title: 3dfx Interactive

text: A typical Voodoo Graphics PCI expansion card consisted of a DAC, a frame buffer processor and a texture mapping unit, along with 4 MB of EDO DRAM. The RAM and graphics processors operated at 50 MHz. It provided only 3D acceleration and as such the computer also needed a traditional video controller for conventional 2D software. A pass-through VGA cable daisy-chained the video controller to the Voodoo, which was itself connected to the monitor. The method used to engage the Voodoo's output circuitry varied between cards, with some using mechanical relays while others utilized purely electronic components. The mechanical relays emitted an audible "clicking" sound when they engaged and disengaged.


title: 3dfx Interactive

text: In August 1997, 3dfx released the Voodoo Rush chipset, combining a Voodoo chip with a 2D chip that lay on the same circuit board, eliminating the need for a separate VGA card. Most cards were built with an Alliance Semiconductor AT25/AT3D 2D component, but there were some built with a Macronix chip and there were initial plans to partner with Trident but no such boards were ever marketed.


title: 3dfx Interactive

text: The Rush had the same specifications as Voodoo Graphics, but did not perform as well because the Rush chipset had to share memory bandwidth with the CRTC of the 2D chip. Furthermore, the Rush chipset was not directly present on the PCI bus but had to be programmed through linked registers of the 2D chip. Like the Voodoo Graphics, there was no interrupt mechanism, so the driver had to poll the Rush in order to determine whether a command had completed or not; the indirection through the 2D component added significant overhead here and tended to back up traffic on the PCI interface. The typical performance hit was around 10% compared to Voodoo Graphics, and even worse in windowed mode. Later, Rush boards were released by Hercules featuring 8 MiB VRAM and a 10% higher clock speed, in an attempt to close this performance gap.


title: 3dfx Interactive

text: Some manufacturers bundled a PC version of Atari Games' racing game "", the arcade version of which utilised a slightly upgraded Voodoo Graphics chipset with an extra texture mapping unit and additional texture memory.


title: 3dfx Interactive

text: Sales of the Voodoo Rush cards were very poor, and the cards were discontinued within a year. The Voodoo Rush was 3dfx's first commercial failure.


title: 3dfx Interactive

text: The 3dfx Voodoo2, the successor to the Voodoo Graphics chipset released in March 1998, was architecturally similar, but the basic board configuration added a second texturing unit, allowing two textures to be drawn in a single pass.


title: 3dfx Interactive

text: The Voodoo2 required three chips and a separate VGA graphics card, whereas new competing 3D products, such as the ATI Rage Pro, Nvidia RIVA 128, and Rendition Verite 2200, were single-chip products. Despite some shortcomings, such as the card's dithered 16-bit 3D color rendering and 800x600 resolution limitations, no other manufacturers' products could match the smooth framerates that the Voodoo2 produced. It was a landmark (and expensive) achievement in PC 3D-graphics. Its excellent performance, and the mindshare gained from the original Voodoo Graphics, resulted in its success. Many users even preferred Voodoo2's dedicated purpose, because they were free to use the quality 2D card of their choice as a result. Some 2D/3D combined solutions at the time offered quite sub-par 2D quality and speed.


title: 3dfx Interactive

text: The Voodoo2 introduced Scan-Line Interleave (SLI), in which two Voodoo2 boards were connected together, each drawing half the scan lines of the screen. SLI increased the maximum resolution supported to 1024×768. Because of the high cost and inconvenience of using three separate graphics cards (two Voodoo2 SLI plus the general purpose 2D graphics adapter), the Voodoo2 SLI scheme had minimal effect on total market share and was not a financial success. SLI capability was not offered in subsequent 3dfx board designs, although the technology would be later used to link the VSA-100 chips on the Voodoo 5.


title: 3dfx Interactive

text: The arrival of the Nvidia RIVA TNT with integrated 2D/3D chipset would offer minor challenge to the Voodoo2's supremacy months later.


title: 3dfx Interactive

text: Near the end of 1998, 3dfx released the Banshee, which featured a lower price achieved through higher component integration, and a more complete feature-set including 2D acceleration, to target the mainstream consumer market. A single-chip solution, the Banshee was a combination of a 2D video card and partial (only one texture mapping unit) Voodoo2 3D hardware. Due to the missing second TMU, in 3D scenes which used multiple textures per polygon, the Voodoo2 was significantly faster. However, in scenes dominated by single-textured polygons, the Banshee could match or exceed the Voodoo2 due to its higher clock speed and resulting greater pixel fillrate.


title: 3dfx Interactive

text: Banshee's 2D acceleration was the first such hardware from 3dfx and it was very capable. It rivaled the fastest 2D cores from Matrox, Nvidia, and ATI. It consisted of a 128-bit 2D GUI engine and a 128-bit VESA VBE 3.0 VGA core. The graphics chip capably accelerated DirectDraw and supported all of the Windows Graphics Device Interface (GDI) in hardware, with all 256 raster operations and tertiary functions, and hardware polygon acceleration. The 2D core achieved near-theoretical maximum performance with a null driver test in Windows NT.


title: 3dfx Interactive

text: The Voodoo 3 was hyped as the graphics card that would make 3dfx the undisputed leader, but the actual product was below expectations. Though it was still the fastest as it edged the RIVA TNT2 by a small margin, the Voodoo3 lacked 32-bit color and large texture support. Though at that time few games supported large textures and 32-bit color, and those that did generally were too demanding to be run at playable framerates, the features "32-bit color support" and "2048×2048 textures" were much more impressive on paper than 16-bit color and 256×256 texture support. The Voodoo3 sold relatively well, but was disappointing compared to the first two models and 3dfx lost the market leadership to Nvidia.


title: 3dfx Interactive

text: As 3dfx attempted to counter the TNT2 threat, it was surprised by Nvidia's GeForce 256. The GeForce was a single-chip processor with integrated transform, lighting, triangle setup/clipping (hardware T&L), and rendering engines, giving it a significant performance advantage over the Voodoo3. The 3dfx Voodoo3 2000 PCI was the highest-performance 2D/3D card available for the Apple Macintosh at the time of its release, though support from 3dfx was labeled as 'beta' and required a firmware reflash. As game developers switched to DirectX and OpenGL, which respectively had become the industry standard and were becoming increasingly popular, 3dfx released its Glide API under the General Public License on December 6, 1999.


title: 3dfx Interactive

text: The Voodoo 5 5000, which had 32 MB of VRAM to the 5500's 64 MB, was never launched, as the smaller frame buffer didn't significantly reduce cost over the Voodoo 5 5500.


title: 3dfx Interactive

text: The only other member of the Voodoo 5 line, the Voodoo 4 4500, was as much of a disaster as Voodoo Rush, because it had performance well short of its value-oriented peers combined with a late launch. Voodoo 4 was beaten in almost all areas by the GeForce 2 MX—a low-cost board sold mostly as an OEM part for computer manufacturers—and the Radeon VE.


title: 3dfx Interactive

text: One unusual trait of the Voodoo 4 and 5 was that the Macintosh versions of these cards had both VGA and DVI output jacks, whereas the PC versions had only the VGA connector. Also, the Mac versions of the Voodoo 4 and 5 had a vulnerability in that they did not support hardware-based MPEG2 decode acceleration, which hindered the playback of DVDs on a Mac equipped with a Voodoo graphics card.


title: 3dfx Interactive

text: The Voodoo 5 6000 never made it to market, due to a severe bug resulting in data corruption on the AGP bus on certain boards, and was limited to AGP 2x. It was thus incompatible with the new Pentium 4 motherboards. Only a few more than one thousand units of the graphics card were ever produced. Later tests proved that the Voodoo 5 6000 outperformed not only the GeForce 2 GTS and ATI Radeon 7200, but also the faster GeForce 2 Ultra and Radeon 7500. In some cases it was shown to compete well with the GeForce 3, trading performance places with the card on various tests. However, the prohibitively high production cost of the card, particularly the 4 chip setup, external power supply and 128 MB of VRAM (which would have made it the first consumer card with that amount of memory), would have likely hampered its competitiveness.


title: NoHo, Manhattan

text: NoHo, short for North of Houston Street (as contrasted with SoHo), is a primarily residential neighborhood in Lower Manhattan in the New York City borough of Manhattan. It is bounded by Mercer Street to the west and the Bowery to the east, and from East 9th Street in the north to East Houston Street in the south.


title: NoHo, Manhattan

text: The New York City Landmarks Preservation Commission has declared most of the 125-building area a historic district, divided into the NoHo Historic District and the NoHo East Historic District, created in 2003.


title: NoHo, Manhattan

text: In 1748, Jacob Sperry, a physician from Switzerland, created the city's first botanical garden near the current intersection of Lafayette Street and Astor Place. At the time, it was located about north of the developed portion of the city and served as a vacation stop for people from present-day downtown. By 1804, John Jacob Astor bought the site from Sperry and leased it to Joseph Delacroix. Delacroix built a country resort named Vauxhall Gardens on the site; the gardens had previously been located further downtown, in Tribeca.


title: NoHo, Manhattan

text: Because of rapid development on Bond, Bleecker, and Great Jones Streets, it was not affordable to build houses on these streets. These streets were among the city's most elite at the time, and contained such personalities as "aristocratic" mayor Philip Hone. Therefore, in 1826, after Delacroix's lease expired, Astor carved out an upper-class neighborhood from the site with Lafayette Street bisecting eastern gardens from western homes. The street was christened by the Marquis de Lafayette in July 1825.


title: NoHo, Manhattan

text: Wealthy New Yorkers, including Astor and other members of the family, built mansions along this central thoroughfare. Astor built the Astor Library in the eastern portion of the neighborhood as a donation to the city. Alexander Jackson Davis designed eye-catching row houses called LaGrange Terrace (now Colonnade Row) for speculative builder Seth Geer. Geer built the houses for the development in 1833. The area became a fashionable, upper-class residential district, and when Lafayette Street was opened in the 1820s, it quickly became one of the most fashionable streets in New York. This location made the Gardens accessible to the residents of nearby Broadway and the Bowery. The houses once contained such notable residents as the Astor family and the Vanderbilt family, in addition to authors Washington Irving, Charles Dickens, and William Makepeace Thackeray; U.S. President John Tyler was married in these houses.


