1 GHz dual-core 32-bit Cortex-A9 CPU, 512 MB of RAM and a dual-core PowerVR SGX543MP2 GPU. Other features include front and rear cameras, a three-axis gyroscope, headset controls, proximity and ambient light sensors, microphone, magnetometer, accelerometer and a 9.7 inch multi-touch screen with a maximum resolution of 1024×768 hence resulting in 132 ppi. The iPad 2 has four physical switches, including a home button near the display that returns the user to the home screen, and three plastic physical switches on the sides: wake/sleep, volume up/down, and a third switch for either screen rotation lock or mute. The home button on the iPad 2 is "easier to double tap" than the previous generation of the iPad. Apple reduced the size of the iPad by eliminating the stamped sheet metal frame from the display, integrating new thinner glass technology for the touch screen overlay, and slightly reducing the space between the display and battery. The iPad 2's screen is thinner, lighter, and yet stronger than the original iPad's. The iPad 2 also supports screen mirroring via the digital AV adapter and through AirPlay as of iOS 5.


title: IPad 2

text: The iPad 2 has a 25 W·h rechargeable lithium-ion polymer battery that lasts 10 hours, like the original iPad. It is charged via USB or included 10 W, 2 A power adapter. The battery is 2.5 mm thick, 59% smaller than the original and has three cells instead of two. The improvements allowed the injection-molded plastic support frame to be omitted. The 10 W USB power adapter provides 4x the power of a conventional USB port. The tablet has an audio frequency response of 20 Hz to 20 kHz. Without third-party software it can play the following audio formats: HE-AAC, AAC, Protected AAC, MP3, MP3 VBR, Audible formats (2, 3, 4, AEA, AAX, and AAX+), ALAC, AIFF, and WAV.


title: IPad 2

text: The revised tablet adds front- and rear-facing cameras, which allow FaceTime video calls with other iPad 2s, the third generation iPad, iPhone 4 and 4S, fourth-generation iPod Touch and Macintosh computers (running Mac OS X 10.6.6 or later with a webcam). The 0.3 MP front camera shoots VGA-quality 30 frame/s video and VGA-quality still photos. The 0.7 MP back camera can shoot 720p HD video at 30 frame/s and has a 5× times digital zoom. Both shoot photo in a fullscreen aspect ratio. The rear camera shoots video in 16:9 widescreen to match the 720p standard, although only the central 4:3 part of the recording is shown on the screen during recording. The forward-facing camera shoots in 4:3.


title: IPad 2

text: The Apple A5 chip doubles processing speed and has graphics processing that is up to nine times faster than the previous iPad. However, benchtests and hardware assessments performed by various third party news sources and technology blogs indicate that those claims are exaggerated; the benchmark assessment conducted by Anandtech showed that the GPU of the iPad 2 is only 3 times faster than that of the original iPad. CPU benchmarks conducted on the iPad 2 by iOSnoops indicate a 66% performance increase compared to the original iPad.


title: IPad 2

text: 3G versions of the iPad 2 offer CDMA2000 support for customers using the device on a CDMA network or GSM/UMTS support for customers using the device on a GSM/UMTS network. The iPad Wi-Fi + 3G model includes an A-GPS receiver for tracking the user's location given permission. Also, the iPad 2 3G model includes a plastic cap-like band at the top on the back for the 3G antenna. The metallic grille for the microphone is replaced with a matching plastic black grille on the 3G model.


title: IPad 2

text: The device is 15% lighter and 33% thinner than the original iPad; it is thinner than the iPhone 4 by 0.5 mm. The Wi-Fi version is . Both the GSM and CDMA versions (known respectively as the AT&T and Verizon versions in the US) differ in weight slightly due to the mass difference between the GSM and CDMA cellular radios, with the GSM model at and the CDMA model at .


title: IPad 2

text: The size of the iPad 2 is also less than the original iPad at only 9.50 in ×7.31 in ×0.34 in (241.2 mm ×185.7 mm ×8.8 mm), compared to the original iPad's size at 9.56 in ×7.47 in ×0.5 in (242.8 mm ×189. mm 7×13.4 mm).


title: IPad 2

text: After the announcement and release of the third generation iPad, the iPad 2, which continued to be available for purchase, received a hardware upgrade. The upgraded variant of the iPad 2 features a smaller version of the Apple A5 SoC, which is able to reduce battery consumption. Benchmark tests conducted by Anandtech concluded that the upgraded variant is able to last longer by at least an hour and a half, depending on the task that is conducted on the device. The maximum temperature that the device heated up to was also less than original iPad 2, tests conducted by the same organisation revealed that the upgraded variant was able to operate at 1 degree lower when performing intensive tasks. Performance difference between the two variants, according to Anandtech is negligible.


title: IPad 2

text: The Smart Cover, first introduced with the iPad 2, is a screen protector that magnetically attaches to the face of the iPad. The cover has three folds which allow it to convert into a stand, which is also held together by magnets. While original iPad owners could purchase a black case that included a similarly folding cover, the Smart Cover is meant to be more minimal, easily detachable, and protects only the screen. Smart Covers have a microfiber bottom that cleans the front of the iPad, and wakes up the iPad when the cover is removed. There are five different colors of both polyurethane and leather, with leather being more expensive than the polyurethane version.


title: IPad 2

text: Apple offered several more accessories for the iPad 2, most of which were adapters for the proprietary 30-pin dock connector, the iPad's only port besides the headphone jack. A dock holds the iPad upright at an angle, and has a dock connector and audio line out port. The iPad can use Bluetooth keyboards that also work with Macs and PCs. The iPad can be charged by a standalone power adapter ("wall charger") also used for contemporary iPods and iPhones, and a 10 W charger was included with the iPad.


title: IPad 2

text: The iPad 2 received generally positive reviews, praising its Apple A5 processor and 720p camera. Joshua Topolsky of Engadget said that "for those of you who haven't yet made the leap, feel free to take a deep breath and dive in – the iPad 2 is as good as it gets right now. And it's really quite good." Jason Snell of "Macworld" said the following: