title: Memantine

text: As of August 2017, memantine was marketed under many brand names worldwide including Abixa, Adaxor, Admed, Akatinol, Alceba, Alios, Almenta, Alois, Alzant, Alzer, Alzia, Alzinex, Alzixa, Alzmenda, Alzmex, Axura, Biomentin, Carrier, Cogito, Cognomem, Conexine, Cordure, Dantex, Demantin, Demax, Dementa, Dementexa, Ebitex, Ebixa, Emantin, Emaxin, Esmirtal, Eutebrol, Evy, Ezemantis, Fentina, Korint, Lemix, Lindex, Lindex, Lucidex, Manotin, Mantine, Mantomed, Marbodin, Mardewel, Marixino, Maruxa, Maxiram, Melanda, Memabix, Memamed, Memando, Memantin, Memantina, Memantine, Mémantine, Memantinol, Memantyn, Memanvitae, Memanxa, Memanzaks, Memary, Memax, Memexa, Memigmin, Memikare, Memogen, Memolan, Memorel, Memorix, Memotec, Memox, Memxa, Mentikline, Mentium, Mentixa, Merandex, Merital, Mexia, Mimetix, Mirvedol, Modualz, Morysa, Namenda, Nemdatine, Nemdatine, Nemedan, Neumantine, Neuro-K, Neuroplus, Noojerone, Polmatine, Prilben, Pronervon, Ravemantine, Talentum, Timantila, Tingreks, Tonibral, Tormoro, Valcoxia, Vilimen, Vivimex, Witgen, Xapimant, Ymana, Zalatine, Zemertinex, Zenmem, Zenmen, and Zimerz.


title: Memantine

text: It was also marketed in some countries as a combination drug with donepezil under the brands Namzaric, Neuroplus Dual, and Tonibral MD.


title: Memantine

text: Memantine, in light of its NMDA receptor antagonism, has been repurposed as a possible adjunctive treatment for depressive episodes in subjects with bipolar disorder, considering the involvement of the glutamatergic system in the pathophysiology of bipolar illness. However, evidence from meta-analyses showed that memantine was not significantly superior to placebo for bipolar depression.


title: Memantine

text: A phase III clinical trial is studying the potential of memantine as disease modifying treatment for Parkinson's disease, to slow progression of the disease.


title: Messiah (American TV series)

text: Messiah is an American thriller streaming television series created by Michael Petroni. The first season consists of ten episodes, which were released on Netflix on January 1, 2020. The series stars Mehdi Dehbi, Tomer Sisley, Michelle Monaghan, John Ortiz, Melinda Page Hamilton, Stefania LaVie Owen, Jane Adams, Sayyid El Alami, Fares Landoulsi, and Wil Traval. In March 2020, the series was canceled after one season.


title: Messiah (American TV series)

text: The series focuses on the modern world's reaction to a man – who first appears in the Middle East – whose followers claim him to be the eschatological return of ʿĪsā ("Jesus" in Arabic). His sudden appearance and apparent miracles spark a growing international following, casting doubts around who he really is, a case investigated by a CIA officer.


title: Messiah (American TV series)

text: On November 17, 2017, it was announced that Netflix had given the production a series order for a first season consisting of ten episodes. The series was created by Michael Petroni who is also credited as an executive producer and showrunner of the series. Additional executive producers include Andrew Deane, James McTeigue, Mark Burnett and Roma Downey. Production companies involved with the series include Industry Entertainment and LightWorkers Media. On March 26, 2020, Netflix canceled the series after one season.


title: Messiah (American TV series)

text: In January 2018, it was announced that John Ortiz, Tomer Sisley and Mehdi Dehbi would star in the series. In May 2018, it was announced that Michelle Monaghan had been cast in a starring role. In June 2018, it was reported that Melinda Page Hamilton, Stefania LaVie Owen, Jane Adams, Sayyid El Alami, Fares Landoulsi and Wil Traval had joined the main cast. In the same month, it was announced that Beau Bridges and Philip Baker Hall had joined the cast in a recurring capacity. This was Hall’s final credit, prior to his death in 2022.


title: Messiah (American TV series)

text: Principal photography for the first season took place in Amman, Jordan; Albuquerque, Mountainair, Estancia, Belen, Santa Fe and Clines Corners, New Mexico from June 2018 to August 2018.


title: Messiah (American TV series)

text: The review aggregator website Rotten Tomatoes reported a 44% approval rating for the first season, based on critic 27 reviews. The website's critical consensus states, "A promising premise and superb ensemble can't save "Messiah" from its own bland storytelling." On Metacritic, the season has a weighted average score of 46 out of 100, based on 8 critics, indicating "mixed or average reviews".


title: Messiah (American TV series)

text: The trailer received negative reception from some Muslim audiences. In December 2019, it was announced in a press conference that The Royal Film Commission of Jordan requested Netflix to refrain from streaming "Messiah" in the country due to the provocative subject matter and controversial religious content covered in the series.


title: John Byrne (playwright)

text: John Patrick Byrne (born 6 January 1940) is a Scottish playwright and artist. He wrote "The Slab Boys Trilogy", plays which explore working-class life in Scotland, and the TV dramas "Tutti Frutti" and "Your Cheatin' Heart". Byrne is also a painter, printmaker and theatre designer.


