title: 2010 World Series

text: The Giants' 2010 World Series championship was followed by two further World Series titles in and ; however, they missed the playoffs in between those championship seasons. Those three World Series titles in five seasons qualified as a dynasty, according to the criteria devised by statistician Bill James.


title: 2010 World Series

text: With the Giants' first World Series championship in San Francisco, the National Hockey League's San Jose Sharks remain the only Bay Area franchise without a world championship. The Sharks would reach the Stanley Cup finals for the 2015-2016 season, but ultimately lost to the Pittsburgh Penguins in six games.


title: 2010 World Series

text: Two key contributors from the San Francisco Giants would eventually join the Texas Rangers. Tim Lincecum signed a one-year contract with the Rangers on March 7, 2018. On October 21, 2022, the Rangers hired Bruce Bochy as their new manager.


title: Ghulam (film)

text: Ghulam () is a 1998 Indian Hindi-language action film, directed by Vikram Bhatt, and starring Aamir Khan and Rani Mukherji in lead roles. It is a remake of Vishesh Films' first production "Kabzaa" (1988), starring Sanjay Dutt, in turn inspired by Elia Kazan's "On the Waterfront" (1954).


title: Ghulam (film)

text: At the 44th Filmfare Awards, "Ghulam" received 6 nominations, including Best Film, Best Director (Bhatt) and Best Actor (Khan), and won Best Scene of the Year. The film was remade in Tamil in 2000 as "Sudhandhiram".


title: Ghulam (film)

text: Siddharth "Siddhu" Marathe is a Mumbai tapori, a boxing champion. His brother, Jai Marathe, is the manager and right-hand man for Raunak "Ronnie" Singh, a former boxing champion who ostensibly runs a travel agency, but in reality rules the local community by terrorising people and stealing money from innocent merchants. Other than his boxing practice, Siddhu leads a relatively aimless and wanderlust life. In his spare time, he hangs out with friends, occasionally stealing money from rich people. Siddhu is financially dependent on his elder brother Jai, who lives in Raunak Singh's house, but occasionally visits Siddhu and tops up his finances.


title: Ghulam (film)

text: The opening scene features a female lawyer Fatima Madam defending Siddhu in court against accusations of small-time theft. The lawyer tries to convince the judge to show leniency towards Siddhu on account of his disadvantaged background as an orphan. The judge points out that Siddhu has already been shown leniency four times, and is greeted with laughter by everybody, including Siddhu. In the commotion, Siddhu steals Rs. 400 from his own lawyer's purse. Siddhu is let free. Later, when he asks the lawyer what her fees are, she asks him for a fee of Rs. 400, and he is thus forced to part with the money he has just stolen. The lawyer gives no indication of awareness that Siddhu had stolen an equal amount of money. Later, Siddhu, while joking around with friends, gets angry when one of his friends suggests that the lawyer may be receiving sexual favours from Siddhu in exchange for defending him in court.


title: Ghulam (film)

text: A few days later, Raunak Singh hires Siddhu to deliver a letter to a local cricket player, and to beat up the player if he shows signs of resisting. Unknown to Siddhu, the letter contains instructions to the player to get out after scoring a certain number of runs, so that Ronnie can win a bet. Siddhu delivers the letter and intimidates the cricket player into agreeing to follow the instructions, breaking the player's bat in the process. Later, while returning, he gets into a motorcycle speed race with a motorcycle gang led by Charlie, which escalates into a dare game to run towards a moving train at night. Siddhu beats Charlie's past record in the game. Charlie chooses to run again, but falls on the train tracks, and seems to be headed for death as the train approaches him. Siddhu rescues Charlie at considerable personal risk. In the process, Siddhu becomes friends with Alisha, also part of the gang, and their friendship blossoms into love. The famous song "Aati Kya Khandala" is situated during this period, when Siddhu is trying to cheer Alisha up after a fight with her father.


title: Ghulam (film)

text: It is revealed that Siddhu saw his own father's death when he was a child, which mentally affected him throughout his life.


title: Ghulam (film)

text: Back in his local community, Siddhu witnesses an incident of some of Ronnie's men beating up a local restaurateur for not paying extortion money to Ronnie's gang. The restaurateur runs for his life as Ronnie's men chase him, but none of the other community people come to his aid. Harihar Mafatlal, a social worker, coaxes a police constable to stop the fight. The restaurateur and his two assailants land up on the roof where Siddhu is doing boxing practice, with Hari and the constable following. The constable breaks up the fight and scolds the restaurateur, and Hari is angry at the constable for blaming the victim. The assailants left, greeting Siddhu on the way out. Siddhu offers some water to the restaurateur and introduces himself to Hari, suggesting to both to avoid getting on the wrong side of Ronnie. Hari speaks of principle and self-respect, and Siddhu is reminded of things that his father told him long ago.


title: Ghulam (film)

text: Ronnie is furious to hear about this and wishes to kill the restaurateur and Hari immediately. Ronnie explains the logic of terror to his henchmen: if even a few people stop acceding to his demands, then that will instill rebelliousness against Ronnie's demands in others. Fear is essential for the kind of respect Ronnie enjoys, and being lenient against a few people who stand up to him based on a short-term cost–benefit analysis will have long-term negative consequences for Ronnie. Jai, however, dissuades Ronnie from taking rash action. In the process, it is revealed that Jai and Ronnie are in the process of bribing politicians and government officials to make Ronnie the owner of a large construction project.


title: Ghulam (film)

text: Hari later canvasses some villagers together, trying to get one of them to sign a complaint against Ronnie that can be filed with the police so that official action can be taken against him. Siddhu attends the meeting at Jai's request but does not inform Jai or Ronnie about it immediately. Instead, Siddhu offers Hari a friendly warning to cease and desist these activities. During the conversation that ensues, Siddhu says that his own motto in life is simple: live and let live. Hari reveals the principle guiding his own actions: whenever he sees himself in the mirror, he should not feel ashamed of what he sees.


title: Ghulam (film)

text: Ronnie nonetheless learns of the events during the meeting and is angry. He tells Siddhu to arrange a meeting between Hari and himself (Ronnie) so that Ronnie can dissuade Hari from these activities. Siddhu agrees, and calls Hari over to a bridge, on the pretext that he himself (Siddhu) needs to talk to Hari. Hari arrives at the bridge, expecting to meet Siddhu. Ronnie arrives along with his men, beats up Hari, and throws him from the bridge after which he is crushed under a moving train. Siddhu is furious at Jai and Ronnie and attacks Ronnie physically, but Ronnie's men control him, and he is allowed to go on account of the fact that he is Jai's brother and he was the one who managed to inadvertently help Ronnie kill Hari. Siddhu, returning home, cannot bear the sight of himself in the mirror, and breaks it. It is also revealed that Hari was the brother of Alisha (Siddhu's romantic interest), something Siddhu had been unaware of because he was living separately. Siddhu confesses everything to Fatima Madam, the female lawyer who had defended him at the beginning of the movie but refuses to testify against Ronnie in court, for fear of implicating his elder brother Jai. The lawyer tries to talk him into testifying but fails. She challenges him to reveal the truth to Alisha, which he does, and they break up.


title: Ghulam (film)

text: In a subsequent boxing match (against boxing champion "Kala Tiger"), that Siddhu has been preparing for several months, Siddhu is told by his brother, in the midst of the game, to throw the match, since Ronnie has bet money on Siddhu losing. Siddhu throws the game, allowing the other boxer to beat him unconscious. He is furious at his brother, and they have an oral confrontation. In the process, Siddhu is forced to confront that his father had betrayed five of his friends in the Indian independence movement to the British out of fear of being tortured, causing all of them to be killed. Siddhu realises that his father was a good man, but, like everybody else, was a coward and lacked the strength to fight injustice. Yet, he knows that his father wanted to instill these values in him, and he vows to bring Hari's killers to justice and complete the task that Hari attempted to begin. He tells Fatima Madam (the lawyer) that he is willing to testify publicly against Ronnie as well as against his own brother Jai, and also confesses to her his theft of Rs. 400 (shown at the beginning of the movie). She expresses pride in Siddhu, revealing that she knew all along about the theft and also knew that Siddhu would reveal it to her someday of his own accord. She tries to get Alisha to forgive Siddhu but fails. Siddhu is now a reformed man.


title: Ghulam (film)

text: When Ronnie discovers that Siddhu is the person who has filed a complaint against him, he is ready to kill Siddhu. Jai dissuades Ronnie, reassuring him that Jai himself will dissuade Siddhu from testifying publicly against Ronnie. In an emotional scene, Siddhu, when approached by Jai, confronts Jai instead, accusing Jai of neglecting his duties as an elder brother by encouraging Siddhu to follow himself in a life of crime. Jai realises his error and apologises. Upon returning home, Siddhu discovers Alisha waiting for him, and they embrace and reconcile. Later that night, Ronnie kills Jai and his men also try to kill Siddhu, but the motorcycle gang led by Charlie (whose life Siddhu had saved earlier) intervenes to save Siddhu's life. Siddhu wants to kill Ronnie in person to avenge his brother's death, but the female lawyer arrives in time to dissuade him.


title: Ghulam (film)

text: The next day, in court, Siddhu gives his testimony regarding Ronnie's murder of Hari. The court is adjourned until Monday. Coming out of court, Ronnie orders for a local bandh and forces all the shops to close down. He also has Siddhu's home broken into and his belongings thrown on the street. Siddhu, upon seeing this, walks up to Ronnie's house and challenges him to come out and duel alone, rather than hiding behind henchmen. Ronnie agrees, and all the people in the area come out to watch. The two boxers have a long and bloody boxing match, with nobody interfering. Though Siddhu is severely injured, he remains victorious. As the local people see one man with the courage to fight Raunak Singh, they awaken to the possibility that they too can resist his extortionary demands. Ronnie loses the fight, but he then orders his henchmen to kill Siddhu. The local people, who are much more numerous than Ronnie's henchmen, block the attempt. Together, they beat up Ronnie and his henchmen and force them to flee the area.


title: Ghulam (film)

text: Filming for "Ghulam" began in June 1997. By mid-August, a week-long schedule at a specially erected set at Film City in Mumbai was completed.


title: Ghulam (film)

text: Rani Mukerji's voice was dubbed by Mona Shetty, who had a much more high-pitched voice. When asked if the director's decision to not use her voice in the film affected her, she said that her voice was dubbed as it "did not suit the character".


title: Ghulam (film)

text: A sequence in the film shows Aamir running on a rail track towards an oncoming train, which misses him by a few feet as he jumps off the tracks. 1.3 seconds was the only difference between Aamir and the train. This stunt was actually performed by Aamir himself. At the 44th Filmfare Awards, it won the Best Scene of the Year award, but Aamir later criticized himself for taking such an unnecessary risk.


title: Ghulam (film)

text: The music was composed by Jatin–Lalit. Lyrics were handled by Indeevar, Nitin Raikwar, Sameer and Vinod Mahendra. The film's soundtrack album sold 2.5million units in India, making it the year's fifth best-selling Bollywood soundtrack album.


title: Chrysler Imperial

text: The Chrysler Imperial, introduced in 1926, was Chrysler's top-of-the-line vehicle for much of its history. Models were produced with the Chrysler name until 1954, after which it became a standalone brand; and again from 1990 to 1993. The company positioned the cars as a prestige marque to rival Cadillac, Continental, Lincoln, Duesenberg, Pierce Arrow, Cord, and Packard. According to "Antique Automobile", "The adjective ‘imperial’ according to Webster's Dictionary means sovereign, supreme, superior or of unusual size or excellence. The word imperial thus justly befits Chrysler's highest priced model."


title: Chrysler Imperial

text: For several decades and multiple generations, the Imperial was the exclusive Chrysler and the favorite choice of luxurious transportation for senior executive leadership, government officials, royalty and various celebrities in comparison to the more affordable Chrysler New Yorker. Over the years the appearance, technological advancements and luxurious accommodations updated with the latest trends and fashionable appearances. Limousines, town cars and convertibles were the usual appearances, while special coachwork choices were provided by the industry’s best providers, to include Derham, Fleetwood, LeBaron, and others.


title: Chrysler Imperial

text: In 1926, Walter P. Chrysler decided to compete with North American marques Cadillac, Lincoln, Packard, Pierce Arrow, Studebaker, Cord, and Duesenberg in the luxury car field, while the newly formed company only had a large displacement straight-six to offer. The new model, called Imperial, had a new engine that was slightly larger than the company's standard straight 6 installed in the Chrysler Six. It was a six-cylinder with seven bearing blocks and pressure lubrication of . Large displacement engines provided the horsepower and torque clients wanted and due to the low quality of gasoline fuel at the time, and low compression ratios, 50 bhp was more than adequate. It is estimated that the rating equivalent of early gasoline available varied from 40 to 60 octane and that the "High-Test", sometimes referred to as "fighting grade", probably averaged 50 to 65 octane. The front axle was solid and the suspension consisted of semi-elliptic leaf springs while the rear suspension was a differential axle, and also using semi-elliptic leaf springs. The use of the "imperial" name being exclusively used on Chrysler's flagship had been previously used by Buick, Cadillac and Packard for top level limousines. The hood ornament/radiator cap was a stylized Viking Winged helmet.


title: Chrysler Imperial

text: The car set a transcontinental speed record in the year it was introduced, driving more than in the week. The car was chosen as the pace car for the 1926 Indianapolis 500. The model was designated E-80, the 80 being after the "guaranteed" all-day cruising speed. Acceleration was also brisk, breaking 20 seconds to . Four-speed manual transmission was added in 1930. The attention to luxury and multiple bodystyles was a similar approach to one Mr. Chrysler used as president of the Buick Motor Company, his employer from 1911 to 1919. Chrysler offered a variety of body styles: a two/four-passenger roadster (four passenger if car had the rumble seat), a four-seat coupé, five-passenger sedan and phaeton, and a seven-passenger top-of-the-line limousine. The limo had a glass partition between the front and rear passenger compartments.


title: Chrysler Imperial

text: Imperials could be distinguished from Chrysler products by the use of a distinctive scalloped hood and radiator shell and a wheelbase, which shared an appearance with Packard and the Buick Master Six. The Berline Limousine was listed at US$3,595 ($ in dollars ).


title: Chrysler Imperial

text: The 1927 Imperial Series 80 saw minor engineering improvements, while the high compression "Red Head" straight-six was the only engine available on a choice of , or special order wheelbases. Five two-door coachwork choices included roadsters and convertible, while there were nine sedan, town car, phaeton and limousine choices. The top level Town Car was listed at US$5,495 ($ in dollars ). Standard equipment on roadster and phaeton open-body coachwork selections included wind wings and leather exterior door trim panels, while many cars were painted in contrasting two-tone paint. The convertible was equipped with functioning landau irons. In 1927, an Imperial was driven at a high speed along the Lincoln Highway from San Francisco to New York to Los Angeles, covering a total distance of non-stop, with an average speed of .


title: Chrysler Imperial

text: 1928 offered a wheelbase with the designation Series 80L. Coachwork choices expanded with five provided by Briggs, and six choices from LeBaron, one Derham Convertible Sedan, one Phaeton from Locke, and four Dietrich convertible coupes and sedans, listing the Dietrich Convertible Sedan at US$6,795 ($ in dollars ). Total Chrysler calendar year production was recorded at 160,670, their all-time high pre-war until decades later


title: Chrysler Imperial

text: Model years 1929 and 1930 Series 80L were essentially unchanged from the 1928 version as engineering efforts were focusing on the 1931 Series CG Straight Eight, while there were some engineering advancements, to include thermostatically controlled automatic adjusting exterior radiator shutters, vertical hood louvers and a four-speed manual transmission. Coachbuilder Locke provided four convertible choices in both coupe and sedan configurations, and hydraulic four wheel brakes were now standard on all Chrysler products. The top level 1930 Series 80L Limousine was listed at US$3,575 ($ in dollars ).


title: Chrysler Imperial

text: The all-new 1931 "Chrysler Imperial 8" introduced the new in-line 8-cylinder engine which was shared with the Chrysler Eight Series CP in smaller displacements. The car received a new Chrysler flathead Straight-8 with a Stromberg Model DD-3 carburetor. The Imperial introduced a vee-type radiator, a long straight hood that displayed "torpedo" styling, and wide flowing fenders with a split and slanted windshield and showed visual similarities to the Cord L-29. Various features considered luxurious in nature at the time included dual sun visors, adjustable front seats and steering column, rust-proof fenders, wire-spoked wheels, automatic heater control, safety glass and Lockheed supplied hydraulic brakes. To minimize engine vibration from being felt by passengers, an isolation feature called "Floating Power" was introduced.


title: Chrysler Imperial

text: The Imperial Series CG offered four sedan coachwork choices from Briggs, while LeBaron offered four convertible coupe and sedan choices. At least ten Individual Custom 2-door coupes were documented from individual coachwork providers Waterhouse, Drauz and LeBaron. These were custom built to specification, and were variously equipped with anything the customer desired—even a Dictaphone. Prices ranged from US$2,745 ($ in dollars ) for the factory supplied four-door, five-passenger Sedan to US$3,575 ($ in dollars ) for the LeBaron Dual Cowl Phaeton. Stock car driver Harry Hartz set numerous speed records with a 1933 Imperial sedan at Daytona Beach, Florida. A roadster was entered in the 1931 24 Hours of Le Mans competition but did not finish due to radiator failure. It was introduced shortly after the Rolls-Royce Phantom II, Mercedes-Benz 770, Packard Eight, Duesenberg Model J, Renault Reinastella, Cadillac Series 355, and Lincoln K-series. Total documented CG production shows that 3,228 of all body style choices were manufactured, including chassis only supplied to individual coachwork providers. A stylized gazelle statuette was added to the Viking Winged helmet radiator cap and hood ornament for all Imperial vehicles starting in 1931.


title: Chrysler Imperial

text: Model year 1932 introduced the junior Series CH Imperial while the previous Series CG became the Series CL and took the name Imperial Custom to continue to provide individually requested, customized vehicles. The Series CH was related to the Chrysler Series CP in that the straight-eight engine, and most features were shared while the Imperial Series CH was offered with many standard features that were optional on the Series CP. The Series CH and CL featured all steel body work, a double drop "girder truss" chassis frame, split windshields, dual sun visors, and trumpet horns. The ignition was provided by Delco-Remy, the brakes were hydraulic and the transmission was a four-speed manual transmission with an optional automatic vacuum operated clutch. The body styles offered on the Series CH were a two-door, two-passenger roadster convertible with available rumble seat, a four-door sedan or a four-door convertible. The roadster listed price was US$1,925 ($ in dollars ) while the four-door convertible was US$2,195 ($ in dollars ) which made the more esteemed "Imperial" brand almost identically priced to "Chrysler" branded products, while the engine displacement on the Series CH was larger. The 1932 Series CL remained the more prestigious Imperial and all coachwork was provided by LeBaron offering four convertible body styles along with a conventional seven-passenger sedan or eight-passenger limousine, while documented records show one two-passenger Roadster and one Landau Limousine were manufactured. Records show that 32 Series CL Sedan Limousine by LeBaron were sold for US$3,295 ($ in dollars ).


title: Chrysler Imperial

text: The Series CQ Imperial was all-new for 1933 from the previous Series CH and the wheelbase lost and the Chrysler I8 had reduced displacement. Three two-door, two-passenger coupes to include a Victoria and Roadster Convertible, and two four-door, five-passenger choices with one sedan convertible were offered by Briggs. Mechanical improvements offered were a silent, helical gear three-speed transmission, an improved oil filter and an automatic choke for the Stromberg IV Model EX-32 carburetor. Only three sedan coachwork choices were offered for the Series CL sedan with the wheelbase. Production records document 3,838 Series CQ and 151 Series CL were manufactured, including six Chassis and Cowl only requests.


title: Chrysler Imperial

text: The Chrysler Imperial introduced in 1934 offered the 'Airflow' design, reflecting an interest in streamlining. The car was marketed with the slogan "The car of tomorrow is here today." The 1934 Series CV featured eight-passenger seating and again an eight-cylinder engine while it was the Chrysler Airflow Series CV with Imperial luxury appearance and additional optional features as standard equipment, including vacuum assisted power brakes and a Stromberg two barrel carburetor Model EE-22. It was the first car to be designed in a wind tunnel. Initial tests indicated that the standard car of the 1920s worked best in the wind-tunnel when pointed backwards with the curved rear deck facing forward. It led to a rethinking of the fundamental design of Chrysler's cars with a primary focus on reducing wind noise inside the passenger compartment. Both engine and passenger compartment were moved forward, giving better balance and ride. An early form of unibody construction was employed, giving them a durability advantage in comparison to body on frame construction. It continued to offer a Chrysler engine vibration isolation feature called "Floating Power" and was one of the first automobiles to offer a one piece curved windshield. Chrysler offered both the conventional Airstream models along with the Airflow models under the "Chrysler" marque but only offered the "Imperial" marque with Airflow models.