title: NoHo, Manhattan

text: In the summer of 1838, the garden's owners opened a saloon for the staging of vaudeville comic operas. Later theatre managers expanded the offerings to appeal to a wider range of patrons. By 1850, the rowdier crowds of the Bowery had mostly scared off the upper classes, and fewer people came to the Vauxhall Gardens. The theater buildings were demolished in 1855, and the gardens closed for the last time in 1859.


title: NoHo, Manhattan

text: Even so, wealthy New Yorkers lived here through the end of the 19th century. Editor and poet William Cullen Bryant and inventor and entrepreneur Isaac Singer lived in the neighborhood in the 1880s. By the 20th century, however, warehouses and manufacturing firms moved in, the elite moved to places such as Murray Hill, and the area fell into disrepair. The neighborhood became mainly a manufacturing district by the 1880s, especially around the relatively wide Bond Street. Terra cotta and brick "loft" buildings were among the new buildings being constructed in this time, and construction of such buildings continued into the 1890s, in the Greek Revival architectural style in homage to the mansions that formerly occupied the area. The demolition of upper-class buildings continued, and by 1902, the southernmost five mansions on Colonnade Row were demolished for the Wanamaker's Department Store annex. Most of the mansions on Bond Street, though, lasted through the 1930s.


title: NoHo, Manhattan

text: Not all of NoHo was built for and by the rich and (now) famous. Two Federal architecture-style row houses on the easternmost block of Bleecker Street were once the home of the National Florence Crittenton Mission, providing a home for "fallen women". 21 Bleecker Street's entrance now bears the lettering "Florence Night Mission," described by the "New York Times" in 1883 as "a row of houses of the lowest character". The National Florence Crittenton Mission was an organization established in 1883 by philanthropist Charles N. Crittenton. It attempted to reform prostitutes and unwed pregnant women through the creation of establishments where they were to live and learn skills.


title: NoHo, Manhattan

text: That same block of Bleecker Street, between Lafayette and Bowery Streets in NoHo, is also home to both the Margaret Sanger Health Center, headquarters of Planned Parenthood, and the Catholic Sheen Center, immediately adjacent to it. Bleecker Street was the home of Sanger's original Birth Control Clinical Research Bureau, operated from another building from 1930 to 1973. Bleecker Street now features Margaret Sanger Square, at the intersection with Mott Street.


title: NoHo, Manhattan

text: After World War II, manufacturing companies moved out of New York City and to the suburbs. By the 1950s, these spaces were rented to artists and small theatre companies. The artists had to go through extensive litigation to live and work in these spaces. By 1960, there were more artist residents than businesses in these loft spaces. Among the famous artist residents at the time were Robert Mapplethorpe, who bought a loft in NoHo; Chuck Close, who lived next to him; and street artists Jean-Michel Basquiat and Andy Warhol. The neighborhood was revitalized beginning in the late 1960s and 1970s. As artists began to rent lofts in the neighborhood in the 1970s and 1980s, the name NoHo came into use to distinguish it from nearby SoHo. Previously, the area now comprising NoHo, SoHo, and eastern Tribeca was known as the warehouse district. The art movement of the 1970s and the preservation movements of the 1990s and 2000s also helped to revitalize the area.


title: NoHo, Manhattan

text: The area was declared an official city historic district by the New York City Landmarks Preservation Commission in 1999. From its designation report:


title: NoHo, Manhattan

text: The NoHo Historic District was expanded in 2008. Additionally, another district in the neighborhood, the NoHo East Historic District, was created in 2003. The designations followed considerable effort by and strong support from numerous local community and preservation groups, including the Greenwich Village Society for Historic Preservation and Historic Districts Council, and together, they form a contiguous area of landmarked buildings over 21 city blocks. The 2008 extension is bounded on the west by Lafayette Street, on the east by the Bowery, on the north by East Fourth Street and on the south by Bond Street. It includes 56 buildings and a mid-block parking lot to the south and east of the existing Noho Historic District. It does not include 30 Great Jones Street, a historic building that was partially demolished in early 2008.


title: NoHo, Manhattan

text: Most of the buildings in the extension were built between the 1860s and the early 1900s, when the area had become one of the city's major commercial and manufacturing districts. By the late 1800s, larger commercial lofts in the Greek Revival style became the dominant building type.


title: NoHo, Manhattan

text: The Merchant's House Museum, at 29 East Fourth Street, is an individual historic building located just outside the eastern boundary of the Historic District. It is also a National Historic Landmark and is listed on the National Register of Historic Places. Both the inside and outside of this 1832 house have been restored to the mid-19th century style in which merchant Seabury Tredwell and his family lived. Despite the fragility of the structure, in April 2014 the New York City Landmarks Preservation Commission approved construction of an eight-story hotel immediately next door. Preservationists including City Councilwoman Rosie Mendez, the Greenwich Village Society for Historic Preservation, the Historic Districts Council and the Museum itself fought the proposed hotel for years due to concern for the intact survival of the Merchant's House. The LPC approved it over the objections of engineers and architects.


title: NoHo, Manhattan

text: In the 2000s and 2010s, NoHo and its southern neighbor, SoHo, has experienced rapid gentrification. Since NoHo is primarily made up of loft apartments, this in turn makes it one of the most expensive and desirable neighborhoods in Manhattan. Its small size and central location also contributes to a high demand, again keeping prices high. In 2014, a one-bedroom loft could rent at an average monthly rate of US$4,000.


title: NoHo, Manhattan

text: Some individual landmarks in the NoHo Historic District include the Astor Library, the Bouwerie Lane Theater, the Bayard-Condict Building, the De Vinne Press Building. Two New York City Subway stations, Astor Place and Bleecker Street, are also landmarked. The only survivor of the 19th-century upper class era is half of the original Colonnade Row, which is also landmarked. The Gene Frankel Theater, established in 1949, is located in the landmarked 24 Bond Street building, built in 1893.


title: NoHo, Manhattan

text: The easternmost block of Bleecker Street houses the last remaining Federal architecture-style row houses, including two that were once the home of the Florence Night Mission, which provided a home for "fallen women". (21 Bleecker Street's entrance now bears the lettering in the flooring.) The block also houses the Planned Parenthood headquarters at the Margaret Sanger Square, adjacent to a Catholic event center.


title: Texas Longhorns

text: The Texas Longhorns are the athletic teams representing the University of Texas at Austin. The teams are sometimes referred to as the Horns and take their name from Longhorn cattle that were an important part of the development of Texas, and are now the official "large animal" of the U.S. state of Texas. Generally, both the men's and women's teams are referred to as the Longhorns, and the mascot is a Texas Longhorn steer named Bevo. The Longhorns have consistently been ranked as the biggest brand in collegiate athletics, in both department size and breadth of appeal.


title: Texas Longhorns

text: The University of Texas at Austin is the flagship institution of the University of Texas System. It offers a wide variety of varsity and intramural sports programs, and was selected as "America's Best Sports College" in a 2002 analysis by "Sports Illustrated". Texas was also listed as the number one Collegiate Licensing Company client from 2005 to 2013 in regards to the amount of annual trademark royalties received from the sales of its fan merchandise.


title: Texas Longhorns

text: Until Athletic Director Chris Del Conte altered the organizational structure of the athletic department in 2017, Texas was the only remaining NCAA Division I school to operate separate men's and women's athletic departments, after the other remaining holdout, the University of Tennessee, merged its men's and women's athletic departments at the end of the 2011–12 academic year.


title: Texas Longhorns

text: A charter member of the Southwest Conference until its dissolution in 1996, the Texas Longhorns now compete in the Big 12 Conference, as a member of the National Collegiate Athletic Association. The school's colors are officially Orange (Pantone 159) and White, with Burnt Orange — also known as Texas Orange – being the specific shade of orange used. The University of Texas Longhorn Band performs the alma mater as well as the university fight song ("Texas Fight") at various sporting events.


title: Texas Longhorns

text: Over the years, Longhorn sports teams have won 56 total national championships, 47 of which are NCAA National Championships. The University of Texas currently fields a varsity team in nine men's sports and eleven women's sports.


title: Texas Longhorns

text: In 1992, seven women athletes representing club-level rowing, soccer and gymnastics and intramural softball, organized by the rowing club coach, sued the university in U.S. District Court charging them with Title IX violations. At the time there were more men on the football team than there were varsity-level women athletes. In July 1993 Texas settled the lawsuit, agreeing to add women's rowing, soccer and softball; and agreeing to devote more than 44 percent of its varsity athletic roster spots and more than 42 percent of its athletic scholarship money to women. Women's soccer was added in 1993, softball in 1995 and rowing in 1997.


title: Texas Longhorns

text: Two Texas Longhorn running backs have won college football's most prestigious individual award, the Heisman Trophy: Earl Campbell (1977) and Ricky Williams (1998). Seventeen Longhorn players and two Longhorn coaches have been inducted into the College Football Hall of Fame, while four are enshrined in the Pro Football Hall of Fame. have also received recognition for their performance.


title: Texas Longhorns

text: In terms of total wins, Texas is the 2nd-ranked NCAA Division I FBS program in college football history with 891 wins, after passing Nebraska during the 2016 season. As of the end of the 2016 season, the Longhorns' all-time record is 891–359–33 (.709). Only the University of Michigan has won more games and a greater percentage of games played than Texas, which recorded its 800th victory with the Longhorns' 41–38 win over the USC Trojans in the 2006 BCS National Championship Game at the Rose Bowl. During the late 1980s and early 1990s, the program was somewhat less successful, but the Longhorns have since returned to prominence in college football, finishing in the top six of the AP and coaches' polls in 2001, 2002, 2004, 2005, 2008 and 2009.


title: Texas Longhorns

text: The University of Texas team plays home games in Darrell K Royal-Texas Memorial Stadium which has a seating capacity of 100,119. Renovations began on the stadium November 14, 2005, two days following the last home football game of the 2005 season. The improvements were completed before the 2008 football season, and included additional seating and the nation's first high definition video display in a collegiate facility nicknamed "Godzillatron." The University completed a $27 million expansion and renovation to the south end zone facilities in August 2009 which added 4,525 permanent bleacher seats and changed the playing surface to FieldTurf. With the new permanent bleacher seating section added behind the south end zone and the total remodeling of the north end zone completed in 2008, the stadium's official capacity now stands at 100,119. This was surpassed when 101,357 saw #3-ranked Texas beat Kansas 51–20 on November 21, 2009.