title: John Byrne (playwright)

text: John Patrick Byrne was born into a family of Irish Catholic descent in Paisley, Renfrewshire and he grew up in the Ferguslie Park housing scheme. He was educated at the town's St Mirin's Academy and attended Glasgow School of Art from 1958–63. His mother, Alice McShane, was married to Patrick Byrne when he was born. Byrne was conceived from incestuous abuse between his mother and her father, Patrick McShane. He did not know the truth about his parentage until he was informed by his cousin in 2002. He was initially angered by the revelation, but eventually reconciled with the truth of his lineage. He created The John Byrne Awards.


title: John Byrne (playwright)

text: From 1964 until 1966 Byrne designed jackets for Penguin Books. Having had his work rejected by various galleries, Byrne had success following an exhibition of works at London's Portal Gallery in 1967. Painted under the pseudonym of "Patrick", Byrne claimed the dream-like paintings were created by his father, an alleged self-taught painter of "faux-naïf" images. Byrne's career as a professional painter started in 1968, when he left Stoddard's.


title: John Byrne (playwright)

text: As well as designing the scenery for his own plays Byrne, in collaboration with director Robin Lefrevre, also designed the settings for Snoo Wilson's "The Number of the Beast" (Bush 1982) and Clifford Odets' The Country Girl (Apollo Theatre 1983).


title: John Byrne (playwright)

text: Byrne's best-known art works are arguably the album covers he created for friend Gerry Rafferty and his former bands The Humblebums and Stealers Wheel, among them the covers for "City to City" and "Night Owl". Rafferty's early solo song "Patrick" is about Byrne.


title: Baaghi 2

text: Baaghi 2 () is a 2018 Indian Hindi-language romantic martial-arts action thriller film directed by Ahmed Khan. Produced by Nadiadwala Grandson Entertainment, it is the second installment in "Baaghi" film series, a spiritual sequel to the 2016 film "Baaghi" and a remake of the 2016 Telugu film "Kshanam". It stars Tiger Shroff, Disha Patani, Manoj Bajpayee, Darshan Kumar, Prateik Babbar, Randeep Hooda, Deepak Dobriyal and Arravya Sharma.


title: Baaghi 2

text: and tells the story of Ranveer "Ronnie" Pratap Singh, an Indian Army officer who sets out to find and rescue his ex-girlfriend's three-year-old daughter from the clutches of her kidnappers in Goa. Principal photography commenced for the film in August 2017, and it was shot in Mumbai, Pune, Shanghai, Goa, China, Manali and Thailand. The film was finished with a budget of , including print and promotion costs.


title: Baaghi 2

text: "Baaghi 2" was released worldwide on 30 March 2018 including 3500 screens in India. The film grossed over worldwide to become one of the top highest-grossing Bollywood film of 2018.


title: Baaghi 2

text: Neha, a married woman has a daughter, Rhea whom she loves dearly. On Rhea's first day of school, Neha is attacked by masked men. She files a complaint to police, saying the men took Rhea away. The police conduct an investigation but find nothing. Undeterred by this, Neha seeks help from her ex-boyfriend Ranveer "Ronnie" Pratap Singh, an Indian Army Para SF soldier. In past, Ronnie met Neha during their college time and fell in love with her at first sight. After some time, she too fell in love with Ronnie. Both of them decided to get married. However, her father Mahendra got diagnosed with cancer and before dying, requested Neha to marry Shekhar, a wealthy businessman. Wanting to fulfill Mahendra's last wish, Neha tearfully broke up with Ronnie. Back in present, Ronnie meets a terrified Neha and agrees to help her. Ronnie still loves Neha but is aware of the fact that Neha is married. They reach police station where the F.I.R. writer, Inspector Sharad misbehaves to Neha. Ronnie beats up him in retaliation, an action that gets him arrested. But, he is soon released on a request from D.I.G. Ajay, a batchmate of Ronnie's commanding officer Colonel Ranjit.


title: Baaghi 2

text: Ronnie is summoned back by Ranjit to the base, but changes his mind while traveling with a local physically disabled agent, Usman whose help he has sought, and goes to Rhea's school. The principal denies any kidnapping incident around the school premises. Ronnie meets Shekhar's brother Sunny, a drug addict and follows him to a building where he finds out Usman is involved in drug peddling. In the process, Ronnie fights and defeats the two people. He asks Usman about Rhea, but Usman doesn't seem to know anything. Meanwhile, Police Commissioner Loha Singh Dhull (LSD) is assigned to the case. Shekhar meets and tells Ronnie that Neha was diagnosed with Post-traumatic stress disorder and began to hallucinate about having a daughter Rhea, while also adding that he doesn't have a daughter. Ronnie checks the CCTV footage and finds out no one else other than Neha in the car. He angrily yells at Neha, who asks him to leave. Just about to leave, he sees the height measurements on the wall indicating that Rhea could be a real child and begins to doubt himself, but it is a split second too late as Neha jumps from the grill and commits suicide, feeling helpless as no one believed her.