title: Chrysler Imperial

text: The 1934 Imperial Airflow Series CV offered the Chrysler flathead straight eight with an aluminum cylinder head and overdrive manual transmission, and body style choices were a two-door coupe, four-door sedan and four-door Town Sedan on a wheelbase, and were priced at US$1,625 ($ in dollars ). The longer wheelbase Imperial Custom Airflow Series CX offered only sedan choices, to include Town Sedan and Limousine choices on a wheelbase for US$2,345 ($ in dollars ). The top level Imperial Custom Airflow Series CW offered a four-door Sedan, Limousine or Town Limousine for US$5,000 ($ in dollars ) using a wheelbase and the Straight Eight. Documented production numbers for 1934 show 2,277 Series CV, 106 Series CX and 67 Series CW were produced. Its prestige was similar to the Cadillac Series 90 limousine, Rolls-Royce Phantom III, Packard Twelve, Mercedes-Benz 770, Renault Suprastella and the Lincoln Custom.


title: Chrysler Imperial

text: The public was put off by the unconventional styling and the "Airstream" appearance on Chryslers outsold the "Airflow" by 3 to 1. The 1935 Imperial Airflow Series C-2 and Series C-3 were carryover from resources not used for 1934 due to underwhelming sales after the appearance was panned in favor of competitors, while the conventionally styled Chrysler Airstream was better received that replaced the Chrysler Series CA and Series CB. Total production documented records show 2,598 Series C-2 coupes and sedans were manufactured, while just 125 Series C-3 rolled off the assembly line, accounting for both coupe and sedan production. The top level Series CW recorded only 32 limousines that could accommodate eight passengers, offering four different coachwork choices for a minimum listed price of US$5,000 ($ in dollars ).


title: Chrysler Imperial

text: 1936 was the last year for the "Airflow" appearance, while there were some enhancements and features added to entice buyers. A new grille, all-steel roof construction and a luggage compartment was added. The wheelbase was lengthened and the doors and side windows. The front windshield was either split or curved one piece on the Imperial Custom and continued to be extendable from the base outwards while a separate retractable cowl ventilator remained to provide fresh air inside the passenger compartment. Production numbers continued to fall to a total of 4,500 Series C-10 sedans and coupes and 75 Series C-11 sedans and limousines. A total of 10 Series CW were documented to be sold while the actual manufacture date were previous years that were registered, and dated as 1936 models. The pricing structure was simplified as US$1,475 ($ in dollars ) for the Series C-10 for the coupe or sedan, and US$2,475 ($ in dollars ) for the Series C-11 sedan or limousine. While 1936 was the most profitable season for Chrysler since 1929, the Airflow program was cancelled, and the Imperial Custom Airflows are recognized as Classics by the Classic Car Club of America.


title: Chrysler Imperial

text: Chrysler reverted back to body on frame construction and there were three models in this generation designated as Imperial. The polarizing appearance was modified with an return to "torpedo" styling, sharing the appearance of a long, straight hood and cowl and moving the headlights outwards into the front fenders with the more successful "Airstream" appearance. The Series C-14 offered the straight eight, shared with the Chrysler Royal C-16 . The Series C-15 was the Imperial Custom and the Town Sedan Limousine, with blind rear quarter panels and was available on request. The top level Series CW Custom Imperial continued to be offered but was very exclusive, using a wheelbase while eliminating the "Airflow" nameplate. Innovations for 1937 included built-in defroster vents, safety-type interior hardware (such as flexible door handles and recessed controls on the dash), seat-back padding, and fully insulated engine mounts. Brakes were 13-inch drums, then in 1939 they expanded to 14 inches, but shrunk to 12-inch drums in 1940. Front suspension was independent. Unusually for ventilation, it had a concealed crank to extend the base of the split windshield outward and the top edge of the engine hood was hinged at the cowl and opened from the grille and up. Access to the engine was accommodated with side hood panels that were released by catches on the inside. An Imperial Custom Series C-15 Convertible Sedan by Derham was used as the AAA Official Car at the 1937 Indy 500 and was painted silver and black to celebrate the racetracks 25th anniversary.


title: Chrysler Imperial

text: According to 1937 documented records, 11,976 Series C-14 Touring Sedans were produced at a listed price of US$1,100 ($ in dollars ). While the Imperial Custom Series CW was offered in its final year for 1937, documentation does not record one was actually built, while three 1937 Series CW were recorded to have been updated with 1936 appearance features and LeBaron bodywork. The first one was built for the Hershey family who had an antique car collection at the time now called the AACA Museum in Hershey, Pennsylvania. The second Series CW was built for The President of the Philippines Manuel L. Quezon, the first president of the Spanish Commonwealth of the Philippines and is maintained by the government. The third car was built for radio personality Major Edward Bowes which later joined a car collection of Frank Kleptz of Terre Haute, Indiana. A "Life" magazine article written in 1940 quoted the value of Major Bowes car at US$25,000 ($ in dollars ). According to records, after the death of Mr. Bowes the car returned to Chrysler in 1941. It was allegedly repainted black from the original Brewster Green and put into wartime service in 1942, used by Admiral Chester Nimitz as a staff car.


title: Chrysler Imperial

text: For 1938, The Series C-19 was shared with the Imperial and all-new New York Special which became the New Yorker in 1939. While the New York Special was offered as a Business Coupe, of which no records show one was ordered and built, and a four-door Touring Sedan, the Imperial Series C-19 was offered in six body choices and the chassis was available separately for additional coachwork selections.Three convertible choices, to include a two-door roadster with rumble seat and a four-door convertible were listed between US$1,123 ($ in dollars ) and US$1,595 ($ in dollars ). The Imperial Custom offered three factory coachwork choices and five custom choices provided by Derham to include two convertible and two Town Car Limousines. The Imperial Custom Series CW was no longer offered. According to documented records, 8,554 Series C-19 Touring Sedans were produced at a listed price of US$1,198 ($ in dollars ).


title: Chrysler Imperial

text: For 1939, model names and series numbers were updated. The Series C-23 was shared with the Imperial, the New Yorker and the Saratoga. The straight eight was shared with all three and an aluminum cylinder head was optional on the high compression engine. Visual distinctions could be found in the interior fabrics, the number of chrome pieces in the grille and nameplate badges installed. A Victoria coachwork choice, provided by Hayes Body Company, was offered on the Imperial along with either a two-door Business Coupe or five-passenger Brougham Coupe and a four-door sedan. The top level Series C-24 offered three factory provided sedans, including a limousine, or three convertible body style choices from Derham. The car pictured is J.G. Martin's (retired airline mechanic) 1939 Series C-24 7-passenger Limousine Sedan, believed by him and his son Tim to be the only 1939 production 7-passenger limousine still on the road. The listed price was US$2,695 ($ in dollars ). One of three Imperial Custom Convertible Town Car by Derham was specially built for the 1939 royal tour of Canada of British King George VI and Queen Elizabeth when their visit was in the United States. This car was then donated to the Detroit American Legion post.


title: Chrysler Imperial

text: Following an assassination attempt in 1937, an armoured Chrysler Imperial was purchased as the official car for António de Oliveira Salazar, the Prime Minister of Portugal.


title: Chrysler Imperial

text: In 1940 the Imperial Crown Series C-27 was the only vehicle to wear the "Imperial" nameplate and was offered in four body styles labeled as six-passenger Sedan, an eight-passenger Sedan, the eight-passenger Limousine, and the six-passenger Derham Parade Phaeton. The styling was shared with all Chrysler models for that year and offered front fender parking lights with conventional running boards, and distinguishing a Chrysler model was limited to a nameplate attached on the front fender just below the engine hood, interior upholstery and standard features installed that were optional on other models. The six-passenger sedan offered storage compartments in the front seatbacks and foot rests, while the eight-passenger sedan replaced the storage compartments with accommodation for storing the retractable jump seats and no foot rests. The limousine offered a retractable glass partition between the driver and passenger compartment, installing leather seating for the driver and wool upholstery for the passenger compartment, Lockheed hydraulic brakes, and two-speed electric windshield wipers were standard. The listed price for the limousine was US$2,695 ($ in dollars ).


title: Chrysler Imperial

text: The 1941 Imperial Crown Series C-33 remained exclusive and special models were available. The Imperial Special Town Sedan used the shorter New Yorker chassis with an Imperial Crown nameplate with a listed price of US$1,675 ($ in dollars ). Laidlaw interior fabrics, Goodyear Double Eagle Tires installed on "Safety Rim" pressed steel wheels, and hydroelectric power windows lifts were some of the items installed. The body work appearance was shared with Chrysler products for 1941 and 1942. The only Series C-33 Imperial Crown chassis, with Derham-supplied body work, was recorded to be used for a Imperial Custom landaulet limousine for Briggs Manufacturing Company President Walter O. Briggs.


title: Chrysler Imperial

text: The 1942 production year was brief and the New Yorker replaced most of the Imperial product line. The new designation Imperial Crown Series C-37 was the only product to wear the "Imperial" nameplate, while Derham continued to build custom limousines, town cars and four-door convertibles using the Series C-37 designation, listing the limousine at US$3,065 ($ in dollars ). As with all U.S.-built automobiles, production was suspended February 1942 due to World War II production demands, and did not resume until the 1946 model year.


title: Chrysler Imperial

text: When Chrysler discontinued the Imperial model name, the "Imperial" name was introduced on top-level Cadillac Series 70 limousines, starting in 1941 until 1946 when the Imperial Crown limousine returned. The 1946 Imperial Crown continued the tradition of sharing a common appearance with all Chrysler branded vehicles and could be distinguished by the wheelbase, wool broadcloth upholstery for rear passengers with leather upholstery for the drivers divider window separated front compartment and other standard luxury features. The Series C-40 production records show that only 165 were built at a price of US$3,875 ($ in dollars ) with its competitors listed as the Cadillac Series 75 Fleetwood and the Packard Custom Super Clipper. 1947 saw increased production at 740 despite an increase in price to US$4,305 ($ in dollars ) with no appearance or feature changes and 1948 saw a drop in production to 495 and a price of US$4,767 ($ in dollars ).


title: Chrysler Imperial

text: The Imperial name returned for 1949 as a sedan while the Imperial Crown limousine continued as Chrysler was celebrating their 25th anniversary. The short-wheelbase Imperial was only available as a four-door six-passenger sedan. The 4-door 8-passenger Imperial Crown was available as a sedan, or as a limousine with a retractable division window. 1949 Imperials are very rare as production records show only 50 Imperial sedans and 85 Imperial Crown limousines were built. The retail price for the 1949 Imperial was US$4,664 ($ in dollars ) and US$5,334 ($ in dollars ) for the Imperial Crown limousine.