title: Texas Longhorns

text: The University of Texas began varsity intercollegiate competition in men's basketball in 1906. The Longhorns rank 18th in total victories among all NCAA Division I college basketball programs and 25th in all-time win percentage among programs with at least 60 years in Division I, with an all-time win–loss record of 1791–1088 (). Among Big 12 Conference men's basketball programs, Texas is second only to Kansas in both all-time wins and all-time win percentage.


title: Texas Longhorns

text: The Longhorns have won 27 total conference championships in men's basketball and have made 34 total appearances in the NCAA tournament (11th-most appearances all time, with a 35–37 overall record), reaching the NCAA Final Four three times (1943, 1947, 2003) and the NCAA regional finals (Elite Eight) seven times. As of the end of the 2017–18 season, Texas ranks sixth among all Division I men's basketball programs for total NCAA Tournament games won without having won the national championship (35), trailing Kansas State (37), Notre Dame (38), Purdue (39), Illinois (40), and Oklahoma (41). The Longhorns have also won 2 NIT championships, in 1978 and 2019.


title: Texas Longhorns

text: Texas's best season is arguably the 1932-33 season when the team went 22-1, won the Southwest Conference and was named unofficial National Champion by the Premo-Porretta Power Poll. Since the introduction of the AP poll, Texas's best season was 2002-2003 when it went 26-7, earned a #1 seed in the NCAA tournament, made it as far as the Final Four and finished the season ranked #3 in the AP poll.


title: Texas Longhorns

text: The 2005–06 season marked the 100th anniversary of basketball at the University of Texas. Special logos were placed on the uniforms to commemorate this anniversary.


title: Texas Longhorns

text: In 2007, the men's basketball team was ranked sixth by the Harris Poll for favorite men's college basketball teams, moving up one spot from the previous year.


title: Texas Longhorns

text: The women's basketball team has long been a national power, especially during the late 1980s (winning a national title in 1986) and through the 1990s. Both teams play home games in the Frank Erwin Special Events Center. The adjacent Denton A. Cooley Pavilion serves as the training and practice facility for both the men's and women's teams.


title: Texas Longhorns

text: The Texas Longhorns are the winningest team in college baseball history, both in terms of total wins and in terms of win percentage. Texas holds the records for most appearances in the College World Series (35) and most individual CWS games won. The Longhorns have won six NCAA baseball national championships (1949, 1950, 1975, 1983, 2002, and 2005) — second only to Southern California's total of 12 – and have appeared in the CWS Championship Game or Championship Series on six other occasions (1953, 1984, 1985, 1989, 2004, and 2009).


title: Texas Longhorns

text: Former Longhorns who have gone on to success in Major League Baseball include Roger Clemens, Bibb Falk, Ron Gardenhire, Calvin Schiraldi, Burt Hooton, Keith Moreland, Spike Owen, Greg Swindell, Huston Street, Omar Quintanilla, Taylor Teagarden, Sam LeCure and Drew Stubbs.


title: Texas Longhorns

text: From 1997 to 2016, the Longhorns were led by head coach Augie Garrido, the winningest coach in NCAA baseball history. The team plays its home games at Disch-Falk Field.


title: Texas Longhorns

text: The University of Texas Longhorn's softball team was founded in 1995 as part of its 1993 Title IX settlement. It is currently led by head coach Mike White and assistant coaches Kerry Shaw and Chelsea Spencer. Texas has made 20 total appearances in the NCAA Tournament in 23 seasons of varsity competition, reaching the Women's College World Series (WCWS) five times (1998, 2003, 2005, 2006, 2013) and finishing as high as 3rd on three occasions (2003, 2005 and 2013).


title: Texas Longhorns

text: The University of Texas has a strong golf tradition, dating back to their first season in 1927. Since then they have won national titles back-to-back in 1971 and 1972 and again in 2012, and finished runner-up six other times (1949, 1983, 1989, 1994, 2016, 2019). Individual national champions were Ed White (1935), Ben Crenshaw (1971, 1972, and 1973), Tom Kite (1972), and Justin Leonard (1994). Longhorns who have won the U.S. Amateur include Justin Leonard and David Gossett. Two-time U.S. Junior Amateur champion and three-time major winner Jordan Spieth played for the Longhorns golf team in 2011 and 2012. Besides Majors-winners Kite, Crenshaw, Leonard and Spieth, a number of other former Longhorn players have gone on to win on the PGA Tour, including: Phil Blackmar, Mark Brooks, Jhonattan Vegas, Bob Estes, Wes Ellis, Harrison Frazar, Cody Gribble, Rik Massengale, Wes Short Jr., and Brandel Chamblee. In addition, Longhorns Brandon Stone and Dylan Frittelli have each achieved multiple wins on the European Tour.


title: Texas Longhorns

text: Legendary golf instructor Harvey Penick was a long-time coach at Texas. The team is currently coached by John Fields.


title: Texas Longhorns

text: The women's golf team has been to the NCAA Championship 27 times, tied for 7th overall and finished as the runner-up, or tied for runner-up, twice, in 1993 and 2002. As of 2019, they have finished in the top 5 eight times, most recently in 2019 (t-5th) and 2003 (3rd). In 2019 Texas won its first NCAA Regional in school history and was the stroke play medalist at the NCAA Championship.


title: Texas Longhorns

text: Texas women have won three individual championships. In 1978 Deborah Petrizzi won the AIAW national intercollegiate individual golf championship; and Charlotta Sörenstam and Heather Bowie won in 1993 and 1997 respectively. Former players Betsy Rawls and Sherri Steinhauer went on to win 8 and 2 LPGA major championships respectively, with Rawls being inducted into the World Golf Hall of Fame.


title: Texas Longhorns

text: Tennis was played at The University of Texas as early as 1884, although it was not until 1909 that intercollegiate competition developed. Between that time and the advent of the Southwest Conference in 1915, Texas and Oklahoma annually held a meet for the championship of the Southwest. The first season of Texas Men's Tennis was in 1912. Since forming, the Men's Tennis team has won 17 Southwest Conference Championships, 5 Big 12 Championships and the 2019 NCAA Championship. Texas teams have reached the NCAA Championship semifinals five times (1993, 2006, 2008, 2009 and 2019) and prior to the formation of the tournament when the final standings were determined by a poll, the Longhorns finished fourth or better five times, including 1946 (4th), 1952 (tie 4th), 1955 (2nd), 1957 (3rd), and 1960 (tie 4th).


title: Texas Longhorns

text: In March 2019 tennis head coach Michael Center was arrested and charged with conspiracy to commit mail fraud as part of the 2019 college admissions bribery scandal.


title: Texas Longhorns

text: Despite losing their head coach to scandal just two months earlier, the Texas Men's Tennis team won its first ever NCAA tennis championship over Wake Forest in May 2019.


title: Texas Longhorns

text: The women's Longhorns tennis team began play in 1978, and since then has won 4 NCAA Championships (1993, 1995, 2021, 2022), 23 regular-season conference titles (three shared), 12 Big 12 tournaments and all 9 SWC tournament championships. They were also the NCAA runner-up in 1992 and 2005.


title: Texas Longhorns

text: The men's program is coached by Edrick Floréal. The Longhorns were runners-up in the outdoor championships in 1987, 1988, and 1997 but have never won a title. Other notable coaches of the Texas men's program have included Bubba Thornton, who also coached the 2008 US Olympic team, Stan Huntsman (1986–95), who also coached the 1988 US Olympic team, and Clyde Littlefield (Texas coach, 1920–60), the 1925 co-founder of the annual Texas Relays. The men won four consecutive Big 12 Indoor Championships between 2006 and 2009. The men have won 41 individual titles, 10th most of all schools.


title: Texas Longhorns

text: The Longhorn track and field programs have produced numerous Olympians for various nations. Male medalists include Ryan Crouser (United States, gold, shot put, 2016), Leonel Manzano (United States, silver, 1500 meters, 2012), Winthrop Graham (Jamaica, silver, 400m hurdles, 1992 and 4 × 400 m relay, 1988), Patrick Sang (Kenya, silver, 3000m steeplechase, 1992), Du'aine Ladejo (Great Britain, bronze, 4 × 400 m relay, 1992), Lam Jones (USA, gold, 4 × 100 m relay, 1976), Eddie Southern (USA, silver, 400m hurdles, 1956), and Dean Smith (sprinter) (USA, gold, 4 × 100 m relay, 1952).


title: Texas Longhorns

text: The women's program is coached by Edrick Floréal. Other notable coaches have included Beverly Kearney, who guided the Lady Longhorns to six NCAA Championships: Indoor Championships in 1998, 1999, and 2006, and Outdoor Championships in 1998, 1999, and 2005; and Terry Crawford, whose teams won Indoor Championships in 1986, 1988, and 1990, and Outdoor Championships in 1982 and 1986. Crawford's athletes also won the 1986 Women's Cross Country Championship. The program's first title was the 1982 AIAW outdoor track and field championship.


title: Texas Longhorns

text: The Longhorn track and field programs have produced numerous Olympians for various nations. Female Olympic medalists have included Michelle Carter (athlete) (USA, gold, shot put, 2016), Sanya Richards-Ross (2012: USA, gold, 400 meters and 4 x 400 meter relay; 2008, bronze, 400 meters and gold, 4 x 400 meter relay, 2008), Moushami Robinson (USA, gold, 4 × 400 meter relay, 2004), Sandie Richards (Jamaica, silver, 4 × 400 m relay, 2000 and 2004), Merlene Frazer (Jamaica, silver, 4 × 100 m relay, 2000), Nanceen Perry (USA, bronze, 4 × 100 m relay, 2000), Carlette Guidry (USA, gold, 4 × 100 m relay, 1992 and 1996), Juliet Cuthbert (Jamaica, silver, 100m and 200m, 1992 and bronze, 4 × 100 m relay, 1996), and Nikole Mitchell (Jamaica, bronze, 4 × 100 m relay, 1996).


title: Texas Longhorns

text: Courtney Okolo became the first Longhorn to win The Bowerman, an award that honors collegiate track & field's most outstanding athlete of the year. In 2016, she became the first female collegian to run sub-50 seconds in the 400 meters, in turn lowering her own collegiate record to 49.71. Her senior season also included an undefeated record against collegians and four NCAA titles (two individual, two relay).


title: Texas Longhorns

text: The men's cross country team has 33 Southwest Conference championships and has placed as high as 3rd in the NCAA Men's Division I Cross Country Championship.