title: Baaghi 2

text: Eventually, Usman admits to having seen Rhea when he visits Ronnie at a hotel—he called Sunny for drug delivery when he spotted his men taking a blindfolded Rhea to a den; he paid Usman to keep mum. They go to a bar; Ronnie chases Sunny but LSD captures Ronnie, who he asked to wait at the hotel. The police interrogate Sunny, but Ajay shoots him to death in a heated moment. Ronnie says he has evidence that Rhea is alive, and gets Usman to meet Ajay and LSD. Ajay takes Ronnie to his home, telling him that he lost his family in an accident. At the same time, two attackers brutally beat Usman. Ronnie comes there, finds Usman bleeding and fights the two attackers. Usman dies due to his injuries. Ronnie takes the phone of an attacker, and sees a photo of himself taken in Ajay's house, figuring out Ajay is the mastermind. He goes to his army base, battles many goons in the jungle single handedly , and destroys helicopters while bleeding. Ronnie kills a person who acted as Rhea's father, but is shot by Ajay, who reveals that Shekhar is responsible for Rhea's kidnapping. Shekhar burnt all of Rhea's photos and toys. Ronnie beats up Ajay brutally but when Ajay is about to Kill Ronnie, LSD shoots Ajay to death. Ronnie sees Rhea before fainting. LSD explains Shekhar was sterile, which moved him to take up this drastic step, implying that Rhea is Ronnie's daughter. Ronnie remembers when Neha told him she has to marry Shekhar, he and Neha made love. In the end, Ronnie takes Rhea to his house and imagines Neha smiling at him, smiling back.


title: Baaghi 2

text: On 1 May 2017, Tiger Shroff posted the first look poster of the film on his Twitter account. The producer of the film, Sajid Nadiadwala, collaborated with Fox Star Studios and the film was released under Fox Star Studios and Nadiadwala Grandson Entertainment.


title: Baaghi 2

text: Initially, it was reported that Jacqueline Fernandez and Kriti Sanon were considered for the lead female role. However, in June 2017, Disha Patani was cast after going through a screen test with Shroff. Talking about the cast, Nadiadwala said, "They share an amazing onscreen chemistry, which was evident in their look test. Disha is just perfect for the role. I am happy with my cast and am excited to kick-start the project."


title: Baaghi 2

text: Shroff went to Hong Kong for training of martial arts under action director Tonny Ching while Patani received acrobatic training.


title: Baaghi 2

text: Principal photography started on 8 August 2017. The shoot began with a song featuring the lead cast members on a set in Mumbai, followed by scenes shot on the campus of FLAME University in Pune and several other places. Then the team filmed in Manali, Thailand, China, Goa and Ladakh. A torture scene of Shroff's character was filmed while the actor was naked.


title: Baaghi 2

text: The first trailer of the film was launched on 21 February 2018 by Shroff and Patani. The film was released worldwide on 30 March 2018. It opened in 4,125 screens in 46 countries, including 3,500 screens in India.


title: Baaghi 2

text: "Baaghi 2" earned net on its opening day, marking the biggest opening-day of 2018 (ahead of "Padmaavat"), the biggest Good Friday opening, the third biggest opening in the last 15 months (behind "Tiger Zinda Hai" and "Golmaal Again"), and the seventh biggest for an action film. After a robust opening day, it fell gradually by −20% on its second day earning an additional . In doing so, the film eclipsed the entire opening weekend – – of the first film in just two days. Box office pundits believed the fall could have been lesser had Friday not been a partial holiday, owing to Good Friday. After two weeks, the movie had grossed over in India.


title: Baaghi 2

text: Overseas, it made () after two weeks. The film grossed a total of () worldwide, including in India and overseas. The film was one of the highest-grossing Bollywood films of 2018.


title: Baaghi 2

text: "Baaghi 2" received generally negative reviews. On review aggregator website Rotten Tomatoes, "Baaghi 2" has an approval rating of on the basis of reviews with an average rating of .


title: Baaghi 2

text: Rajeev Masand gave the film a rating of 2 out of 5, saying that "It's hard to feel anything other than sheer frustration watching Baaghi 2, given how the filmmakers have squandered the potential of the central idea. This remake of the 2016 Telugu hit Kshanam is weighed down by a flawed script, and frankly by 'misdirection' on the part of director Ahmed Khan. Rohit Vats of Hindustan Times criticized the film saying that, "It's a badly planned screenplay that doesn't know what it wants to be. From chasing Rambo's trail to taking the baton from Dum Maaro Dum, it tries every trick in the book and manages to make them worse" and gave it a rating of 1 out of 5.


title: Baaghi 2

text: Shubhra Gupta of The Indian Express gave the film a rating of 2.5 out of 5 and said that "The trouble with a full-on masala film going in search of a plot is evident in the way the film unspools. The bare-bones are borrowed from Telugu thriller Kshanam, but the fillings are all strictly Bollywood". Rachit Gupta of The Times of India gave the film a rating of 2.5 out of 5 and said that, "Director Ahmed Khan's movie trades style for substance. The action sequences look slick, but they feel completely needless and a bit too excessive. It's disappointing that the story suffers in this attempt to impress with the action choreography and stunts."


title: Baaghi 2

text: Saibal Chatterjee of NDTV gave the film a rating of 2 out of 5, saying that "Baaghi 2 is more a two-and-a-half-hour stunt show than a genuine piece of cinema. Neither the heart nor the mind stands a chance of surviving this relentless onslaught of biceps, pecs, and clenched fists."