title: Chrysler Imperial

text: The new custom-built Imperial sedan was based on the Chrysler New Yorker. It shared the same trim, but had a canvas-covered roof and leather and broadcloth Imperial upholstery. These features were installed by Derham, on the all new postwar Chrysler sheetmetal. Early 1949 Imperial Crowns were actually leftover 1948s. The really new models didn't arrive until March 1949. Their styling was sleeker than previous models, yet conservative. Fewer, but heavier bars were used in the cross-hatched grille. The upper and center horizontal pieces wrapped around the front fenders. Rocker panel moldings, rear fender stoneguards, full length lower-window trim, and horizontal chrome strips on the rear fenders, and from the headlights to about halfway across the front doors, were used to decorate the side body.


title: Chrysler Imperial

text: The 1950 Crosley Hot Shot is often given credit for the first production disc brakes but the Chrysler Imperial Crown actually had them first as standard equipment at the beginning of the 1949 model year. The Crosley disc was a Goodyear development, a caliper type with ventilated rotor, originally designed for aircraft applications. Only the Hot Shot featured it. Lack of sufficient research caused enormous reliability problems, especially in regions requiring the use of salt on winter roads, such as sticking and corrosion. Drum brake conversion for Hot Shots was quite popular.


title: Chrysler Imperial

text: The Chrysler 4-wheel disc brake system was more complex and expensive than Crosley's, but far more efficient and reliable. It was built by Auto Specialties Manufacturing Company (Ausco) of St. Joseph, Michigan, under patents of inventor H.L. Lambert, and was first tested on a 1939 Plymouth. Unlike the caliper disc, the Ausco-Lambert utilized twin expanding discs that rubbed against the inner surface of a cast iron brake drum, which doubled as the brake housing. The discs spread apart to create friction against the inner drum surface through the action of standard wheel cylinders.


title: Chrysler Imperial

text: Chrysler discs were "self-energizing," in that some of the braking energy itself contributed to the braking effort. This was accomplished by small balls set into oval holes leading to the brake surface. When the disc made initial contact with the friction surface, the balls would be forced up the holes forcing the discs further apart and augmenting the braking energy. This made for lighter braking pressure than with calipers, avoided brake fade, promoted cooler running, and provided one-third more friction surface than standard Chrysler drums. But because of the expense, the brakes were only standard on the Chrysler Imperial Crown through 1954 and the Town and Country Newport in 1950. They were optional, however, on other Chryslers, priced around $400, at a time when an entire Crosley Hot Shot retailed for $935. Today's owners consider the Ausco-Lambert very reliable and powerful, but admit its grabbiness and sensitivity.


title: Chrysler Imperial

text: The 1950 Imperial was essentially a New Yorker with a custom interior. It had a Cadillac-style grille treatment that included circular signal lights enclosed in a wraparound ribbed chrome piece. Side trim was similar to last year's model, but the front fender strip ended at the front doors and the rear fender molding was at the tire top level and integrated into the stone guard. Unlike the standard Imperial, the Imperial Crown had a side treatment in which the rear fender moldings and stone guard were separate. Body sill moldings were used on all Imperials, but were of a less massive type on the more massive Crown models. A special version of the limousine was available. It featured a unique leather interior and a leather top that blacked out the rear quarter-windows. Power windows were standard on the Imperial Crown .


title: Chrysler Imperial

text: In an unusual move for the 1950s, the 1951 Imperial had noticeably less chrome than the lower-priced New Yorker that was its base. It also had three horizontal grille bars with the parking lights between the bars and a chrome vertical center piece. Aside from its front fender nameplate, side body trim was limited to the moldings below the windows, rocker panel moldings, bright metal stone shields and a heavy horizontal molding strip running across the fender strips. Three 2-door bodystyles were added to the Imperial model in 1951: a Club coupe, a hardtop, and a convertible. Only 650 convertibles were sold and it would be discontinued the following year, with a listed price of US$4,402 ($ in dollars ). 1951 was also the year that Chrysler introduced its Hemihead V8. "Hydraguide" power steering, an industry first for use in production automobiles, became available on the Imperial for an additional $226 and it was standard on the Imperial Crown.


title: Chrysler Imperial

text: 1952 Imperials were practically identical to the 1951 models, and the most effective way to tell the difference between them is through reference to serial numbers. The convertible bodystyle was dropped in 1952. Unlike the case with Chryslers, the Imperial's taillights were not changed. Power steering was standard. The "new" Imperial Crown was also unchanged for 1952. Only 338 of these cars were made in the 1951–1952 model run, and serial numbers indicate that 205 were registered as 1952 automobiles. A minor change was a one-inch () reduction in the front tread measurement.


title: Chrysler Imperial

text: In 1953 the Imperial model was renamed the Imperial Custom. Although the Imperial Custom resembled the New Yorker, it had a different wheelbase, taillights, and side trim. Clean front fenders and higher rear fender stone shield set it apart from the "ordinary" Chryslers. This was also the first year for the stylized eagle hood ornament. Power brakes, power windows, center folding armrests (front and rear) and a padded dash were standard. Parking lights on all Imperials were positioned between the top and center grille moldings, a variation from the design used on other Chrysler cars. A new model was the six-passenger Imperial Custom limousine which had as standard equipment electric windows, electric division window, floor level courtesy lamps, rear compartment heater, fold-up footrests, seatback mounted clock and special luxury cloth or leather interiors. On 10 March 1953, the exclusive Imperial Custom Newport hardtop was added to the Imperial line at $325 over the price of the eight-passenger sedan ($ in dollars ). The 2-door Club coupe was discontinued. Imperial Custom sedans now rode on a wheelbase longer than the 2-door hardtops. The eagle ornament was about the only thing new on the 1953 Imperial Crown. The nameplate was changed slightly and the limousine featured moldings on top of the rear fenders. Imperial Crowns came with a 12-volt electrical system (Imperial Customs still had a 6-volt system) and Chrysler's first fully automatic transmission, called PowerFlite, became available late in the model year, being installed in a limited number of cars for testing and evaluation. Power steering was standard on Imperial Crowns. Also, 1953 was the first year that the Imperial had a one-piece windshield, instead of a two-piece one. A padded dash was standard.


title: Chrysler Imperial

text: The 1953 Chrysler Imperial was the first production car in twelve years to actually have automotive air conditioning, following tentative experiments by Packard in 1940 and Cadillac in 1941. Walter P. Chrysler had seen to the invention of Airtemp air conditioning back in the 1930s for the Chrysler Building, and had ostensibly offered it on cars in 1941-42, and again in 1951-52, but none are known to have been sold in the latter form until the 1953 model year. In actually installing optional Airtemp air conditioning units to its Imperials in 1953, Chrysler beat Cadillac, Buick and Oldsmobile which added air conditioning as an option in the 1953 model year.


title: Chrysler Imperial

text: Airtemp was more sophisticated and efficient than the complicated rival air conditioners of 1953. It recirculated, rather than merely cooled, the air inside the vehicle, and it was also the highest capacity unit available on an automobile. It was also simple to operate, with a single switch on the dashboard marked with low, medium, and high positions, which the driver selected as desired. The system was capable of cooling a Chrysler from 120 degrees to 85 degrees in about two minutes, and of completely eliminating humidity, dust, pollen and tobacco smoke at the same time. Since it relied on fresh air, and drew in sixty percent more of it than any contemporary system, Airtemp avoided the staleness associated with automotive air conditioning at the time. It was silent and unobtrusive. Instead of plastic tubes mounted on the package shelf as on GM and on other cars, small ducts directed cool air toward the ceiling of the car where it filtered down around the passengers instead of blowing directly on them, a feature that modern cars have lost.


title: Chrysler Imperial

text: In 1954 the Imperial Custom had a new grille consisting of a heavy wraparound horizontal center bar with five ridges on top and integrated circular signal lights. Its front fender nameplate was above a chrome strip, which ran the length of the front door to the front of the door opening. The rear fender stone guard was larger than in 1953, but the rocker panel molding and rear fender chrome strip style were still the same. The back-up lights were now located directly below the taillights, rather than dividing the lights as in the previous year's model. The Imperial Crown shared basic styling with the Imperial Custom. However it had center-opening rear doors and Cadillac-like rear fender taillights. Air conditioning was standard on the Imperial Crown .


title: Chrysler Imperial

text: Chrysler Corporation advised state licensing bureaus that beginning in 1955, the Imperial was to be registered as a separate make. It was an attempt to compete directly with GM's Cadillac and Ford's Lincoln distinct luxury-focused marques. Frequently and erroneously referred to as the "Chrysler Imperial", these cars had no "Chrysler" badging anywhere on them until 1971 (although it was removed by 1974), and were a separate distinct marque, just as Lincoln and Cadillac were for Ford and GM. Starting with the 1974 Imperial models, the "Chrysler" badging was again removed from its car body, with only the "Imperial" nameplate appearing.


title: Chrysler Imperial

text: In April 1955 Chrysler and Philco announced the development and production of the world's first all-transistor car radio. The radio, Mopar model 914HR, was a $150.00 "option", or equal to $ today on 1956 Imperial automobile models. Philco began manufacturing the all-transistor car radio for Chrysler in the fall of 1955 at its Sandusky, Ohio plant.


title: Chrysler Imperial

text: With the new "Imperial" make, Chrysler Corporation's intention was to create an individual line of luxury cars, above and distinct from Chrysler branded vehicles. This marketing strategy suffered because the cars were rarely (if ever) sold in stand-alone Imperial showrooms. Cadillac and Lincoln did a much better job of separating their luxury marques from the lower priced cars that they sold. Imperial was instead offered at the Chrysler dealer network alongside Chrysler's offerings, and the marque was almost universally known as "Chrysler Imperial" in the public's mind for this reason, despite the fact that all existing dealerships did indeed carry separate "Imperial" dealership signs distinct from Chrysler.


title: Chrysler Imperial

text: The Imperial automobiles continued to be retailed through Chrysler dealerships. A distinct marketing channel was not established; thus, the Imperial nameplate failed to separate itself from the other Chrysler models and become a stand-alone marque. Beginning in 1967, the Imperial Division, offering three ranges (Custom, Crown, and LeBaron), retreated from their separate body-on-frame construction and their unique body on a 129.5-inch wheelbase. From that time, Imperials used the Chrysler body. It was fitted with unique styling, and through 1973, very long hoods which accounted for the three-inch-longer (127 vs. 124") wheelbase as compared to other Chrysler sedans. They continued to use their unique front suspension with torsion bars longer than all other Chrysler products and a rubber-isolated subframe crossmember containing the torsion bar anchors, as well as full instrumentation backed up by warning lights. In 1974 and 1975, separate brochures were published and separate Imperial signs still stood above the dealerships, and the Imperial continued to feature unique features (such as hidden headlights as featured since 1969, optional antilock brakes as offered since 1971, and standard four-wheel disc brakes in both 1974 and 1975), the wheelbase was reduced to the same 124" as other big Chryslers.