title: Texas Longhorns

text: The women's cross country team has 4 Southwest Conference championships and won the 1986 NCAA Cross Country Championship.


title: Texas Longhorns

text: Texas won the 1988, 2012 and 2022 NCAA National Championships, with runner-up finishes in 1995, 2009, 2015, 2016 and 2020. They also won an AIAW national championship in 1981. The team is currently coached by Jerritt Elliott and plays home games in Gregory Gymnasium.


title: Texas Longhorns

text: Texas won the Big 12 Conference in 1997, 2007, 2008, 2009, 2011, 2012, 2013, 2014, 2015, 2017, 2018, 2019, 2020, 2021 and 2022. They finished 2nd in 1996, 1998, 2004, 2005, 2010, and 2016. They finished 3rd in 1999 and 2006. They have qualified for every NCAA tournament since 2004 and advanced to at least the Regional Finals since 2006.


title: Texas Longhorns

text: Texas volleyball has produced many All-Americans, and in 2007, they won the program's first Big 12 title since 1997, sharing the title with Nebraska. Texas broke Nebraska's three-year streak of winning the title outright. They also earned the programs first AVCA National Freshman of the Year since 1995 in 2007, for Big 12 Freshman of the Year Juliann Faucette, and Logan Eggleston won the program's first ever AVCA National Player of the Year award in 2022.


title: Texas Longhorns

text: Texas has won fifteen national titles in men's swimming and diving (1981, 1988–1991, 1996, 2000–2002, 2010, 2015–18, 2021) and nine in women's swimming and diving (1981–82, 1984–88, 1990–91), making swimming and diving the most successful Texas athletics program by far, based on number of national titles. The women's swimming team is currently coached by Carol Capitani, and the men's and women's diving teams are coached by Matt Scoggin. The men's swimming team was formerly coached by Eddie Reese from 1978 to 2021, retiring after 43 years as the Texas men's head coach. Reese has coached numerous former and current world record holders while at Texas, including many competing in the Summer Olympic Games for the United States and other home nations. The swim team was first developed under Coach Tex Robertson.


title: Texas Longhorns

text: The women's rowing team was established in the fall of 1998 as the result of the 1993 Title IX settlement. At the team's first appearance at the NCAA championships in 2003, its varsity 8 placed 12th nationally. The team won the inaugural Big 12 Championship in 2009 and kept the championship title for the following three years. Additionally, the Texas women's rowing team won the 2011 Conference USA Championship. In June 2014, Dave O'Neill was appointed head coach of the program. Under his coaching, the women's rowing team placed fourth in the 2017 NCAA Championship, third in 2018, second in 2019, and first in 2021, marking the program's best four finishes.


title: Texas Longhorns

text: The Texas women's soccer program was established in 1993 as part of that year's Title IX settlement. Since then they have won 3 conference championships - one regular season and two tournaments — and been to 13 NCAA tournaments, making it as far as the Sweet Sixteen in 2004, 2006, 2007 and 2017. In 2006 the Longhorns finished ranked #8 in the nation, their highest end-of-season ranking ever.


title: Texas Longhorns

text: Founded in 1985, the Texas Longhorns rugby team plays in the Allied Rugby Conference, and plays its postseason in the Varsity Cup Championship. The Longhorns rugby program has been improving in recent years. Texas rugby has instituted a combine to identify the most elite athletes on campus with an eye towards recruiting them to play rugby. The increasing popularity of rugby in the United States and the announcement that rugby would return to the Summer Olympics led Texas to upgrade the designation of its rugby program from club to Olympic. The Texas Rugby Alumni association and the Texas Exes have begun an endowment to award scholarships to Texas rugby players, which is viewed as a vital recruitment tool.


title: Texas Longhorns

text: The Longhorns' improvement led to Texas winning the Southwest Conference in the 2011–12 season to qualify for the sweet sixteen of the 2012 national championship playoffs. Texas won the 2012 Southwest 7s tournament to qualify for the 2012 USA Rugby Sevens Collegiate National Championships.


title: Texas Longhorns

text: The Longhorns rugby program has been boosted by its participation in the Collegiate Rugby Championship, the highest profile college rugby competition in the US, which is broadcast live on NBC. In the 2011 CRC, Texas defeated Big 12 rival Oklahoma to reach the quarterfinals. Following Texas's participation in the 2011 CRC, Texas "raised an additional $10,000 from alumni, landed a new apparel sponsor, and have been contacted by 90 students (including two DBs from the football team) who want to play rugby." In the 2012 CRC, Texas defeated its rival Oklahoma to again reach the quarterfinals of the tournament.


title: Texas Longhorns

text: The Longhorns rugby program reached a new all-time high during the 2013–2014 season. Texas won the 2013 Southwest Conference 7s Championship advancing them to the 2013 USA Rugby Sevens Collegiate National Championships, where they finished ranked #12 in the nation. Months later Texas won the 2014 Southwest Conference 15s Championship, making them the first team in the conference to win both the 7s and 15s championships in the same season. The Longhorns finished the season with their first participation in The Varsity Cup Championship, where they finished in the top 8.


title: Texas Longhorns

text: † Denotes an AIAW Championship. The University of Texas began NCAA and Southwest Conference competition in women's sports for the 1982–83 season.


title: Texas Longhorns

text: The university's biggest rival is Texas A&M University. However, in football, Texas considers the Oklahoma Sooners to be a more significant rival. According to Bill Little, the Longhorns' assistant athletic director, the rivalry against A&M is "based on respect", while the rivalry against Oklahoma is "based on anger". Other teams have also been considered to be rivals of the Longhorns in various sports. This list includes several other colleges in Texas, such as Texas Christian, Baylor, Rice, Texas Tech, and Houston.


title: Texas Longhorns

text: Texas is also one of the biggest rivals of the University of Arkansas, which may be attributed to their long tenure as the two eponymous state schools of the former Southwest Conference, or to the 1969 game between the two, which decided the national championship in favor of the Longhorns.


title: Texas Longhorns

text: Texas has a long-standing, bitter rivalry with the University of Oklahoma. The football game between the University of Texas and Oklahoma is commonly known as the "Red River Shootout" and is held annually in Dallas, Texas, at the Cotton Bowl. This name has come to refer to the two schools' contests in other major team sports as well. Since 2005, the football game has received sponsorship dollars in return for being referred to as the "SBC Red River Rivalry" (changed to AT&T Red River Rivalry in 2006 when SBC changed its corporate name to AT&T), a move which has been criticized both for its commercialism and its political correctness.


title: Texas Longhorns

text: In recent years, this rivalry has taken on added significance, since both football programs have been highly ranked and compete in the same division of the Big 12 conference. In 2005, "The Dallas Morning News" did an opinion poll of the 119 Division 1A football coaches as to the nations top rivalry game in college football. The Texas–Oklahoma game was ranked third.


title: Texas Longhorns

text: The annual football game with Texas A&M usually took place on the weekend of Thanksgiving each year, though it was moved to the first weekend in December in 1994 due to A&M's TV restriction during probation. In either case, the Texas-Texas A&M game was the last regular-season contest for each team. The Longhorns lead the series, 76–37–5.


title: Texas Longhorns

text: In an attempt to generate more attention for the rivalry in sports other than football, in 2004 the two schools started the Lone Star Showdown, which began as a two-year trial program and has continued ever since. Essentially, each time the two schools meet in a sport, the winner of the matchup gets a point. In sports wherein the teams meet twice one half point is awarded for a victory. If more contests than two occur, such as in baseball, the series winner gets one point. At the end of the year, the school with the most points wins the series and receives a trophy. In the event of a tie the current holder retains the trophy as did A&M after the '08–'09 season. Texas leads the series 6–2.


title: Texas Longhorns

text: With Texas A&M's move to the Southeastern Conference, the Lone Star Showdown's final game was played on November 24, 2011, at Kyle Field. The Longhorns won, 27–25, on a last-second field goal. The 2011 game marked the end of a 118-year Thanksgiving Day tradition. With the Longhorns set to join the Southeastern Conference no later than 2025, the rivalry will resume as a conference game.


title: Texas Longhorns

text: The Longhorns and Red Raiders football teams compete annually for a traveling trophy called the Chancellor's Spurs. The exchange began in 1996, and the Longhorns lead the football series, 48–15.


title: Texas Longhorns

text: A long-standing more historic rivalry with the Rice Owls that has been largely dominated by Texas since their days in the Southwest Conference is still played almost annually, with Texas winning the latest matchup (2019 contest) 48–13. The Rice Owls last victory in the rivalry came in 1994 when they beat Texas, 19–17, at Rice Stadium on ESPN and the Owls went on to win the Southwest Conference that year.


title: Texas Longhorns

text: The University of Texas many traditions which associated with athletics events, especially football. Some Longhorn traditions include:


title: Texas Longhorns

text: For nine straight years (2005–2013), Texas was listed as the number one Collegiate Licensing Company client in regards to the amount of annual trademark royalties received from the sales of its fan merchandise. Schools that are not members of Collegiate Licensing Company however are not ranked in the listing. Money from merchandising sales goes to the university, as opposed to being earmarked specifically for athletics programs.


title: Texas Longhorns

text: On January 20, 2011, the UT athletic department announced plans to launch a 24-hour channel devoted entirely to UT sports and academic activities at the University of Texas. This channel, a joint venture with ESPN, takes advantage of a clause in new Big 12 Conference television contracts allowing Texas a bigger share of revenues than the conference's other members; in turn, it was part of the agreement to keep the conference together amidst a full-scale plan by the Pac-10 Conference to raid Big 12 members. (The Pac-10 only gained one Big 12 school, Colorado). Both sides hoped to launch the channel for the 2011–2012 academic year, but needed carriage commitments first.


title: Texas Longhorns

text: Banners with the name "ESPN Texas" were visible during segments of SportsCenter and other programs originating from Sundance Square in Fort Worth, Texas in the week prior to Super Bowl XLV. The channel was launched in August 2011 as the Longhorn Network.


title: Texas Longhorns

text: Before its launch, the network had controversial plans to air high school football games, an institution throughout the state of Texas. Currently, the state's governing body for public high school sports, the University Interscholastic League, prohibits live game telecasts on Friday nights. It had also been speculated that any telecast on the new channel, regardless of when it aired, could violate NCAA rules against unfair recruiting inducements. This was especially an issue for Texas A&M; in fact, the plans for the network to air high school games directly led to A&M's decision in July 2011 to leave the Big 12 for the SEC. The Big 12 then approved a temporary rule in August 2011 banning the planned high school telecasts, and within two weeks, the NCAA ruled that no school or conference network could broadcast high school games, ending that particular controversy.