title: Baaghi 2

text: The movie was criticised for featuring a scene in which the protagonist Ronny (Tiger Shroff) ties a Kashmiri civilian to a jeep for burning the Indian flag and pelting stones; a direct reference to a controversial 2017 incident in which a group of Indian soldiers similarly used a human shield as a precautionary measure against violent crowds in Kashmir. In her review for the "Hindustan Times", Priyanka Sundar called the scene "one of the most distasteful and offensive portrayals of the Jammu and Kashmir unrest". In "Scroll", Nandini Ramnath criticised the "tone-deafness and staggering lack of sensitivity to the reality of the April human rights violation". Anupama Chopra of Film Companion gave the film 2.5 out of 5 stars and said, "Baaghi 2 is a faithful remake of the 2016 Telugu thriller Kshanam. But since the leading man is Tiger Shroff, the protagonist changes from an investment banker to an army commando." Raja Sen of NDTV gave the film 1 out of 5 stars and said, "This is an action film without enough action and a romantic drama where you don't feel for the characters."


title: Baaghi 2

text: The music of the film was composed by Laxmikant-Pyarelal, Mithoon, Arko, Sandeep Shirodkar, Gourov-Roshin, and Pranaay Rijia. Lyrics were written by Kumaar, Ginny Diwan, Javed Akhtar, Arko Pravo Mukherjee, and Sayeed Quadri. The background score was composed by Julius Packiam. The songs featured in the film are sung by Atif Aslam, Jubin Nautiyal, Ankit Tiwari, Navraj Hans, Shreya Ghoshal, Palak Muchhal, Shruti Pathak, Parry G, Pranaay Rijia, Anand Bhaskar, Siddharth Basrur, Jatinder Singh and Big Dhillon.


title: Baaghi 2

text: The first song of the film, "Mundiyan", which is a recreated version of the Panjabi MC song "Mundian To Bach Ke", was sung by Navraj Hans and Palak Muchhal, and was released on 1 March 2018. The second single to be released was "O Saathi", sung by Atif Aslam, and released on 9 March 2018. The third song of the film, "Lo Safar", sung by Jubin Nautiyal, was released on 13 March 2018. The fourth song, "Ek Do Teen", an item song featuring Jacqueline Fernandez, from the 1988 film, "Tezaab", was recreated for this film. It was sung by Shreya Ghoshal with a rap by Parry G, and was released on 19 March 2018. Although in the film, the song is sung by Palak Muchhal for the final version because the production team made a mistake by including the rehearsal version in the final version of the film. After that, Palak Muchhal's version was released on 19 April 2019. The music album was released on 20 March 2018 by T-Series.


title: Baaghi 2

text: On 19 February 2018, the third installment of the film was announced under the title of "Baaghi 3", with Sajid Nadiawala as producer, Ahmed Khan as director, Tiger Shroff and Shraddha Kapoor starring in the lead roles. The team started shooting in September 2019. It was released worldwide on 6 March 2020.


title: Furikake

text: One account of the origin of is that it was developed during the Taishō period (1912–1926) by a pharmacist in Kumamoto prefecture named . To address calcium deficits in the Japanese population, Yoshimaru developed a mixture of ground fish bones with roast sesame seeds, poppy seeds, and seaweed that was made into a powder. This product, which he called , is generally considered the precursor to contemporary . A food company in Kumamato later acquired the product and was able to sell it commercially. It was initially sold in a flask-like container shaped with a narrow neck to prevent moisture from seeping into the product.


title: Furikake

text: Years after Yoshimaru's , a grocery retailer in Fukushima City named Seiichirō Kai developed a mixture consisting of white croaker and powdered kombu and other ingredients simmered with a soy sauce-based broth. Kai called his product ; it was popular on its release. Although was initially considered a luxury item for the affluent who were able to consume white rice on a regular basis, it later was made accessible to the Japanese working class.


title: Furikake

text: The availability of in Japan increased starting shortly after September 1948, when Nissin Foods began to manufacture it on a large scale to address pervasive malnourishment. The product was commercialized on the basis that it provided a good source of protein and calcium. was made widely available as it was dispensed to those serving in the Japanese military starting in World War I.


title: Furikake

text: The term was used generically to describe the product starting in 1959 with the formation of the National Association. Since 1959, products are usually differentiated by their particular ingredients, such as salmon and sesame-and-salt .


title: Louisiana Voodoo

text: Louisiana Voodoo (, ), also known as New Orleans Voodoo, is an African diasporic religion which originated in Louisiana, now in the southern United States. It arose through a process of syncretism between the traditional religions of West Africa, the Roman Catholic form of Christianity, and Haitian Vodou. No central authority is in control of Louisiana Voodoo, which is organized through autonomous groups.


title: Louisiana Voodoo

text: Historical records reveal the names of various deities who were worshiped in Voodoo, prominent among them were Blanc Dani, the Grand Zombi, and Papa Lébat. These were venerated at altars, where sacrifices were made to them. Spirits of the dead also played a prominent role in historical Voodoo, with some contemporary practitioners regarding the religion as a form of ancestor worship. Historical accounts suggest that in the 19th century, the saints played a prominent role, although amid the 20th-century revival, the veneration of deities from other African diasporic religions became common.


title: Louisiana Voodoo

text: From the early 18th century, enslaved West Africans—the majority of them Bambara and Kongo—were brought to the French colony of Louisiana. There, their traditional religions would have syncretized with the Roman Catholic beliefs of the French. This continued as Louisiana came under Spanish control and was then purchased by the United States in 1803. In the early 19th century, many migrants fleeing the Haitian Revolution arrived in Louisiana, bringing with them Haitian Vodou, which contributed to the formation of Louisiana Voodoo. Although the religion was never banned, its practice was restricted through a range of laws regulating when and where black people could gather. Practiced secretly, it spread up the Mississippi River to Missouri. During the 19th century, several prominent practitioners, such as Marie Laveau and Doctor John, attracted considerable attention. By the early 20th century, the public practice of Voodoo had heavily declined. After the 1960s, the New Orleans tourist industry increasingly used references to Voodoo to attract visitors, while a Voodoo revival took place, the practitioners of which often drew heavily on other African diasporic religions such as Haitian Vodou and Cuban Santería.