title: Chrysler Imperial

text: Although there were no Imperials produced between 1976 and 1978, the styling that was previously used for Imperial was rebranded as the Chrysler New Yorker Brougham during this time. The rear disc brakes and optional antilock feature disappeared, but the exceptionally nice interiors, including rear reading lights with precision-ground lenses which did not shine on the windshield, and four cigarette lighters, continued mostly unchanged.


title: Chrysler Imperial

text: The Imperial marque was again resurrected for the model years 1981 through 1983 with a Malaise era two-door coupe based on the second-generation Chrysler Cordoba platform with the designation Series YS. All examples of the 1981–1983 Imperial used Chrysler's 318 cubic-inch V8 engine. All 1981 Imperials came standard with fuel injection, generating power of and 0-60 mph in 13.4 seconds, with a top speed of .


title: Chrysler Imperial

text: 1990 saw a revival of the Imperial as a high-end sedan in Chrysler's lineup to replace the dated Fifth Avenue. Unlike the 1955–1983 Imperial, this car was a model of Chrysler, not its own marque. Based on the Y platform, it represented the top full-size model in Chrysler's lineup; below it was the New Yorker Fifth Avenue, and below that was the shorter wheelbase New Yorker.


title: Chrysler Imperial

text: The reintroduction of the Imperial was two years after the Lincoln Continental was changed to a front-wheel drive sedan with a V6 engine. Other domestic competitors in this segment included the Cadillac Sedan de Ville/Fleetwood, Oldsmobile 98 and Buick Electra/Park Avenue, all of which shared General Motors' then-flagship C platform.


title: Chrysler Imperial

text: Though closely related, the Imperial differed from the New Yorker Fifth Avenue in many ways. The Imperial's nose was more wedge-shaped, while the New Yorker Fifth Avenue's initially had a sharper, more angular profile (the New Yorker Fifth Avenue was later restyled to be more rounded front and rear). The rears of the two cars also differed. Like the front, the New Yorker Fifth Avenue's rear came to stiffer angles while the Imperial's rear-end had more contoured edges. Also found on the Imperial were full-width taillights which were similar to those of the Chrysler TC, and reminiscent of the early 1980s Imperial coupe, while the New Yorker Fifth Avenue came with smaller vertical taillights. On the inside, the Imperial's "Kimberly Velvet" (Mark Cross Leather was available) seats carried a more streamlined look, while the New Yorker Fifth Avenue came with its signature pillowed cushion button-tufted seats.


title: Chrysler Imperial

text: Initially, the 1990 Imperial was powered by the 3.3 L "EGA" V6 engine, which was rated at of torque. For 1991, the 3.3 L V6 was replaced by the larger 3.8 L "EGH" V6. Although horsepower only increased to , with the new larger 3.8 L V6 torque increased to at 2750 rpm. A four-speed automatic transmission was standard with both engines.


title: Chrysler Imperial

text: This generation Imperial was a 6-passenger sedan offered in either velour or Mark Cross leather. Power equipment came standard, as did automatic climate controlled air conditioning, anti-lock brakes, cruise control, driver's side airbag, and its distinct landau vinyl roof. The Imperial featured hidden headlamps behind retractable covers similar to those found on the LeBaron coupe/convertible and New Yorker/Fifth Avenue. The Imperial was available with a choice of several Infinity sound systems, all with a cassette player. Other major options included fully electronic digital instrument cluster with information center, electronically controlled air suspension system, and remote keyless entry with security alarm. Dealer-installed integrated Chrysler cellular phones and six-disc CD changers were also available.


title: Chrysler Imperial

text: All seventh generation Imperials were covered by Chrysler's market-leading "Crystal Key Owner Care Program" which included a 5-year/50,000-mile limited warranty and 7-year/70,000-mile powertrain warranty. A 24-hour toll-free customer service hotline was also provided.


title: Chrysler Imperial

text: As originally planned, this generation Chrysler Imperial was discontinued after the 1993 model year along with the Y-body and C-body New Yorkers. They were replaced by the new LH platform sedans. While the New Yorker name continued on for three more years, 1993 would be the last year for Imperial. The critically acclaimed cab-forward styled Chrysler LHS replaced the Imperial as Chrysler's flagship model for 1994.


title: Chrysler Imperial

text: A Chrysler Imperial concept car was presented at the 2006 North American International Auto Show. This concept used the Chrysler LY platform, an extended LX. It featured a wheelbase. Riding on wheels, the car presented "a six-figure image but at a much lower price" according to Tom Tremont, Vice President of advanced vehicle design for Chrysler. The design incorporated a long hood and front end dominated by an upright radiator and a horizontal themed grille. Brushed and polished aluminum pods evoked the free-standing headlamps (a classical throwback favored by 1960s Chrysler chief designers Virgil Exner and Elwood Engel, used commonly in 1930s Chrysler vehicles). Circular LED taillights with floating outer rings harkened to the "gun sight" taillight look of early 1960s Imperials. The roof line was pulled rearward to enlarge the cabin and to create a longer profile.


title: Chrysler Imperial

text: On 17 July 2007, Chrysler officially announced it would drop the production plans for the Imperial. Citing increasing fuel costs and more stringent fuel economy standards expected from Capitol Hill, Chrysler said that the Imperial project was off, as a viable business case could no longer be made for the car. The Imperial had been rumored to be based on the future Mercedes R-Class or the next generation LX-platform (LY, or a combination of components) and it is suggested that all of the work done on the Imperial program will be rolled into the forthcoming LY-platform cars. These cars will include the next generation Chrysler 300/300C, the long-wheelbase 300/300C (perhaps renamed "New Yorker")


title: Hall of Mirrors

text: The Hall of Mirrors () is a grand Baroque style gallery and one of the most emblematic rooms in the royal Palace of Versailles near Paris, France. The grandiose ensemble of the hall and its adjoining salons was intended to illustrate the power of the absolutist monarch Louis XIV. Located on the first floor ("piano nobile") of the palace's central body, it faces west towards the Palace Gardens. The Hall of Mirrors has been the scene of events of great historic significance, including the Proclamation of the German Empire and the signing of the Treaty of Versailles.


title: Hall of Mirrors

text: In 1623 King Louis XIII ordered the construction of a modest two-story hunting lodge at Versailles, which he soon enlarged to a château from 1631 to 1634. His son Louis XIV declared the site his future permanent residence in 1661 and ordered the transformation into an extensive residence in several stages and on a grandiose scale. The palace was to provide ideal settings for rest and retreat but it also had to attain a new quality of representation as the future seat of Europe's greatest absolutist royal court and government of supreme authority, residence of choice for the aristocratic society and arena for elaborate state festivals and ceremonies, Europe's centre of culture, art and entertainment. During the early expansion phase Louis Le Vau added the Forecourt (1662) and the “Le Vau Envelope” (1668 to 1670), encased the old château and added two new wings in the north and south. The new wings towered over the original western building by the garden. The space in between was a terrace supported by arcades. The buildings of the “Le Vau Envelope” included the king's apartments in the north and the queen's apartments in the south.


title: Hall of Mirrors

text: The Hall of Mirrors was built during the third building stage between 1678 and 1684 and was to replace a large terrace and several smaller salons facing the gardens. The terrace was originally situated directly outside of the King's and the Queen's apartments. The terrace was considered to be a rather misplaced architectural element and exposed to the elements, reducing its utility. Eventually it was decided to demolish it and architect Jules Hardouin-Mansart was tasked with the design development and the construction of the Mirror Hall Gallery and artist Charles Le Brun received the honor to create the interior decorative apparatus.


title: Hall of Mirrors

text: The garden facade of the Corps de logis was built in a straight front and essentially received its current appearance. The Hall of Mirrors is flanked at the far ends by the Salon of War () in the north and the Salon of Peace () in the south, respectively. The Mirror Gallery connects to the two salons, which were assigned to and incorporated into the king's apartments in the north and the queen's apartments in the south. Both salons are accessible via the Mirror Gallery through wide opening passageways. The hall and the two salons were identically furnished and decorated and form a stylistic and functional unit. The exterior walls of the salons date from the time of Le Vau's encasings of the old château and were given their current appearance after the installation of the Mirror Hall by Hardouin-Mansart.


title: Hall of Mirrors

text: The Hall of Mirrors is—besides the Palace Chapel, completed in the early 18th century, the Court Opera and the Galerie des Batailles—one of the largest rooms in the palace. It is long and deep. With its height of it reaches to the Attic floor of the Corps de Logis. The square windows on the upper floor, which can be seen from the outside, only serve aesthetic purposes, as there are no rooms inside. The installation of any kind of fireplaces was never contemplated as the Hall of Mirrors was too large to effectively be heated.


title: Hall of Mirrors

text: The Mirror Hall's 17 windows open in the direction of the park. On the opposite inside wall of the hall are 17 equally large mirrors, that are composed of more than 350 individual mirror surfaces. On the one hand, the mirrors had an aesthetic function, as the mirror image of the garden depicted the exterior of the castle into the interior of the building and reflected the candlelight in the evening. On the other hand, the mirrors also conveyed the king's wealth and the efficiency of the French economy in a subtle way. Mirror glass was an expensive luxury product in the 17th century and could only be produced with great effort. The manufacture of the mirror surfaces was the first major order for the Manufacture royale de glaces de miroirs, a glass factory founded by Jean-Baptiste Colbert, the later Compagnie de Saint-Gobain, with which the Venetian monopoly on the manufacture of mirrors in Europe was broken.


title: Hall of Mirrors

text: Much of the original solid silver furniture of the Hall of Mirrors, famous at the time, was soon lost, particularly the silver Guéridons (tables), which were melted down and coined by order of Louis XIV in 1689 to finance the War of the League of Augsburg. Today's furniture was manufactured during the 19th century after most of the original furnishings were lost during the French Revolution.


title: Hall of Mirrors

text: The gilded bronze capitals of the Rouge de Rance marble pilasters are decorated with the Fleur-de-lis and Gallic roosters. The gilded bronze trophies, that adorn the green marble Pier glasses, were manufactured by goldsmith Pierre Ladoyreau.


title: Hall of Mirrors

text: The marble and porphyry busts of eight Roman emperors are accompanied by sculptures of Greek and Roman deities and Muses, such as Bacchus, Venus (Venus of Arles), Modesty, Hermes, Urania, Nemesis and Diana (Diana of Versailles). The latter, moved to the Louvre in 1798, was replaced by a Diana sculpted by René Frémin for the gardens of the Château de Marly until the restoration of the Hall of Mirrors during 2004 to 2007, which in turn was replaced by a copy of the original Diana.