title: Texas Longhorns

text: The University of Texas is known to have a big group of powerful boosters that help support a third of the budget of the athletics department. The main people known to be involved are:


title: R. Kelly discography

text: American R&B singer-songwriter R. Kelly has released 18 studio albums, five compilation albums, one soundtrack album, six video albums, one mixtape, two extended play, and 129 singles (including 47 as a featured artist and 10 promotional singles).


title: Down on the Upside

text: Down on the Upside is the fifth studio album by the American rock band Soundgarden, released on May 21, 1996, through A&M Records. Following a worldwide tour in support of its previous album, "Superunknown" (1994), Soundgarden commenced work on a new album. Self-produced by the band, the music on the album was notably less heavy and dark than the group's preceding albums and featured the band experimenting with new sounds.


title: Down on the Upside

text: The album topped the New Zealand and Australian charts and debuted at number two on the United States' "Billboard" 200, selling 200,000 copies in its opening week and spawning the singles "Pretty Noose", "Burden in My Hand", "Blow Up the Outside World", and "Ty Cobb". The band took a slot on the 1996 Lollapalooza tour and, afterward, supported the album with a worldwide tour.


title: Down on the Upside

text: "Down on the Upside" was Soundgarden's last studio album until 2012's "King Animal", as tensions within the band led to its break-up in April 1997. The album has sold 1.6 million copies in the United States.


title: Down on the Upside

text: Recording sessions for the album took place between November 1995 and February 1996 at Studio Litho and Bad Animals Studios in Seattle, Washington. Studio Litho is owned by Pearl Jam guitarist Stone Gossard. The members of Soundgarden produced the album themselves. On the choice of not working with a producer, frontman Chris Cornell said that "a fifth guy is too many cooks and convolutes everything. It has to go down too many mental roads, which dilutes it." Drummer Matt Cameron added that, while working with Michael Beinhorn on "Superunknown" had good results, it was "a little more of a struggle than it needed to be", and self-production would make the process go faster. Adam Kasper, who previously had worked with Soundgarden as an assistant engineer on "Superunknown", worked with the band as a production collaborator and mixed the album.


title: Down on the Upside

text: Work on the album began in July 1995. The band took a break to perform at festivals in Europe, where new material was road-tested. Afterward, the band did more songwriting for about a month and then recorded most of the album at Studio Litho. The overall approach to songwriting was less collaborative than with past efforts, with the individual band members having brought in most of the songs more completely written. The band sought to try things it had not done before and to use a greater variety of material. They tried to create a live atmosphere for the album, and looked to leave in sounds that producers would normally try to clean up, such as feedback and out-of-tune guitar parts. The overall time spent working on the album was less than what the band had spent working on "Superunknown". Cornell described the album-making process as "way faster and way easier".


title: Down on the Upside

text: Most of the material was written by Cornell and bassist Ben Shepherd, the latter having already worked on six of the sixteen album tracks. Reportedly, tensions within the group arose during the recording sessions, with guitarist Kim Thayil and Cornell allegedly clashing over Cornell's desire to shift away from the heavy guitar riffing that had become the band's trademark. Thayil's only contribution to the album was the song "Never the Machine Forever", for which he wrote both the lyrics and the music, and which was also the last song the band recorded. The song initially came out of a jam session Thayil had with Seattle musician Greg Gilmore. In the liner notes, Thayil credits Gilmore for inspiring the song. He stated that he had a lot of incomplete music ideas that were missing lyrics and were not arranged, so they did not make the album. Thayil said: "It can be a little bit discouraging if there isn't satisfactory creative input, but on the other hand, I write all the solo bits and don't really have limitations on the parts I come up with for guitar." Cornell said: "By the time we were finished, it felt like it had been kind of hard, like it was a long, hard haul. But there was stuff we were discovering."


title: Down on the Upside

text: The album's songs placed emphasis on vocals and melody over the heavy guitar riffs that were found on the band's earlier LPs. It also features a rawer sound than Soundgarden's previous album "Superunknown", as the band members produced the record themselves. Cornell summed up the changes by saying: "What we've lost in sonic precision we've gained so much in terms of feeling." Stephen Thomas Erlewine of AllMusic said Soundgarden "retained their ambitious song structures, neo-psychedelic guitar textures, and winding melodies but haven't dressed them up with detailed production." The songs vary in tempo throughout the course of the album, with Thayil describing the album as having a "dual nature". He stated, "It keeps listeners on their toes and lets them know they're not getting the same album over and over." Shepherd called the album "the most accurate picture of what Soundgarden actually sounds like", stating: "It's way more raw. It's way more honest. It's way more 'responsible.'"


title: Down on the Upside

text: The band stated at the time that it wanted to experiment with other sounds, which included Shepherd and Cornell playing mandolin and mandola in the song "Ty Cobb". This experimentation can be heard to a lesser degree on "Superunknown". Soundgarden used alternative tunings and odd time signatures on several of the album's songs. For example, "Never the Machine Forever" uses a time signature of 9/8. "Pretty Noose" and "Burden in My Hand" were written in C-G-C-G-G-E tuning.


title: Down on the Upside

text: The overall mood of the album's lyrics is not as dark as on previous Soundgarden albums. Cornell even admitted "Dusty" was "pretty positive for a Soundgarden song", describing it as an opposite to the previous album's "Fell On Black Days". According to Cornell, "Pretty Noose" is about "an attractively packaged bad idea", and "Ty Cobb" is about a "hardcore pissed-off idiot". Cornell said the songs "Never Named" and "Boot Camp" are based on his childhood. Thayil said the lyrics for "Never the Machine Forever" are about "a life-and-death match between an individual and a less specifically defined entity". Cornell referred to "Overfloater" as "self-affirming".


title: Down on the Upside

text: The album's cover art, photographed by Kevin Westenberg, features the members of the band in silhouette. Reportedly, at one point the photo of caterpillars eating a tomato that was used for the "Blow Up the Outside World" single was considered for use as the cover of "Down on the Upside". The album was also released in a limited edition with the "Into the Upside" interview disc.


title: Down on the Upside

text: The title "Down on the Upside" comes from a line in the song "Dusty". The lyric is "I think it's turning back on me/I'm down on the upside". Cornell said the title represents the different feels on the album. In an interview, he explained how the name was chosen:


title: Down on the Upside

text: "I brought it up at some point because the song that the title came from was 'Dusty', but my title for it was 'Down on the Upside', but Ben wrote the music and he called it 'Dusty'. So since we don't really like having song titles being the title of the record, 'cause it brings this weird, undue focus to the song, I thought it would be cool to call it "Down on the Upside". We started thinking about all these other titles, and worrying about them describing the whole record without excluding anything ... So it was the last minute and we were at a photo shoot for "Spin" and someone called and said, 'We need your title now so we can start doing the record package,' so Matt [Cameron] brought up the title again, and everyone went, 'yeah, that's it.'"


title: Down on the Upside

text: In an interview given by the band, Cameron and Shepherd jokingly said that two other titles considered for the album were "Mr. Bunchy Pants" and "Comin' At Ya!"


title: Down on the Upside

text: "Down on the Upside" had a 10,000-copy limited edition vinyl release on May 14, 1996, one week prior to its main release on CD and cassette. It debuted at number two on the "Billboard" 200 album chart with 175,500 units sold, behind only "The Score" by the Fugees. The album has gone on to sell 1.6 million copies in the United States, and has been certified Platinum by the RIAA.


title: Down on the Upside

text: Ivan Kreilkamp of "Spin" gave the album an eight out of ten, saying the album is "as sprawling and generous-spirited as "Superunknown", but ... is a looser and live-er-sounding affair, not seeking the same level of aural precision". "Alternative Press" gave the album a three out of five, saying Soundgarden are "now fully capable of penning some damned spiffy pop songs", and adding that "they sound more human here, like they're playing in your living room". "Rolling Stone" staff writer David Fricke gave "Down on the Upside" three out of five stars, observing that the album has "some quality frenzy", but criticizing it for "lack[ing] defining episodes of catharsis", and saying: "Soundgarden seem to be digging in their heels rather than kicking up dirt, relying too much on drone-y impressionism and clever (as opposed to cleaving) guitar motifs." Neil Strauss of "The New York Times" called the album the "rawer, looser follow-up to "Superunknown"", adding: "Generally, identifying with animals in song lyrics is a sign of low self-esteem, and Soundgarden is no exception. For all the virility and macho power that rock singers have tried to wring from the [snake], Soundgarden remains more interested in the fact that it is the only animal cursed to spend its days slithering on the ground."


title: Down on the Upside

text: David Browne of "Entertainment Weekly" gave the album a B+, saying: "Few bands since Led Zeppelin have so crisply mixed instruments both acoustic and electric." He praised several songs as being "as powerful as anything the band has done", but criticized the album's production, saying that, "like many self-produced efforts, it shows." He added: "With arrangements that crest and fall to the point where a road map would have helped, the overlong (16-song) album is often unwieldy and could have benefited from judicious trimming." AllMusic staff writer Stephen Thomas Erlewine gave the album three out of five stars, saying that "it might seem like nothing more than heavy metal, but a closer listen reveals that Soundgarden haven't tempered their ambitions at all." The reviewer for "Melody Maker" said that "their roots don't matter now. All I care for now is the immediacy of their pop moments." Critic Robert Christgau gave the album an honorable mention of one star, describing it as "brutal depression simplified" and highlighted by the songs "Ty Cobb" and "Applebite", while Jason Josephes from "Pitchfork" called it a "double shot of grunge, no foam but plenty of caffeine." A negative review came from Johnny Cigarettes of "NME", who gave the album 3/10 and said: "Throughout this record the mood of dark, demon-wrestling introspection continually rings hollow ... the lack of gut-level resonance [Soundgarden] create reveals all this as mere dark stylistics, the modern equivalent of a scary monster on an Iron Maiden T-shirt."


title: Down on the Upside

text: The album included the singles "Pretty Noose", "Burden in My Hand", and "Blow Up the Outside World", all of which had accompanying music videos. All three singles placed on the Mainstream Rock and Modern Rock charts. The album's other commercially released single, "Ty Cobb", did not chart, however its acommpanying B-side, "Rhinosaur", also from the album, did chart. "Burden in My Hand" was the most successful song from "Down on the Upside" on the rock charts, spending a total of five weeks at number one on the Mainstream Rock charts and reaching number two on the Modern Rock charts. At the 1997 Grammy Awards, "Pretty Noose" received a nomination for Best Hard Rock Performance.