title: Louisiana Voodoo

text: Although originating among African diasporic communities in New Orleans, Louisiana Voodoo has included white participants since at least the 19th century, and some contemporary Voodoo groups have a majority-white membership. The religion has long faced opposition from non-practitioners, who have characterized it as witchcraft and devil-worship, and many sensationalist portrayals of the religion have featured in popular culture.


title: Louisiana Voodoo

text: Various academic sources describe Louisiana Voodoo as a religion, as do some practitioners. More specifically, it has been characterized as an African creole and an African American religion.


title: Louisiana Voodoo

text: Louisiana Voodoo has also been referred to as New Orleans Voodoo, and—in some older texts—Voodooism. The scholar Ina J. Fandrich described it as the "Afro-Creole counterculture religion of southern Louisiana"; it describes a religion that emerged along the banks of the Mississippi River, and especially in the city of New Orleans.


title: Louisiana Voodoo

text: Several different spellings of "Voodoo" have been used; alternatives have included "Voudou" and "Vaudou".


title: Louisiana Voodoo

text: The spelling "Voodoo" is sometimes used for the Louisiana practice to distinguish it from Haitian Vodou.


title: Louisiana Voodoo

text: In some sources, practitioners are referred to as "Voodoos" themselves, and elsewhere as "Voodooists". A related term is "hoodoo", which may originally have been largely synonymous with "Voodoo". Over time, "hoodoo" came to describe "the brand of African American supernaturalism found along the Mississippi", entailing the use of charms and spells that made little reference to deities; in this it differs from the specific religion characterized by the term "Voodoo".


title: Louisiana Voodoo

text: Louisiana Voodoo is a secretive religion; in 1972, for instance, the historian Blake Touchstone noted that Louisiana Voodoo was then largely being practiced outside the public eye. Among some contemporary practitioners there is a tradition not to speak to non-adherents about Voodoo. Louisiana Voodoo has not remained static, but has adapted and changed over time; in its original form, it probably survived into the early 20th century. In the late 20th century there was a revival of Louisiana Voodoo, creating a tradition that "more closely resembles" Haitian Vodou and Cuban Santería than the 19th-century Louisiana Voodoo that is described in historical accounts. Some 21st-century practitioners have also sought instruction from West African traditions, for instance, being initiated into West African Vodun.


title: Louisiana Voodoo

text: Voodoo is a largely oral tradition. It has no formal creed, not a specific sacred text, and has no unifying organized structure or hierarchy. Practitioners will often adapt Voodoo to suit their specific requirements, in doing so often mixing it with other religious traditions. Throughout its history, many Voodoo practitioners have also practiced Roman Catholicism. While in the 21st century, Voodoo practitioners have for instance combined Voodoo with elements of Judaism and the Kabbalah, or with Hinduism.


title: Louisiana Voodoo

text: Louisiana Voodoo has no formal theology, although it displays its own spiritual hierarchy. Writing in the 2010s, the Voodoo practitioner and poet Brenda Marie Osbey described a belief in "a somewhat distant but single deity" being part of the religion, while Rory O'Neill Schmitt and Rosary Hartel O'Neill expressed the belief that contemporary Voodoo was monotheistic. Many practitioners of Voodoo have not seen their religion as being in intrinsic conflict with the Roman Catholicism that was dominant along the Mississippi River.


title: Louisiana Voodoo

text: Louisiana Voodoo also displayed a range of lesser deities, the names of which were recorded in various 19th-century sources. One of the chief deities was Blanc Dani, also known as Monsieur Danny, Voodoo Magnian, and Grandfather Rattlesnake. He was depicted as a serpent and associated with discord and the defeat of enemies. Another recorded name, Dambarra Soutons, may be an additional name for Blanc Dani. It is also possible that Blanc Dani was ultimately equated with another deity, known as the Grand Zombi, whose name meant "Great God" or "Great Spirit;" the term "Zombi" derives from the Kongo Bantu term "nzambi" (god). Another prominent deity was Papa Lébat, also called Liba, LaBas, or Laba Limba, and he was seen as a trickster as well as a doorkeeper; he is the only one of these New Orleans deities with an unequivocally Yoruba origin.


title: Louisiana Voodoo

text: Monsieur Assonquer, also known as Onzancaire and On Sa Tier, was associated with good fortune, while Monsieur Agoussou or Vert Agoussou was associated with love. Vériquité was a spirit associated with the causing of illness, while Monsieur d'Embarass was linked to death. Charlo was a child deity. The names of several other deities are recorded, but with little known about their associations, including Jean Macouloumba, who was also known as Colomba; Maman You; and Yon Sue. There was also a deity called Samunga, called upon by practitioners in Missouri when they were collecting mud.


title: Louisiana Voodoo

text: The Voodoo revival of the late 20th century has drawn many of its deities from Haitian Vodou, where these divinities are called "lwa". Among the lwa commonly venerated are Oshun, Ezili la Flambo, Erzuli Freda, Ogo, Mara, and Legba. These can be divided into separate "nanchon" (nations), such as the Rada and the Petwo. Glassman's New Orleans temple for instance has separate altars to the Rada and Petwo lwa. Each of these is associated with particular items, colors, numbers, foodstuff, and drinks. They are often considered to be intermediaries of God, who in Haitian Vodou is usually termed "Le Bon Dieu".