title: Hall of Mirrors

text: The ceiling combines with the mirrors and the light from the western windows to confer on the room its unique character. Nine large and numerous smaller paintings, most of them on canvas using marouflage and the rest directly painted on masonry, are dedicated to the idolization Louis XIV as the Sun King and to the successes of the first two decades of his personal rule (starting in 1661). Charles Le Brun, "the greatest French artist of all time" according to king Louis XIV, directed the ceiling paintings. The central scene is titled "The King rules by Himself", highlighting Louis's claim to absolute power and his adversarial stance to rival European powers, the main three of which (the Holy Roman Empire, the United Provinces, and Spain) are depicted on the opposite side of the same panel. The themes of the larger panels center on the Franco-Dutch War of 1672-1678, while the other scenes include episodes of the prior War of Devolution of 1667-1668 and domestic achievements.


title: Hall of Mirrors

text: According to a contemporary anecdote, the decoration of the eastern wall with mirrors was a ploy by architect Jules Hardouin-Mansart to prevent Le Brun from having even more opportunities to impress Louis with his work.


title: Hall of Mirrors

text: The narrative sequence of the central scenes starts with the formation of the German (Imperial)-Spanish-Dutch alliance in 1672 on the Northern end, and ends with the unraveling of that alliance with the Dutch acceptance of a separate peace with France in 1678. The full list is a compendium of key propaganda themes of the early 1680s, with titles provided by poets Boileau and Racine in their capacity as the regime's official historians:


title: Hall of Mirrors

text: Many of the same themes would be illustrated again a few years later, albeit with a different iconography, in the Louis XIV Victory Monument on Place des Victoires in the center of Paris.


title: Hall of Mirrors

text: During the 17th century, the hall's main purpose was to serve as a kind of covered promenade for Louis XIV's visit to the chapel. He entered the gallery at least once a day and from 1701, the king's bedroom lay behind the middle wall of the gallery. Courtiers assembled to meet the king and members of the royal family and might make a particular request by intoning: "Sire, Marly?". This was the manner in which nobles were able to obtain a much sought-after invitation to one of the king's house parties at Marly-le-Roi, a villa Louis XIV had built north of Versailles on the route to Saint-Germain-en-Laye.


title: Hall of Mirrors

text: Its central location and size predestined the Hall of Mirrors as a place for court festivities such as the wedding of the Duke of Burgundy (the Petit Dauphin) with Marie Adélaïde of Savoy, the wedding of Louis, Dauphin of France and Maria Teresa of Spain in 1645 and the wedding of Louis XVI and Marie Antoinette in 1770. In the successive reigns of Louis XV and Louis XVI, the Hall of Mirrors continued to serve for family and court functions. Embassies, births, and marriages were held in this room. The most celebrated event of the 18th century on 25 February 1745 was the celebrated Yew Tree Ball. It was during this costume ball that Louis XV, who was dressed as a yew tree, met Jeanne-Antoinette Poisson d'Étiolles, who was costumed as Diana, goddess of the hunt. Jeanne-Antoinette, who became Louis XV's mistress, is better known to history as the Marquise de Pompadour.


title: Hall of Mirrors

text: Foreign audiences were granted, including that of the Doge of Genoa in 1685 and the embassy of Sultan Mahmud I of the Ottoman Empire in 1742. Of all the events that transpired in this room during the reign of Louis XIV, the Siamese Embassy of 1685-1686 has been cited as the most opulent. At this time, the Hall of Mirrors and the "grand appartements" were still decorated with the original silver furniture. In its heyday, over 3,000 candles were used to light the Hall of Mirrors. In February 1715, Louis XIV held his last embassy in the hall when he received Mohammad Reza Beg, ambassador of the Shah of Persia, Sultan Husayn.


title: Hall of Mirrors

text: The Second German Empire was established in the hall of mirrors on 18 January 1871, after the German siege of Paris at the conclusion of the Franco-Prussian War. In a ceremony led by Otto von Bismarck, the Prussian king, William I, the assembled German princes and lords declared William I the German emperor in the Hall of Mirrors. Versailles was chosen because it was the headquarters of the united German armies; the Hall of Mirrors was chosen specifically because its ceiling paintings glorified the conquest of German territories by France. The French nation regarded this ceremony as deeply humiliating. The event greatly contributed to the further accretion of the Franco-German enmity. A few decades later French Prime Minister Clemenceau consciously chose the Hall of Mirrors as the site to sign the Treaty of Versailles on 28 June 1919, that officially ended World War I. Thus, the Entente dismantled the German Empire in the very room where it had been proclaimed.


title: Hall of Mirrors

text: The Hall of Mirrors remains reserved for official ceremonies of the French Republic. Notable events during the 20th century were the reception of US-President John Fitzgerald Kennedy and his wife by Charles De Gaulle, the reception of the Shah of Iran Mohammad Reza Pahlavi by Valéry Giscard d'Estaing in 1974 or the invitation of representatives of the Group of Seven summit by President François Mitterrand from June 4 to 6, 1982.


title: Cyclooxygenase

text: Cyclooxygenase (COX), officially known as prostaglandin-endoperoxide synthase (PTGS), is an enzyme (specifically, a family of isozymes, ) that is responsible for formation of prostanoids, including thromboxane and prostaglandins such as prostacyclin, from arachidonic acid. A member of the animal-type heme peroxidase family, it is also known as prostaglandin G/H synthase. The specific reaction catalyzed is the conversion from arachidonic acid to prostaglandin H2 via a short-living prostaglandin G2 intermediate.


title: Cyclooxygenase

text: Pharmaceutical inhibition of COX can provide relief from the symptoms of inflammation and pain. Nonsteroidal anti-inflammatory drugs (NSAIDs), such as aspirin and ibuprofen, exert their effects through inhibition of COX. Those that are specific to the COX-2 isozyme are called COX-2 inhibitors. The active metabolite (AM404) of paracetamol is a COX inhibitor, a fact to which some or all of its therapeutic effect has been attributed.


title: Cyclooxygenase

text: In medicine, the root symbol "COX" is encountered more often than "PTGS". In genetics, "PTGS" is officially used for this family of genes and proteins because the root symbol "COX" was already used for the cytochrome c oxidase family. Thus, the two isozymes found in humans, PTGS1 and PTGS2, are frequently called COX-1 and COX-2 in medical literature. The names "prostaglandin synthase (PHS)", "prostaglandin synthetase (PHS)", and "prostaglandin-endoperoxide synthetase (PES)" are older terms still sometimes used to refer to COX.


title: Cyclooxygenase

text: In terms of their molecular biology, COX-1 and COX-2 are of similar molecular weight, approximately 70 and 72 kDa, respectively, and having 65% amino acid sequence homology and near-identical catalytic sites. Both proteins have three domains: an N-terminal EGF-like domain, a small 4-helical membrane anchor, and a core heme-peroxidase catalytic domain. Both form dimers. The membrane anchor fixes the proteins into the endoplasmic reticulum (ER) and microsome membrane.


title: Cyclooxygenase

text: COX is a common target for anti-inflammatory drugs. The most significant difference between the isoenzymes, which allows for selective inhibition, is the substitution of isoleucine at position 523 in COX-1 with valine in COX-2. The smaller Val residue in COX-2 allows access to a hydrophobic side-pocket in the enzyme (which Ile sterically hinders). Drug molecules, such as DuP-697 and the coxibs derived from it, bind to this alternative site and are considered to be selective inhibitors of COX-2.


title: Cyclooxygenase

text: The classical COX inhibitors are not selective and inhibit all types of COX. The resulting inhibition of prostaglandin and thromboxane synthesis has the effect of reduced inflammation, as well as antipyretic, antithrombotic and analgesic effects. The most frequent adverse effect of NSAIDs is irritation of the gastric mucosa as prostaglandins normally have a protective role in the gastrointestinal tract. Some NSAIDs are also acidic which may cause additional damage to the gastrointestinal tract.


title: Cyclooxygenase

text: Selectivity for COX-2 is the main feature of celecoxib, etoricoxib, and other members of this drug class. Because COX-2 is usually specific to inflamed tissue, there is much less gastric irritation associated with COX-2 inhibitors, with a decreased risk of peptic ulceration. The selectivity of COX-2 does not seem to negate other side-effects of NSAIDs, most notably an increased risk of kidney failure, and there is evidence that indicates an increase in the risk of heart attack, thrombosis, and stroke through an increase of thromboxane unbalanced by prostacyclin (which is reduced by COX-2 inhibition). Rofecoxib (brand name Vioxx) was withdrawn in 2004 because of such concerns. Some other COX-2 selective NSAIDs, such as celecoxib, and etoricoxib, are still on the market.


title: Cyclooxygenase

text: Fish oils provide alternative fatty acids to arachidonic acid. These acids can be turned into some anti-inflammatory prostacyclins by COX instead of pro-inflammatory prostaglandins.


title: Cyclooxygenase

text: Caution should be exercised in combining low dose aspirin with COX-2 inhibitors due to potential increased damage to the gastric mucosa. COX-2 is upregulated when COX-1 is suppressed with aspirin, which is thought to be important in enhancing mucosal defense mechanisms and lessening the erosion by aspirin.


title: Cyclooxygenase

text: COX-2 inhibitors have been found to increase the risk of atherothrombosis even with short-term use. A 2006 analysis of 138 randomised trials and almost 150,000 participants showed that selective COX-2 inhibitors are associated with a moderately increased risk of vascular events, mainly due to a twofold increased risk of myocardial infarction, and also that high-dose regimens of some traditional NSAIDs (such as diclofenac and ibuprofen, but not naproxen) are associated with a similar increase in risk of vascular events.


title: Cyclooxygenase

text: Fish oils (e.g., cod liver oil) have been proposed as a reasonable alternative for the treatment of rheumatoid arthritis and other conditions as a consequence of the fact that they provide less cardiovascular risk than other treatments including NSAIDs.


title: Cyclooxygenase

text: Inhibition of COX-2 using celecoxib has been shown to reduce the immunosuppressive TGFβ expression in hepatocytes attenuating EMT in human hepatocellular carcinoma


title: Adriyan Rae

text: Adriyan Rae is an American actress and medical laboratory scientist, known for her role as Elida in the short-lived Syfy drama "Vagrant Queen" and as Gianna Mackey in the NBC drama "Chicago Fire".


title: Adriyan Rae

text: Rae was born in Seaford, Delaware and raised by her single mother; she is of Black American, German, Native American, and Venezuelan descent. She was part of a AAU Junior Olympic Games team in track and field and field hockey. She graduated from the University of the Sciences in Philadelphia with degrees in physician assistant studies and medical laboratory science; she has also obtained a professional certification in the latter field.