title: Down on the Upside

text: The band took a slot on the 1996 Lollapalooza tour with Metallica, who had insisted on Soundgarden's appearance on the tour. Thayil said the band wasn't interested in doing the tour until it became a "Metallica tour". During the Lollapalooza tour, the band members reportedly took separate flights and then met at the gigs.


title: Down on the Upside

text: After Lollapalooza, the band embarked on a worldwide tour, supported by Moby. Tensions continued to increase and, when asked if the band hated touring, Cornell said: "We really enjoy it to a point and then it gets tedious, because it becomes repetitious. You feel like fans have paid their money and they expect you to come out and play them your songs like the first time you ever played them. That's the point where we hate touring." The band was criticized for its lack of energy while performing. Cornell said that "after a number of years, you start to feel like you're acting. All those people who criticize us for not jumping around should shut the fuck up, and when they come to our shows they should jump around and entertain us for a while." Thayil had an issue with how the band's audience had changed, stating that "nowadays, you also have the kids and the housewives, the casual fans. With your casual fans, you say, 'Thanks for the money.' And they say, 'Thanks for the song.'" The band's concerts in December 1996 were postponed for a week due to Cornell's throat problems.


title: Down on the Upside

text: At the final stop of the tour, in Honolulu, Hawaii, on February 9, 1997, Shepherd threw his bass into the air in frustration after suffering equipment failure, and subsequently stormed off the stage. The band retreated, and Cornell returned alone to conclude the show with a solo encore. On April 9, 1997, the band announced its disbanding. Thayil said, "It was pretty obvious from everybody's general attitude over the course of the previous half year that there was some dissatisfaction." Cameron later said that Soundgarden was "eaten up by the business".


title: Down on the Upside

text: Various versions of the "Burden in My Hand" single featured two B-sides from the "Down on the Upside" recording sessions that were not included on the album: "Karaoke" and "Bleed Together". "Bleed Together" was included on the band's 1997 greatest hits compilation, "A-Sides", and was released as a promo CD single in 1997. Thayil said the song was not included on "Down on the Upside" because the band was not pleased with the mixing that was done on the song and the band already had enough songs for the album.


title: Down on the Upside

text: Another song that was written and recorded for the album is "Kristi", which Cameron has said is one of his favorite Soundgarden songs. "Kristi" was finally mixed in 2014 and included on the compilation "", along with both "Karaoke" and "Bleed Together".


title: Georges Sorel

text: Georges Eugène Sorel (; ; 2 November 1847 – 29 August 1922) was a French social thinker, political theorist, historian, and later journalist. He has inspired theories and movements grouped under the name of Sorelianism. His social and political philosophy owed much to his reading of Proudhon, Karl Marx, Giambattista Vico, Henri Bergson (whose lectures at the Collège de France he attended), and later William James. His notion of the power of myth in collective agency inspired socialists, anarchists, Marxists, and fascists. Together with his defense of violence, the power of myth is the contribution for which he is most often remembered.


title: Georges Sorel

text: Politically he evolved from his early liberal-conservative positions towards Marxism, social-democracy, and eventually syndicalism. Between 1909 and 1910 he was marginally involved with Charles Maurras' Action Française, and between 1911 and 1913 he wrote for the politically transversal "L'Indépendance", established together with Édouard Berth – one of Sorel's main disciples – and Georges Valois, closer to Maurrassian circles. After a long silence during the war, Sorel came out in favour of Lenin and moved towards Bolshevist positions until his death in 1922.


title: Georges Sorel

text: His legacy in the interwar period embraced both ends of the political spectrum, as many former syndicalists welcomed the emerging fascism. According to historian Zeev Sternhell, Sorel's revision of Marxism broke the necessity of the link between revolution and working class, opening up the possibility of replacing the proletariat with the national community.


title: Georges Sorel

text: Born in Cherbourg as the son of a businessman, he moved to Paris in 1864 to attend the Collège Rollin, before entering the École Polytechnique a year later. In 1869 he became chief engineer with the Department of Public Works. Stationed in Corsica until June 1871, he was subsequently posted to various places in southern France - Albi, Gap, and Draguignan. Between 1876 and 1879 he was in Mostaganem, in colonial Algeria, before moving to Perpignan, where he spent the last years of his career until his retirement in 1892. In 1891, he was awarded the Légion d'honneur. Immediately after retiring, he moved with his partner Marie David to Boulogne-sur-Seine, near Paris, where he stayed until his death in 1922.


title: Georges Sorel

text: Beginning in the second half of the 1880s, he published articles in various fields (hydrology, architecture, philosophy of science, psychophysics, political history, and philosophy) displaying the influence of Aristotle, as well as those of Hippolyte Taine and Ernest Renan. In 1893, he publicly announced his position as a Marxist and a socialist. He moved to working on some of France's first Marxist journals ( "L’Ère nouvelle" and "Le Devenir Social)" and to participating, on the revisionist side, in the debate launched by Eduard Bernstein. A supporter of Alfred Dreyfus during the "affaire," Sorel later was disappointed, much like his friend Charles Péguy, by the political consequences of the trial.


title: Georges Sorel

text: In the beginning of the 20th century he began arguing for the incompatibility between socialism and parliamentary democracy, moving towards syndicalist positions. Through his writings in Enrico Leone's "Il Divenire sociale" and Hubert Lagardelle's "Mouvement socialiste", he contributed around 1905 to the theoretical elaboration of revolutionary syndicalism. In 1905, his most famous text, "Reflections on Violence", began appearing in the "Divenire Sociale". It was published in book form in 1908 by "Pages Libres", and was followed the same year by "Illusions du Progrès".


title: Georges Sorel

text: In the wake of the of the syndicalist wing of the Confédération Générale du Travail (CGT), Sorel became close for a period in 1909–1910 with Charles Maurras’ Action française, while sharing neither its nationalism nor its political program. This collaboration inspired the founders of the Cercle Proudhon, which brought together revolutionary syndicalists and monarchists. Sorel himself, with Jean Variot, founded a journal in 1911 called "L'Indépendance", although disagreements, in part over nationalism, soon ended the project.


title: Georges Sorel

text: Ferociously opposed to the 1914 Union sacrée political truce, Sorel denounced the war and in 1917 praised the Russian Revolution. He wrote for an official Soviet Union publication, Russian Soviet Government Bureau, calling Lenin "the greatest theoretician of socialism since Marx and a statesman whose genius recalls that of Peter the Great." He wrote numerous small pieces for Italian newspapers defending the Bolsheviks. Whereas Sorel's support for Bolshevism is a matter of abundant public record, his much-talked-about interest in the newborn fascist movement is only confirmed by nationalist sources from the interwar period. According to the Maurrassian intellectual Jean Variot, in March 1921 Sorel confided to him that "Mussolini is a man no less extraordinary than Lenin. He, too, is a political genius, of a greater reach than all the statesmen of the day, with the only exception of Lenin…" Some judgments expressed in Sorel's correspondences actually seem to contradict the belief that he was politically sympathetic with fascism. Most notably he wrote to the liberal journalist Mario Missiroli in June 1921, “Things in Italy seem to me to be going very badly [...] The disorder of the fascists, who suppress the state of which [Giolitti] claims to be the intransigent defender, could well bring Italy back to the times of the Middle Ages. It does not seem that the Fascists are more balanced than the Futurists."


title: Georges Sorel

text: Though Sorel engaged with Marxism for virtually every one of his years as an active intellectual, his belonging to the Marxist tradition is contested. Often associated with an heroic, apocalyptic, and ultimately aesthetic Marxism, Sorel is by some thought more as a thinker of decadence. Nonetheless, analysis of his engagement with Marx show him to be preoccupied more with the epistemological subtleties of historical materialism than with an impending moral collapse. Absorbing the twin influences of Henri Bergson and Italian idealists, Sorel elaborated a Marxism rejecting economic and historical determinism, and seeing itself not as social science but as an historically-situated ideology.


title: Georges Sorel

text: Though Sorel had been a moderate conservative before turning to Marxism in the 1890s, his interest in the doctrine was dictated by scientific more than by political motivations. In a context in which Marx's work remained relatively unknown and obscure, Sorel sought to develop the theory in order to prove that, as he wrote to Benedetto Croce in 1895, "socialism is worthy of belonging to the modern scientific movement". This involved rejecting the standard French objections to Marxism: historical and economic determinism.


title: Georges Sorel

text: Through readings of Giambattista Vico and exchanges with Antonio Labriola and Benedetto Croce, Sorel came to an understanding of Marxism as a theory of class agency embedded in institutions. Given the essential creativity of the collective agency at the heart of historical development, it followed that Marxism was unable to formulate predictions based on supposed laws of historical development: "History," wrote Sorel in 1897, "is entirely in the past; there is no way of transforming it into a logical combination allowing us to predict the future." Moreover, the unfolding of this collective creative agency could not be entirely deduced by the material conditions in which it took place, but had to take into account legal, ideological, and cultural factors. As he wrote in 1898:Nor do I believe that it is in conformity with a Marxist spirit to decompose facts into various elements: economic ones first, subsequently juridical and political ones. ... It is in the form that the distinction can be established, but only for our intellectual necessities; in history, as well as in reason, we have unity; but in order to carry on a scientific study, it is necessary to establish classifications.