title: Louisiana Voodoo

text: The spirits of the dead played a prominent role in Louisiana Voodoo during the 19th century. The prominence of these spirits of the dead may owe something to the fact that New Orleans' African American population was heavily descended from enslaved Kongolese, whose traditional religions placed emphasis on such spirits. In the 21st century, Louisiana Voodoo has been characterized as a system of ancestor worship. Communicating with the ancestors is an important part of its practice, with these ancestral spirits often invoked during ceremonies.


title: Louisiana Voodoo

text: As Africans arrived in Louisiana, they adopted from Roman Catholicism and so various West African deities became associated with specific Roman Catholic saints.


title: Louisiana Voodoo

text: Interviews with elderly New Orleanians conducted in the 1930s and 1940s suggested that, as it existed in the closing three decades of the 19th century, Voodoo primarily entailed supplications to the saints for assistance. Among the most popular was Saint Anthony of Padua; this figure is also the patron saint of the Kongo, a likely link to the heavily Kongo-descended population of New Orleans.


title: Louisiana Voodoo

text: Rejecting the centrality of the saints for her 21st-century practice, Osbey has described these saints as "servants and messengers of the Ancestors." She related that, unlike in Haitian Vodou and Cuban Santería, the Roman Catholic saints retained their distinct identities rather than being equated with specific West African deities.


title: Louisiana Voodoo

text: Various commentators have described Louisiana Voodoo as matriarchal because of the dominant role priestesses have played in it. Osbey described the religion as being "entirely within the sphere of women, whom we call Mothers."


title: Louisiana Voodoo

text: The feminist theorist Tara Green defined the term "Voodoo Feminism" to describe instances whereby African American women drew upon both Louisiana Voodoo and conjure to resist racial and gender oppression that they experienced.


title: Louisiana Voodoo

text: Michelle Gordon believed that the fact that free women of color dominated Voodoo in the 19th century represented a direct threat to the ideological foundations of "white supremacy and patriarchy."


title: Louisiana Voodoo

text: There are four phases to a Voodoo ritual, all identifiable by the song being sung: preparation, invocation, possession, and farewell. The songs are used to open the gate between the deities and the human world and invite the spirits to possess someone. The rituals of Louisiana Voodoo are based on African traditions that have absorbed various Christian, and especially Roman Catholic, influences. Reflecting this Roman Catholic influence, some recorded ceremonies have for instance begun with the recitation of the Apostles Creed and prayers to the Virgin Mary.


title: Louisiana Voodoo

text: It has been claimed that St John's Eve (23 June) has particular significance in Louisiana Voodoo, with big celebrations on this date has taken place on the shores of Lake Pontchartrain during the 19th century. Some 21st-century Voodoo congregations continue to celebrate on St John's Eve; others, such as Osbey, reject the idea that St John's Eve is important in Louisiana Voodoo. Various contemporary practitioners celebrate All Saints Day (1 November) which they, following Haitian Vodou, link with the lwa Gede.


title: Louisiana Voodoo

text: In the 21st century, various Voodoo groups wear white clothing for their ceremonies. Influenced by Haitian Vodou, those assembled may dance around a central post, the "poto mitan". Patterned flags, called "drapos", may be brought out, while songs are sung in Haitian Kreyol. Drawings, called "vèvè ", may be made on the floor to invoke the spirits. Offerings will be given to the spirits. Contemporary Voodoo rites often entail calling spirits to enter the body of a practitioner, through which they can heal or confer blessings. The possessed individual will be called the "horse".


title: Louisiana Voodoo

text: Practitioners sometimes performed rituals to deal with specific issues; in August 1995, Voodoo practitioners held a ritual in the Bywater area of New Orleans to try to drive away crack cocaine abuse, burglaries, prostitution, and assaults, while in 2001 the Voodoo priestess Ava Kay Jones performed a rite to drive harmful spirits away from the New Orleans Saints football team in the hope of improving their performance.


title: Louisiana Voodoo

text: Historical records describe the altars created by famous 19th-century Voodoo priestess Marie Laveau in her home;


title: Louisiana Voodoo

text: Many contemporary practitioners have their own personal altars, often located in the kitchen or living room. These altars are understood as assisting communication with ancestors, with food and drink being offered to the ancestors at them.


title: Louisiana Voodoo

text: Sacrifice was a recurring element of Louisiana Voodoo as it was historically practiced, as it continues to be in Haitian Vodou. Some 21st-century practitioners of Louisiana Voodoo do sacrifice animals in their rites, subsequently cooking and eating the carcass. It is nevertheless not a universal practice in Louisiana Voodoo; Glassman's group prohibits animal sacrifice in its rites. Although there is little proof that human sacrifice took place in Louisiana Voodoo, persistent rumors claimed that white children were being abducted and killed during some of its rites.


title: Louisiana Voodoo

text: Laveau used to hold weekly services, which were called "parterres". Music is often a part of rituals in Louisiana Voodoo.


title: Louisiana Voodoo

text: Many historical Voodoo rituals involved the presence of a snake; Marie Laveau was for instance described as communing with a snake during her ceremonies. This practice largely died out by the end of the 19th century, although some Voodoo revivalists have incorporated snake dances into their practices. In the 21st century, the New Orleans Voodoo Spiritual Temple has had its own "temple snake."