title: Adriyan Rae

text: After moving to Atlanta, Rae began her acting career, appearing in a number of television series since 2016. In 2019, she was cast in the leading role of Elida in the SyFy science fiction drama "Vagrant Queen", which ran from March 27, to June 4, 2020.


title: Adriyan Rae

text: In 2020, Rae began co-starring in the NBC drama "Chicago Fire" as Gianna Mackey, the new paramedic on Ambulance 61. She left the series after nine episodes due to undisclosed private reasons.


title: Playboi Carti discography

text: The discography of American rapper Playboi Carti consists of three studio albums, one EP, three mixtapes and eleven singles (including six as a featured artist).


title: Playboi Carti discography

text: Playboi Carti, known as $ir Cartier at the time, self-released two mixtapes in November 2011 and November 2012: "THC: The High Chronicles" and "Young Misfit". He changed his name to Playboi Carti in 2013. In 2016, he was signed to Interscope Records and ASAP Mob's imprint label AWGE.


title: Playboi Carti discography

text: In April 2017, Carti released his debut mixtape, which debuted at number 12 on the US "Billboard" 200 chart. It spawned two successful singles: "Magnolia" and "Woke Up Like This". In June 2017, he was named as one of the ten of "XXL"'s "2017 Freshman Class".


title: Playboi Carti discography

text: In May 2018, he released his second studio album "Die Lit". It debuted at number 3 on the US "Billboard" 200 chart. His third studio album "Whole Lotta Red" released on Christmas Day 2020. It debuted at number 1 on the US "Billboard" 200 chart for his biggest selling chart debut yet"."


title: Serial digital interface

text: Serial digital interface (SDI) is a family of digital video interfaces first standardized by SMPTE (The Society of Motion Picture and Television Engineers) in 1989. For example, ITU-R BT.656 and SMPTE 259M define digital video interfaces used for broadcast-grade video. A related standard, known as high-definition serial digital interface (HD-SDI), is standardized in SMPTE 292M; this provides a nominal data rate of 1.485 Gbit/s.


title: Serial digital interface

text: Additional SDI standards have been introduced to support increasing video resolutions (HD, UHD and beyond), frame rates, stereoscopic (3D) video, and color depth. Dual link HD-SDI consists of a pair of SMPTE 292M links, standardized by SMPTE 372M in 1998; this provides a nominal 2.970 Gbit/s interface used in applications (such as digital cinema or HDTV 1080P) that require greater fidelity and resolution than standard HDTV can provide. 3G-SDI (standardized in SMPTE 424M) consists of a single 2.970 Gbit/s serial link that allows replacing dual link HD-SDI. 6G-SDI and 12G-SDI standards were published on March 19, 2015.


title: Serial digital interface

text: These standards are used for transmission of uncompressed, unencrypted digital video signals (optionally including embedded audio and time code) within television facilities; they can also be used for packetized data. SDI is used to connect together different pieces of equipment such as recorders, monitors, PCs and vision mixers. Coaxial variants of the specification range in length but are typically less than . Fiber optic variants of the specification such as 297M allow for long-distance transmission limited only by maximum fiber length or repeaters. SDI and HD-SDI are usually available only in professional video equipment because various licensing agreements restrict the use of unencrypted digital interfaces, such as SDI, prohibiting their use in consumer equipment. Several professional video and HD-video capable DSLR cameras and all uncompressed video capable consumer cameras use the HDMI interface, often called clean HDMI. There are various mod kits for existing DVD players and other devices, which allow a user to add a serial digital interface to these devices.


title: Serial digital interface

text: The various serial digital interface standards all use (one or more) coaxial cables with BNC connectors, with a nominal impedance of 75 ohms. This is the same type of cable used in analog video setups, which potentially makes for easier upgrades (though higher quality cables may be necessary for long runs at the higher bitrates). The specified signal amplitude at the source is 800 mV (±10%) peak-to-peak; far lower voltages may be measured at the receiver owing to attenuation. Using equalization at the receiver, it is possible to send 270 Mbit/s SDI over without use of repeaters, but shorter lengths are preferred. The HD bitrates have a shorter maximum run length, typically .


title: Serial digital interface

text: Uncompressed digital component signals are transmitted. Data is encoded in NRZI format, and a linear feedback shift register is used to scramble the data to reduce the likelihood that long strings of zeroes or ones will be present on the interface. The interface is self-synchronizing and self-clocking. Framing is done by detection of a special synchronization pattern, which appears on the (unscrambled) serial digital signal to be a sequence of ten ones followed by twenty zeroes (twenty ones followed by forty zeroes in HD); this bit pattern is not legal anywhere else within the data payload.


title: Serial digital interface

text: SMPTE 297-2006 defines an optical fiber system for transmitting bit-serial digital signals It is intended for transmitting SMPTE ST 259 signals (143 through 360 Mbit/s), SMPTE ST 344 signals (540 Mbit/s), SMPTE ST 292-1/-2 signals (1.485 Gbit/s and 1.485/1.001 Gbit/s) and SMPTE ST 424 signals (2.970 Gbit/s and 2.970/1.001 Gbit/s). In addition to optical specification, ST 297 also mandates laser safety testing and that all optical interfaces are labelled to indicate safety compliance, application and interoperability.


title: Serial digital interface

text: An 8-bit parallel digital interface is defined by ITU-R Rec. 601; this is obsolete (however, many clauses in the various standards accommodate the possibility of an 8-bit interface).


title: Serial digital interface

text: In SD and ED applications, the serial data format is defined to 10 bits wide, whereas in HD applications, it is 20 bits wide, divided into two parallel 10-bit datastreams (known as Y and C). The SD datastream is arranged like this:


title: Serial digital interface

text: For all serial digital interfaces (excluding the obsolete composite encodings), the native color encoding is YCbCr format. The luminance channel (Y) is encoded at full bandwidth (13.5 MHz in 270 Mbit/s SD, ~75 MHz in HD), and the two chrominance channels (Cb and Cr) are subsampled horizontally, and encoded at half bandwidth (6.75 MHz or 37.5 MHz). The Y, Cr, and Cb samples are "co-sited" (acquired at the same instance in time), and the Y' sample is acquired at the time halfway between two adjacent Y samples.


title: Serial digital interface

text: In the above, Y refers to luminance samples, and C to chrominance samples. Cr and Cb further refer to the red and blue "color difference" channels; see Component Video for more information. This section only discusses the native color encoding of SDI; other color encodings are possible by treating the interface as a generic 10-bit data channel. The use of other colorimetry encodings, and the conversion to and from RGB colorspace, is discussed below.


title: Serial digital interface

text: Video payload (as well as ancillary data payload) may use any 10-bit word in the range 4 to 1,019 (004 to 3FB) inclusive; the values 0–3 and 1,020–1,023 (3FC–3FF) are reserved and may not appear anywhere in the payload. These reserved words have two purposes; they are used both for Synchronization packets and for Ancillary data headers.


title: Serial digital interface

text: A synchronization packet (commonly known as the timing reference signal or TRS) occurs immediately before the first active sample on every line, and immediately after the last active sample (and before the start of the horizontal blanking region). The synchronization packet consists of four 10-bit words, the first three words are always the same—0x3FF, 0, 0; the fourth consists of 3 flag bits, along with an error correcting code. As a result, there are 8 different synchronization packets possible.


title: Serial digital interface

text: In the HD-SDI and dual link interfaces, synchronization packets "must" occur simultaneously in both the Y and C datastreams. (Some delay between the two cables in a dual link interface is permissible; equipment which supports dual link is expected to buffer the leading link in order to allow the other link to catch up). In SD-SDI and enhanced definition interfaces, there is only one datastream, and thus only one synchronization packet at a time. Other than the issue of how many packets appear, their format is the same in all versions of the serial-digital interface.


title: Serial digital interface

text: The flags bits found in the fourth word (commonly known as the XYZ word) are known as H, F, and V. The H bit indicates the start of horizontal blank; and synchronization bits immediately preceding the horizontal blanking region must have H set to one. Such packets are commonly referred to as End of Active Video, or EAV packets. Likewise, the packet appearing immediately before the start of the active video has H set to 0; this is the Start of Active Video or SAV packet.


title: Serial digital interface

text: Likewise, the V bit is used to indicate the start of the vertical blanking region; an EAV packet with V=1 indicates the following line (lines are deemed to start at EAV) is part of the vertical interval, an EAV packet with V=0 indicates the following line is part of the active picture.


title: Serial digital interface

text: The F bit is used in interlaced and segmented-frame formats to indicate whether the line comes from the first or second field (or segment). In progressive scan formats, the F bit is always set to zero.


title: Serial digital interface

text: In the high definition serial digital interface (and in dual-link HD), additional check words are provided to increase the robustness of the interface. In these formats, the four samples immediately following the EAV packets (but not the SAV packets) contain a cyclic redundancy check field, and a line count indicator. The CRC field provides a CRC of the preceding line (CRCs are computed independently for the Y and C streams), and can be used to detect bit errors in the interface. The line count field indicates the line number of the current line.


title: Serial digital interface

text: The CRC and line counts are not provided in the SD and ED interfaces. Instead, a special ancillary data packet known as an EDH packet may be optionally used to provide a CRC check on the data.


title: Serial digital interface

text: Each sample within a given datastream is assigned a unique line and sample number. In all formats, the first sample immediately following the SAV packet is assigned sample number 0; the next sample is sample 1; all the way up to the XYZ word in the following SAV packet. In SD interfaces, where there is only one datastream, the 0th sample is a Cb sample; the 1st sample a Y sample, the 2nd sample a Cr sample, and the third sample is the Y' sample; the pattern repeats from there. In HD interfaces, each datastream has its own sample numbering—so the 0th sample of the Y datastream is the Y sample, the next sample the Y' sample, etc. Likewise, the first sample in the C datastream is Cb, followed by Cr, followed by Cb again.


title: Serial digital interface

text: Lines are numbered sequentially, starting from 1, up to the number of lines per frame of the indicated format (typically 525, 625, 750, or 1125 (Sony HDVS)). Determination of line 1 is somewhat arbitrary; however it is unambiguously specified by the relevant standards. In 525-line systems, the first line of vertical blank is line 1, whereas in other interlaced systems (625 and 1125-line), the first line after the F bit transitions to zero is line 1.


title: Serial digital interface

text: Note that lines are deemed to start at EAV, whereas sample zero is the sample following SAV. This produces the somewhat confusing result that the first sample in a given line of 1080i video is sample number 1920 (the first EAV sample in that format), and the line ends at the following sample 1919 (the last active sample in that format). Note that this behavior differs somewhat from analog video interfaces, where the line transition is deemed to occur at the sync pulse, which occurs roughly halfway through the horizontal blanking region.