title: Georges Sorel

text: These theoretical preferences yielded a mildly voluntaristic Marxism. While rejecting, first on scientific and later on political grounds, the inevitability of capitalist collapse, and arguing against the possibility of laws of history in virtue of his agency-based view of social development, he nonetheless tendentially rejected insurrectionary politics. He insisted, instead, on the institutional development of the proletariat, on the capacity of unions to become not only sites of resistance to capital, but more importantly spaces in which new, post-capitalist social relations could emerge. To reduce unions to being mere associations of resistance means opposing a formidable barrier to the development of the proletariat; it means putting it at the mercy of the influence of bourgeois demagogues; it means preventing it from elaborating the principles of a new right in line with its way of life; it is, in one word, to deny to the proletariat the possibility of becoming a class for itself.While until 1900 he had believed that this path of institutional development was best served through political engagement in parliamentary democracy, his ideas changed in the beginning of the century. Partly in reaction to the republican triumph in the 1902 French elections, and partly in virtue of new analyses on the emergence of welfare capitalism, he now believed that prolonged involvement in bourgeois parliamentarism would spell the death of the revolutionary working class. He thus elaborated a change of strategy, linked to the new circumstances. Since class is not produced by the evolution of capitalist economy, then a sustained practice of highly ideologically-charged social conflict—the grève prolétarienne—can maybe restore the conditions ideal for a revolutionary working class to thrive. As he explained in the "Reflections on Violence":Marx supposed that the bourgeoisie had no need to be incited to employ force; but we are faced with a new and very unforeseen fact: a bourgeoisie which seeks to weaken its own strength. Must we believe that the Marxist conception is dead? By no means, because proletarian violence comes upon the scene at the very moment when the conception of social peace claims to moderate disputes; proletarian violence confines employers to their role as producers and tends to restore the class structure just when they seemed on the point of intermingling in the democratic morass.


title: Georges Sorel

text: Generally seen as a representative of "fin de siècle" irrationalism, Sorel's epistemological thinking is more accurately characterized as anti-positivist and increasingly moving towards a proto-pragmatist position.


title: Georges Sorel

text: Though always extremely critical of mechanistic explanations and conflicted over the implications of deterministic approaches, Sorel, until the mid-1890s, was a scientific realist. As such, he argued against a conventionalist reading of the implications of non-Euclidean geometries, suggesting that geometry is an empirical and cumulative science. His early epistemological thought can be seen as an attempt to balance this scientific realism with the doubts over determinism and the desire to vindicate human agency. This act of balancing was achieved in his 1894 "Ancienne et Nouvelle Métaphysique". In this text, Sorel established a dualism between a deterministic natural milieu and an essentially free artificial milieu. Science belongs to the latter, and its history testifies it: all the numerous conceptual and material tools developed by scientists to enquire upon nature, all the changes that occurred in the history of science demonstrate the human creativity and historical situatedness which lie at the heart of science. Drawing upon Henri Bergson's Time and Free Will, he elaborated a theory of human freedom not as exemption from natural determinism but as creative capacity: "We are free in the sense that we can construct tools that have no model in the cosmic environment; we do not alter the laws of nature, but we are capable of creating sequences whose ordering is our decision"


title: Georges Sorel

text: At the same time, however, experimental practice provided to science an anchoring into the deterministic cosmic milieu, and hence could safeguard scientific realism. Experiments for Sorel do not correspond to natural conditions of observation: they are highly constructed observational settings which, nonetheless, allow a contact with nature and thus are suitable for the construction of predictive laws. Industrial practice is the initial setting of this experimental activity, which then moves on to greater refinement and abstraction in scientific laboratories. Through this conceptualisation of the experimental nature of science, Sorel can thus avoid the conventionalist implications to which his theory of the "artificial milieu" push him: "I did not only say that science is social; for one could conclude that I give the name of science to a number of widespread prejudices held by everyone; I have no intention of going back to the old mistake of universal consensus."


title: Georges Sorel

text: This dualistic framework resisted until Sorel attempted to tackle the epistemological issues of the human and social sciences. As long as laws could be extracted from the deterministic natural milieu, Sorel's scientific realism was safe. But as soon as the problem of a science of society confronted him, the tensions in his epistemology reached breaking point: given that such a science must, by definition, be the science of the artificial, creatively constructed, realm, how will it be possible to extract laws from such an unpredictable environment? Sorel's initial answer is to look for pockets of deterministic behaviour inside of the social world. Thus, in his 1892 essay on Proudhon and the science of economics, Sorel argues that while individual labour is scientifically imponderable, it assumes regular, law-like, behaviour when taken collectively, and commends Proudhon for making this point: "...in the notion of value, Proudhon gets rid of all these anti-scientific elements: products are classified not according to fancies and individual claims, but according to their position in social production." He however began to express increasing uneasiness about these deterministic solutions. In his review of Émile Durkheim's "Rules of Sociological Method," he expressed serious reservations about idealtypic and statistical reasonings in the social sciences, arguing that "what is striking in the human milieu is that which is human, that is to say "action considered from the perspective of the agent"".


title: Georges Sorel

text: To capture this collective agency in a social scientific way, Sorel had to abandon his notion of scientific explanation in terms of deterministic laws. That, he could do thanks to the reading of the work of Italian philosopher Giambattista Vico, whose epistemology of "verum ipsum factum" allowed Sorel to develop an alternative account of what a scientific explanation consists in. Instead of highlighting a deterministic causal nexus, explanations in the social sciences would now be concerned with accounting for how a creative agent produces. As Sorel noted, this furnishes the epistemological grounding on which a social scientific enterprise can stand, provided that it renounces notions of atemporal laws of historical development and it focuses instead on the situated, contextual, explanation of human collective agency.


title: Georges Sorel

text: In the decade following the 1896 publication of his "Study on Vico", Sorel was more absorbed by political and strategic considerations than by epistemological questions. Much of the anti-deterministic force of his epistemology found a fruitful channel of expression in Sorel's efforts to revise Marxism in a more agency-oriented fashion. Nonetheless, as early as the "Study on Vico", he had become aware of the relativistic implications of his epistemology:Thus ideal history has perished, overcome by the development of historical research. It is now nothing but a memory... In natural science as well there is a similar sort of problem that contemporary philosophy has shown itself equally powerless to resolve. Critique of the idea of divinity has shaken the foundations of all knowledge that drew its certitude from the ancient idea of “God in nature.” Science no longer seems, today, safe from contingency, the fixed point has disappeared. It is enough to read the titles of contemporary theses on understanding and contingency to understand how it preoccupies reflective minds. Neither does it seem easy to respond to those who want to know where law [droit] finds its place in materialist conceptions of history. The difficulty is the same as above: law that is immutable and rests in the divine Idea has disappeared as has science possessed totally by God. Nothing is served by denying the difficulties that result from these new principles, but this is not a reason to revive famously incorrect doctrines.By the end of the first decade of the century, Sorel encounters American pragmatism, which he initially looked to with suspicion. In the first edition of his "Illusions of Progress", he calls pragmatism the "last term of bourgeois philosophy", adding that its popularity was due to its "flexibility, its garrulousness, and the cynicism of its success". Soon enough, however, a more in-depth acquaintance with the work of William James changed Sorel's opinion. He started calling himself a pragmatist and tried to remedy some of the relativistic consequences of James' theory of truth. His last major work in the philosophy of science was called the "Utility of Pragmatism". In it, Sorel sketched a theory of knowledge as always and irredemably situated, going close to denying the possibility of knowledge of the natural milieu. "For some time now, a number of distinguished men of learning have observed that their studies examined not so much a world which is given to man, but that which man creates in the world. Many of those who have reflected on this situation have concluded that since it is not possible to apprehend "natural nature", one must be happy with insights capable of charming the imagination, with conventions useful to give a clear exposition of facts, or with empirical rules convenient for improving the practice of the usual arts. We would thus be condemned to abandon the idea of certainty which dominated ancient science. But the pragmatist declares that "artificial nature" interests our life at least as much as "natural nature". He admires its fecondity, which appears to him as infinitely growing. He asks himself how man can have such nonsensical ambitions to believe that "artificial nature" would not suffice to fully occupy his genius."


title: Time in Texas

text: Northwestern Culberson County near Guadalupe Mountains National Park unofficially observes Mountain Time Zone.


title: Time in Texas

text: The 2 zones for Texas as given by zone.tab of the IANA time zone database. Columns marked * are from the zone.tab.


title: Time in Texas

text: The "Panhandle and Plains" section of Texas is now in the Central Time Zone, but had a two-year period of being in the Mountain Time Zone between 1919 and 1921.


title: Trick-taking game

text: A trick-taking game is a card or tile-based game in which play of a "hand" centers on a series of finite rounds or units of play, called "tricks", which are each evaluated to determine a winner or "taker" of that trick. The object of such games then may be closely tied to the number of tricks taken, as in plain-trick games such as contract bridge, whist, and spades, or to the value of the cards contained in taken tricks, as in point-trick games such as pinochle, the tarot family, briscola, and most evasion games like hearts. Trick-and-draw games are trick-taking games in which the players can fill up their hands after each trick. In most variants, players are free to play any card into a trick in the first phase of the game, but must "follow suit" as soon as the stock is depleted. Trick-avoidance games like reversis or polignac are those in which the aim is to avoid taking some or all tricks.


title: Trick-taking game

text: The earliest card games were trick-taking games (as evidenced by the rank-and-suit structure) originating from China and spreading westwards during the early part of the second millennium. Michael Dummett noted that these games share various features. They were played without trumps, following suit was not required but only the highest card of the suit led wins, rotation was counter-clockwise, they were plain-trick games, and that the pip cards of one or more suit are in reverse order so that the lower cards beat the higher ones. Two revolutions occurred in European trick-taking games that would lead to the development of ever more sophisticated card games. The first is the invention of trumps (and following suit to contain their power) in the 15th century. The second was bidding in the 17th century.


title: Trick-taking game

text: According to card game researcher David Parlett, the oldest known European trick-taking game, Karnöffel, was mentioned in 1426 in the Bavarian town Nördlingen – roughly half a century after the introduction of playing cards to Europe, which were first mentioned in Spain in 1371. The oldest known "trumps" appear in Karnöffel, where specific ranks of one suit were named "Karnöffel, Devil, Pope" etc. and subject to an elaborate system of trumping powers. Around 1440 in Italy, special cards called "trionfi" were introduced with a similar function. These special cards are now known as "tarots", and a deck augmented by tarots as a tarot deck. The trionfi/tarots formed essentially a fifth suit without the ordinary ranks but consisting of trumps in a fixed hierarchy. But one can get a similar effect by declaring all cards of a fixed or randomly determined suit to be trumps. This method, originating with Triomphe, is still followed by a number of modern trick-taking games that do not involve an auction. Trumps were retroactively added to some games, such as Trappola. It is much rarer for trumps to be removed. The invention of trumps became so popular that very few European trick-taking games exist without them. This did not stop the two-handed Piquet from becoming the most popular card game in Europe during the 16th century. Parlett suggests the invention of trumps let players in games involving more than two a greater chance of heading a trick.