title: Louisiana Voodoo

text: Charms, created to either harm or help, are called "gris-gris". A common charm for protection or luck would consist of material wrapped up in red flannel and worn around the neck.


title: Louisiana Voodoo

text: Touchstone believed that gris-gris that caused actual harm did so either through the power of suggestion or by the fact that they contained poisons which the victim was exposed to.


title: Louisiana Voodoo

text: One example of a Voodoo curse was to place an object inside the pillow of the victim. Another involves placing a coffin (sometimes a small model; sometimes much larger) inscribed with the victim's name on their doorstep. In other instances, Voodoo practitioners sought to hex others by placing black crosses, salt, or mixtures incorporating mustard, lizards, bones, oil, and grave dust on a victim's doorstep. To counter these hexes, some people cleaned their doorstep or sprinkled it with powdered brick. Despite its name, the idea of the "Voodoo doll" has little to do with either Louisiana Voodoo or Haitian Vodou; it derives from the European tradition of poppets. It is possible that the act of inserting pins into a human-shaped doll to cause harm was erroneously linked to African-derived traditions due to a misunderstanding of the "nkisi nkondi" of Bakongo religion.


title: Louisiana Voodoo

text: Healing plays a prominent role in 21st century Louisiana Voodoo. Various shops, called botanicas, exist in New Orleans to sell herbs and other material for use in these preparations.


title: Louisiana Voodoo

text: Animal sacrifice is a traditional practice in Africa. It is done as an offering to the spirits, and also to ask a spirit to provide protection, healing, and other requests. When Africans were enslaved in the United States the practice continued in Voodoo and Hoodoo. The animals that are sacrificed are chickens. In West Africa among the Yoruba, blood sacrifices are left for Eshu-Elegba at the crossroads. The crossroads is a spiritual door way to the spiritual realm where Eshu-Elegba resides. This practice was brought to the United States during the transatlantic slave trade, and African Americans into the twentieth century performed animal blood sacrifices at the crossroads. Eshu-Elegba became the crossroads spirit or the man of the crossroads in Voodoo. Animal sacrifice has become a rare practice in the African American community. However, animal sacrifice was documented well into the late nineteenth century and into mid-twentieth century. For example, animal sacrifices are sometimes done at the crossroads as an offering to the crossroad spirit and to ask the spirit or spirits for a request. At Stagville Plantation located in Durham County, North Carolina, enslaved Africans performed animal sacrifice to call forth spirits for assistance in the slave community. At the Kingsley Plantation at Fort George Island, Florida, archeologists found evidence of West African animal sacrifice inside a slave cabin. West-Central African people were illegally imported into Florida after 1814 by plantation owner Kingsley. The African people imported were Angolan, Igbo, Senegambian and from Zanzibar. The spiritual cultures of these enslaved Africans fused into one Voodoo culture on the plantation. Archeologists found inside a slave cabin in the northeast section an intact sacrificed chicken and other charms (blue beads and red clay brick) for rituals to conjure spirits for protection. In 1883 in Alabama, a rootworker sacrificed a chicken to leave a blood offering to the spirits to remove a spiritual work (spell). An African American man in North Carolina sacrificed a chicken at a crossroads "asking salvation from an epidemic" from a disease that killed off his farm animals. Zora Neale Hurston recorded in her book "Mules and Men" an animal sacrifice of nine black chickens in the twentieth century. A Hoodoo man named Turner in New Orleans, Louisiana performed an animal sacrifice for a client who wanted her brother in-law to leave her alone. Turner sat at his snake altar and meditated on his clients situation, and afterwards told Hurston to purchase nine black chickens and some Four Thieves Vinegar. Turner and Hurston performed a ritual including the nine black chickens and Four Thieves Vinegar at night to ask the spirits and the spirits of the chickens sacrificed for his clients brother in-law to stop bothering her. The ritual included Turner dancing in a circle swirling the chickens in his hand, and killed them by taking off their heads, and Hurston continued to beat the ground with a stick in order to produce a rhythmic sound in sync with Turner's dancing. Where the ritual took place Four Thieves Vinegar was poured onto the ground. In some African American Spiritual churches, the sacrifice of live chickens to heal church members was practiced in a Spiritual church in New Orleans by Mother Catherine Seals in the early to mid-twentieth century.


title: Louisiana Voodoo

text: Much mystery surrounds the origins of Louisiana Voodoo, with its history often being embellished with legend. French settlers arrived in Louisiana in 1699, with the first enslaved Africans being brought to the colony in 1719. In 1763 the Spanish Empire took control and remained in power until 1803. The religions of the West African slaves combined with elements of the folk Catholicism practiced by the dominant French and Spanish colonists to provide the origins of Louisiana Voodoo. Under the French and Spanish colonial governments, Voodoo did not experience strong persecution; there are no records of the Roman Catholic Church waging "anti-superstition campaigns" against the religion in Louisiana.


title: Louisiana Voodoo

text: All of the West African groups contributed to the development of Louisiana Voodoo. Their knowledge of herbs, poisons, and the ritual creation of charms and amulets, intended to protect oneself or harm others, became key elements of Louisiana Voodoo.


title: Louisiana Voodoo

text: During the French colonial period, around 80 percent of the enslaved Africans brought to Louisiana were from the Bambara people of the Senegal River basin. Most of the other 20 percent were Kongolese, with a few from Dahomey. After the Spanish took control, increasing numbers of slaves were imported from the Kongo, ensuring a "Kongolization of New Orleans's African American community".