title: Serial digital interface

text: Link numbering is only an issue in multi-link interfaces. The first link (the "primary" link), is assigned a link number of 1, subsequent links are assigned increasing link numbers; so the second ("secondary") link in a dual-link system is link 2. The link number of a given interface is indicated by a VPID packet located in the vertical ancillary data space.


title: Serial digital interface

text: Note that the data layout in dual link is designed so that the primary link can be fed into a single-link interface, and still produce usable (though somewhat degraded) video. The secondary link generally contains things like additional LSBs (in 12-bit formats), non-cosited samples in 4:4:4 sampled video (so that the primary link is still valid 4:2:2), and alpha or data channels. If the second link of a 1080P dual link configuration is absent, the first link still contains a valid 1080i signal.


title: Serial digital interface

text: In the case of 1080p60, 59.94, or 50 Hz video over a dual link; each link contains a valid 1080i signal at the same field rate. The first link contains the 1st, 3rd, and 5th lines of odd fields and the 2nd, 4th, 6th, etc. lines of even fields, and the second link contains the even lines on the odd fields, and the odd lines on the even fields. When the two links are combined, the result is a progressive-scan picture at the higher frame rate.


title: Serial digital interface

text: Like SMPTE 259M, SMPTE 292M supports the SMPTE 291M standard for ancillary data. Ancillary data is provided as a standardized transport for non-video payload within a serial digital signal; it is used for things such as embedded audio, closed captions, timecode, and other sorts of metadata. Ancillary data is indicated by a 3-word packet consisting of 0, 3FF, 3FF (the opposite of the synchronization packet header), followed by a two-word identification code, a data count word (indicating 0–255 words of payload), the actual payload, and a one-word checksum. Other than in their use in the header, the codes prohibited to video payload are also prohibited to ancillary data payload.


title: Serial digital interface

text: In dual link applications; ancillary data is mostly found on the primary link; the secondary link is to be used for ancillary data only if there is no room on the primary link. One exception to this rule is the VPID packet; both links must have a valid VPID packet present.


title: Serial digital interface

text: Both the HD and SD serial interfaces provide for 16 channels of embedded audio. The two interfaces use different audio encapsulation methods — SD uses the SMPTE 272M standard, whereas HD uses the SMPTE 299M standard. In either case, an SDI signal may contain up to sixteen audio channels (8 pairs) embedded 48 kHz, 24-bit audio channels along with the video. Typically, 48 kHz, 24-bit (20-bit in SD, but extendable to 24 bit) PCM audio is stored, in a manner directly compatible with the AES3 digital audio interface. These are placed in the (horizontal) blanking periods, when the SDI signal carries nothing useful, since the receiver generates its own blanking signals from the TRS.


title: Serial digital interface

text: SMPTE ST 299-2:2010 extends the 3G SDI interface to be able to transmit 32 audio channels (16 pairs) on a single link.


title: Serial digital interface

text: As the standard definition interface carries no checksum, CRC, or other data integrity check, an EDH (Error Detection and Handling) packet may be optionally placed in the vertical interval of the video signal. This packet includes CRC values for both the active picture, and the entire field (excluding those lines at which switching may occur, and which should contain no useful data); equipment can compute their own CRC and compare it with the received CRC in order to detect errors.


title: Serial digital interface

text: EDH is typically only used with the standard definition interface; the presence of CRC words in the HD interface make EDH packets unnecessary.


title: Serial digital interface

text: VPID (or video payload identifier) packets are increasingly used to describe the video format. In early versions of the serial digital interface, it was always possible to uniquely determine the video format by counting the number of lines and samples between H and V transitions in the TRS. With the introduction of dual link interfaces, and segmented-frame standards, this is no longer possible; thus the VPID standard (defined by SMPTE 352M) provides a way to uniquely and unambiguously identify the format of the video payload.


title: Serial digital interface

text: The active portion of the video signal is defined to be those samples which follow an SAV packet, and precede the next EAV packet; where the corresponding EAV and SAV packets have the V bit set to zero. It is in the active portion that the actual image information is stored.


title: Serial digital interface

text: Several color encodings are possible in the serial digital interface. The default (and most common case) is 10-bit linearly sampled video data encoded as 4:2:2 YCbCr. (YCbCr is a digital representation of the YPbPr colorspace). Samples of video are stored as described above. Data words correspond to signal levels of the respective video components, as follows:


title: Serial digital interface

text: Note that the scaling of the luma and chroma channels is "not" identical. The minimum and maximum of these ranges represent the preferred signal limits, though the video payload may venture outside these ranges (providing that the reserved code words of 0–3 and 1020–1023 are "never" used for video payload). In addition, the corresponding analog signal may have excursions further outside of this range.


title: Serial digital interface

text: As YPbPr (and YCbCr) are both derived from the RGB colorspace, a means of converting is required. There are three colorimetries typically used with digital video:


title: Serial digital interface

text: The dual-link and 3 Gbit/s interfaces additionally support other color encodings besides 4:2:2 YCbCr, namely:


title: Serial digital interface

text: If an RGB encoding is used, the three primaries are all encoded in the same fashion as the Y channel; a value of 64 (40 hex) corresponds to 0 mV, and 940 (3AC hex) corresponds to 700 mV.


title: Serial digital interface

text: 12-bit applications are scaled in a similar fashion to their 10-bit counterparts; the additional two bits are considered to be LSBs.


title: Serial digital interface

text: For portions of the vertical and horizontal blanking regions which are not used for ancillary data, it is recommended that the luma samples be assigned the code word 64 (40 hex), and the chroma samples be assigned 512 (200 hex); both of which correspond to 0 mV. It is permissible to encode analog vertical interval information (such as vertical interval timecode or vertical interval test signals) without breaking the interface, but such usage is nonstandard (and ancillary data is the preferred means for transmitting metadata). Conversion of analog sync and burst signals into digital, however, is not recommended—and neither is necessary in the digital interface.


title: Serial digital interface

text: Different picture formats have different requirements for digital blanking, for example all so called 1080 line HD formats have 1080 active lines, but 1125 total lines, with the remainder being vertical blanking.


title: Serial digital interface

text: In addition to the regular serial digital interface described here, there are several other similar interfaces which are similar to, or are contained within, a serial digital interface.


title: Serial digital interface

text: There is an expanded specification called SDTI ("Serial Data Transport Interface"), which allows compressed (i.e. DV, MPEG and others) video streams to be transported over an SDI line. This allows for multiple video streams in one cable or faster-than-realtime (2x, 4x...) video transmission. A related standard, known as HD-SDTI, provides similar capability over an SMPTE 292M interface.


title: Serial digital interface

text: The asynchronous serial interface (ASI) specification describes how to transport a MPEG Transport Stream (MPEG-TS), containing multiple MPEG video streams, over 75-ohm copper coaxial cable or multi-mode optical fiber.


title: Serial digital interface

text: ASI is popular way to transport broadcast programs from the studio to the final transmission equipment before it reaches viewers sitting at home.


title: Serial digital interface

text: The standard "SMPTE 349M: Transport of Alternate Source Image Formats through SMPTE 292M", specifies a means to encapsulate non-standard and lower-bitrate video formats within an HD-SDI interface. This standard allows, for example, several independent standard definition video signals to be multiplexed onto an HD-SDI interface, and transmitted down one wire. This standard doesn't merely adjust EAV and SAV timing to meet the requirements of the lower-bitrate formats; instead, it provides a means by which an entire SDI format (including synchronization words, ancillary data, and video payload) can be "encapsulated" and transmitted as ordinary data payload within a 292M stream.


title: Serial digital interface

text: The HDMI interface is a compact audio/video interface for transferring uncompressed video data and compressed/uncompressed digital audio data from an HDMI-compliant device to a compatible computer monitor, video projector, digital television, or digital audio device. It is mainly used in the consumer area, but increasingly used in professional devices including uncompressed video, often called clean HDMI.


title: Serial digital interface

text: The HDcctv standard embodies the adaptation of SDI for video surveillance applications, not to be confused with TDI, a similar but different format for video surveillance cameras.


title: Serial digital interface

text: The CoaXPress standard is another high-speed digital interface, originally design for industrial camera interfaces. The data rates for CoaXPress go up to 12.5 Gbit/s over a single coaxial cable. A 41 Mbit/s uplink channel and power over coax are also included in the standard.


title: Marsha M. Linehan

text: Marsha M. Linehan (born May 5, 1943) is an American psychologist and author. She is the creator of dialectical behavior therapy (DBT), a type of psychotherapy that combines cognitive restructuring with acceptance, mindfulness, and shaping.


title: Marsha M. Linehan

text: Linehan is a Emeritus Professor of Psychology, Adjunct Professor of Psychiatry and Behavioral Sciences at the University of Washington in Seattle and Director of the Behavioral Research and Therapy Clinics. Her primary research is in borderline personality disorder, the application of behavioral models to suicidal behaviors, and drug abuse. Allen Frances, in the foreword for Linehan's book "Building a Life Worth Living", said Linehan is one of the two most influential "clinical innovators" in mental health, the other being Aaron Beck.


title: Marsha M. Linehan

text: Linehan was born in Tulsa, Oklahoma on May 5, 1943, being the third of six children. She was diagnosed with schizophrenia at the Institute of Living in Hartford, Connecticut where she was an inpatient. Linehan was subjected to electroconvulsive therapy, seclusion, as well as Thorazine and Librium as treatment. During this time she dealt with suicidal behavior and although not diagnosed, she has said that she feels that she actually had borderline personality disorder. The symptoms she experienced then are similar to today's diagnostic criteria for borderline personality disorder. In a 2011 interview with "The New York Times", Linehan said that she "does not remember" taking any psychiatric medication after leaving the Institute of Living when she was 18 years old.


title: Marsha M. Linehan

text: Linehan graduated cum laude from Loyola University Chicago in 1968 with a B.Sc. in psychology. She earned an M.A. in 1970 and a Ph.D. in 1971, in social and experimental personality psychology. During her time at Loyola University, Linehan served as lecturer for the psychology program. In addition to her work in psychology, Linehan was trained in Zen meditation and became a Zen teacher.


title: Marsha M. Linehan

text: After leaving Loyola University, Linehan started a post doctoral internship at The Suicide Prevention and Crisis Service in Buffalo, New York between 1971 and 1972. During this time, Linehan served as an adjunct assistant professor at University at Buffalo, The State University of New York. From Buffalo, Linehan completed a Post-Doctoral fellowship in Behavior Modification at Stony Brook University. Linehan then returned to her alma mater Loyola University in 1973 and served as an adjunct professor at the university until 1975. During this same time Linehan also served as an assistant professor in Psychology at the Catholic University of America in Washington, D.C. from 1973 to 1977.