title: Trick-taking game

text: The invention of bidding for a trump suit is credited to Ombre, the most popular card game of the 17th century. Rather than having a randomly selected trump suit, players can now hold an auction for it. The most popular games of the 18th-century was tarot which experienced a great revival. During this time, many tarot games borrowed bidding over the stock (Taroc l'Hombre). In the 20th century, Whist (now with bidding and the dummy hand) developed into contract bridge, the last global trick-taking game.


title: Trick-taking game

text: The practice of counting tricks (in plain-trick games) may have originated in the counting of cards won in tricks. It was therefore a logical development to accord some cards a higher counting-value, and some cards no value at all, leading to point-trick games. Point-trick games are at least as old as tarot decks and may even predate the invention of trumps. Elfern and Fünfzehnern are possible candidates, although the earliest references date to the 19th century. Nearly all point-trick games are played with tarot decks or stripped decks, which in many countries became standard before 1600. Neither point-trick games nor stripped decks have a tradition in England.


title: Trick-taking game

text: While there are a number of games with unusual card-point values, such as Trappola and All Fours, most point-trick games are in the huge family of Ace–Ten card games beginning with Brusquembille. Pinochle is a representative of this family that is popular in the United States. Other examples include Belote and Skat.


title: Trick-taking game

text: In contrast to Europe, Chinese trick-taking games did not develop trumps or bidding. They diverged into multi-trick games where melds can only be beaten by other melds provided they have the same number of cards. During the Qing dynasty, these multi-trick games evolved into the earliest draw-and-discard games where the players' objective is to form melds and "go out" rather than capturing the opponents' cards. Khanhoo is an example of a multi-trick game that became a draw-and-discard game. Multi-trick games are also probably the source for climbing games like Winner and "dou dizhu", which first appeared during the Cultural Revolution.


title: Trick-taking game

text: Certain actions in trick-taking games with three or more players always proceed in the same direction. In games originating in North and West Europe, including England, Russia, and the United States and Canada, the rotation is typically clockwise (i.e., play proceeds to the left); in South and East Europe, South America, and Asia it is typically anticlockwise, so that play proceeds to the right. When games move from one region to another, they tend to initially preserve their original sense of rotation, but a region with a dominant sense of rotation may adapt a migrated game to its own sensibilities. For two-player games the order of play is moot.


title: Trick-taking game

text: In each "hand" or "deal," one player is the "dealer." This function moves from deal to deal in the normal direction of play. The dealer usually shuffles the deck (some games use "soft shuffling," where the dealer does not explicitly shuffle the deck), and after giving the player one seat from the dealer opposite the normal direction of play an opportunity to cut, hands out the same (prescribed) number of cards to each player, usually in an order following the normal direction of play. Most games deal cards one at a time in rotation; a few games require dealing multiple cards at one time in a "packet." The cards apportioned to each player are collectively known as that player's "hand" and are only known to the player. Some games involve a set of cards that are not dealt to a player's hand; these cards form the "stock." (see below) It is generally good manners to leave one's cards on the table until the deal is complete.


title: Trick-taking game

text: The player sitting one seat after the declarer (one with the highest bid and not the dealer) in normal rotation is known as the "eldest hand," also called the "forehand" in Skat and other games of German origin. The eldest hand "leads" to the first "trick," i.e. places the first card of the trick face up in the middle of all players. The other players each follow with a single card, in the direction of play. When every player has played a card to the trick, the trick is evaluated to determine the winner, who takes the cards, places them face down on a pile, and leads to the next trick. The winner or taker of a trick is usually the player who played the highest-value card of the suit that was led, unless the game uses one or more "trump" cards (see below).


title: Trick-taking game

text: The player who leads to a trick is usually allowed to play an arbitrary card from their hand. Some games have restrictions on the first card played in the hand, or may disallow leading a card of a particular suit until that suit has been played "off-suit" in a prior trick (called "breaking" the suit, usually seen in cases of a trump or penalty suit). Other games have special restrictions on the card that must be led to the first trick; usually this is a specific card (e.g., 2) and the holder of that card is the eldest hand instead of the person one seat after the dealer.


title: Trick-taking game

text: In many games, the following players must "follow suit" if they can, i.e., they must play a card of the same suit if possible. A player who cannot follow suit may "sluff" a card, i.e., play a card of a different suit. A trick is won by the player who has played the highest-ranked card of the "suit led," i.e., of the suit of the first card in the trick (unless the game uses a trump suit).


title: Trick-taking game

text: It can be an advantage to lead to a trick, because the player who leads controls the suit that is led and which others must follow; the leading player playing a suit of which he has many, decreases the chance that anyone else would be able to follow suit; while conversely playing a suit of which he has few, allows him to rid his hand of that suit (known as "voiding" the suit), freeing him from the restriction to follow suit when that suit is led by another player. On the other hand, it can also be advantageous to be the final player who plays to the trick, because at that point one has full information about the other cards played to the trick; the last player to a trick can play a card just slightly higher or lower than the current winning card, guaranteeing they will win or lose it by the minimum amount necessary, saving more valuable high or low value cards for situations where they must guarantee that a card played early to a trick will win or lose.


title: Trick-taking game

text: When all cards have been played, the number or contents of the tricks won by each player is tallied and used to update the score. Scoring based on the play of tricks varies widely between games, but in most games either the number of tricks a player or partnership has won ("plain-trick" games), or the value of certain cards that the player has won by taking tricks ("point-trick" games) is important.


title: Trick-taking game

text: In some games not all cards are distributed to the players, and a "stock" remains. This stock can be referred to by different names, depending on the game; "supply", "talon", "nest", "skat", "kitty", and "dog" are common game-specific and/or regional names.


title: Trick-taking game

text: In some games the stock remains untouched throughout play of the hand; it is simply a pile of "extra" cards that will never be played and whose values are unknown, which will reduce the effectiveness of "counting cards" (a common strategy of keeping track of the cards that have been played or are yet to be played). In games without bidding, trumps may be decided by exposing a card in the stock as in Triomphe. In other games, the winner of an auction-bidding process (the taker or declarer) may get to exchange cards from his hand with the stock, either by integrating the stock into his hand and then discarding equal cards as in Skat, Rook and French tarot, or in a "blind" fashion by discarding and drawing as in Ombre. The stock, either in its original or discarded form, may additionally form part of one or more players' "scoring piles" of tricks taken; it may be kept by the declarer, may be won by the player of the first trick, or may go to an opposing player or partnership.


title: Trick-taking game

text: In some games, especially two-player games, after each trick every player draws a new card. This continues while the stock lasts. Since this drawing mechanism would normally make it difficult or impossible to detect a revoke (for instance, the player may not be able to follow suit, so they play off-suit and then immediately draw a card of the suit led), in the first phase of trick-play (before the stock is empty) players generally need not follow suit. A widespread game of this type is the Marriage group.


title: Trick-taking game

text: In a "contract" game the winning and scoring conditions are not fixed but are chosen by one of the players after seeing their hand. In such games, players make "bids" depending on the number of tricks or card points they believe they can win during play of the hand. One or more of these bids stands as the "contract", and the player who made that bid is rewarded for meeting it or penalized for not meeting it.


title: Trick-taking game

text: In "auction" games, bidding players are competing against each other for the right to attempt to make the contract. In a few games, the contract is fixed (normally a simple majority, less often based on certain cards captured during play) and players' bids are a wager of game points to be won or lost. In others, the bid is a number of tricks or card points the bidder is confident that they or their partnership will take. Either of these can also include the suit to be used as trumps during the hand. Common bids include slam (winning all the tricks), misère (losing all the tricks), ouvert (the contractor's hand is exposed), playing without using the stock or only part of it, and winning the last trick or other specific tricks. The highest bid becomes the contract and the highest bidder is the "contractor", known in some games as the "declarer" or "taker", who then plays either with or without a partner. The other players become "opponents" or "defenders", whose main goal is to prevent the contract being met. They may announce a "contra" against the contractor which doubles the points for the hand. The contractor can declare a "recontra" which will double the points again.


title: Trick-taking game

text: Popular examples of games with auctions include Contract bridge, Pinochle, tarot games, Skat, Belote and Twenty-Eight. In many auction games the eldest hand leads to the first trick, regardless of who won the auction, but in some, such as Contract Bridge, the first lead is made by the player next in rotation after the contractor, so that the contractor plays last to that trick.


title: Trick-taking game

text: In "precision" or "exact-prediction" games, all players choose their winning condition independently: to win precisely a predicted number of tricks (Oh Hell) or card points (Differenzler). Each player's bid stands (in partnership games the partners' bids are often combined), and each player or partnership then tries to take exactly the number of tricks or points they bid, and are rewarded or penalized for doing so independently of anyone else's success or failure in meeting their bid. This type of game began to mature in the 20th century. Other games generally falling into the exact-prediction category are Spades and Ninety-Nine.


title: Trick-taking game

text: "Trump cards" are a set of one or more cards in the deck that, when played, are of higher value than the suit led. If a trick contains any trump cards, it is won by the highest-value trump card played, not the highest-value card of the suit led.


title: Trick-taking game

text: In most games with trumps, one of the four suits is identified as the "trump suit". In the simplest case, there is a static trump suit such as the Spade suit in the game Spades, or a dedicated trump suit in the Tarot family (in addition to the other four) is featured. More often, a dynamic trump suit is determined by some means, either randomly by selection of a card as in Oh Hell and the original form of Whist, or decided by the winner or winning bid of an auction as in contract bridge and some forms of Pinochle. In certain games, such as Rowboat and Rage, the trump suit may change during the course of the hand, even from trick to trick. Some psychological variety is added to the game and makes it more difficult to cheat if the trump suit is only chosen after dealing.


title: Trick-taking game

text: In some games, in addition to or separately from a trump suit, certain fixed cards are always the highest trumps, e.g. the Jacks in Skat, the Jacks or Jokers in Euchre, and the Rook Bird card in Rook. They are called "matadors" after the high trumps in Ombre. "Matadors" either have high point values or special abilities as in Spoil Five where they can revoke legally.


title: Trick-taking game

text: Some games have more than one trump suit, such as the quasi-trick game Stortok, in which there are two trumps, with one superseding the other. Other games have no trumps; Hearts for instance has no provision for a trump suit of any kind (the Hearts suit for which the game is named has a different significance). Though trump is part of contract bridge, teams can make bids that do not specify a trump suit, and if that is the winning bid then there is no trump suit for that hand (making such a contract is regarded as harder to accomplish).