title: Louisiana Voodoo

text: The enslaved community quickly outnumbered white European colonists who emigrated there. The French colony was not a stable society when the enslaved sub-Saharan Africans arrived, and the newly arrived sub-Saharan Africans dominated the slave community. According to a census of 1731–1732, the ratio of enslaved sub-Saharan Africans to European settlers was more than two to one. A relatively small number of colonists were planters and slaveholders, owners of sugar plantations with work that required large labor forces. Because the Africans were held in large groups relatively isolated from interaction with whites, their preservation of African indigenous practices and culture was enabled. In northern Louisiana and other European colonies in the American South, enslaved families were usually divided; large numbers of African slaves who were once closely related by family or community were sent to different plantations. However, in southern Louisiana, families, cultures, and languages were kept more intact than in the north. This allowed the cultural traditions, languages, and religious practices of the enslaved to continue there.


title: Louisiana Voodoo

text: Under the French code and the influence of Catholicism, officials nominally recognized family groups, prohibiting the sale of slave children away from their families if younger than age fourteen. They promoted the man-made legend of "wake tuko" of the enslaved population. The high mortality of the slave trade brought its survivors together with a sense of solidarity and initiation. The absence of fragmentation in the enslaved community, along with the kinship system produced by the bond created by the difficulties of slavery, resulted in a "coherent, functional, well-integrated, autonomous, and self-confident enslaved community."


title: Louisiana Voodoo

text: The practice of making and wearing charms and amulets for protection, healing, or the harm of others was a key aspect to early Louisiana Voodoo. The "Ouanga", a charm used to poison an enemy, contained the toxic roots of the "figuier maudit" tree, brought from Africa and preserved in Louisiana. The ground-up root was combined with other elements, such as bones, nails, roots, holy water, holy candles, holy incense, holy bread, or crucifixes. The administrator of the ritual frequently evoked protection from Jehovah and Jesus Christ. This openness of African belief allowed for the adoption of Catholic practices into Louisiana Voodoo.


title: Louisiana Voodoo

text: Another element brought from West Africa was the veneration of ancestors and the subsequent emphasis on respect for elders. For this reason, the rate of survival among elderly enslaved peoples was high, further "Africanizing Louisiana Creole culture."


title: Louisiana Voodoo

text: Records of African traditional religious practices being practiced in Louisiana go back to the 1730s, when Antoine-Simon Le Page du Pratz wrote about the use of gris-gris.


title: Louisiana Voodoo

text: In 1803, the United States took control of Louisiana through the Louisiana Purchase. This was roughly contemporary with the Haitian Revolution, whereby African-descended populations in the French Caribbean colony of Saint-Domingue overthrew the French colonial government and established an independent republic, Haiti. Many of those fleeing the revolutionary war fled to Louisiana, bringing with them Haitian Vodou; a religion deriving from the syncretism of Fon and Yoruba traditional religions with Roman Catholicism. The migration was substantial; in 1809 alone, 10,000 people arrived from Saint-Domingue, doubling New Orleans' population. These migrants converted various native-born Louisiana blacks to their religion, with their practices fusing with the African-derived religious traditions already present in Louisiana, contributing to the formation of Louisiana Voodoo.


title: Louisiana Voodoo

text: According to legend, the first meeting place of the Voodoo practitioners in New Orleans was at an abandoned brickyard in Dumaine Street. Those meetings here faced police disruption and so future meetings took place largely in Bayou St. John and along the shores of Lake Pontchartrain. The religion probably appealed to members of the African diaspora, whether enslaved or free, who lacked recourse to retribution for the poor treatment they received through other means. Voodoo probably spread out from Louisiana and into African American communities throughout the Mississippi River Valley, as there are 19th-century references to Voodoo rituals in both St. Louis and St. Joseph in Missouri.


title: Louisiana Voodoo

text: Voodoo was never explicitly banned in Louisiana. However, amid establishment fears that Voodoo may be used to foment a slave rebellion, in 1817 the Municipal issued an ordinance preventing slaves from dancing on days other than on Sundays and in locations other than those specifically designated for that purpose. The main location permitted was New Orleans' Congo Square. Voodoo dance rituals nevertheless continued clandestinely at other locations. In the early part of the 19th century, newspapers articles began denouncing the religion. In August 1850, about fifty women, several of whom were white, were arrested at a Voodoo dance ceremony; they were subsequently fined. In 1855 a mob attempted to seize a practitioner, Elizabeth Sutherland, who they accused of putting spells on people; the local police gave her shelter at the station.


title: Louisiana Voodoo

text: During the American Civil War, the Union Army occupied New Orleans and sought to suppress Voodoo. In 1863, forty women were arrested at a Voodoo dance ceremony in Marais Street. Repression of Voodoo intensified following the Civil War; the 1870s onward saw white writers display an increased concern that Voodoo rituals were facilitating the interaction between black men and white women. That decade saw large gatherings at Lake Pontchartrain on St John's Eve, including many onlookers and reporters; these declined after 1876. In the 1880s and 1890s, the New Orleans authorities again clamped down on Voodoo. Voodoo was used as evidence to bolster the white elite's claim that Africans were inferior to Europeans and thus bolster their belief in the necessity of legalized segregation.


title: Louisiana Voodoo

text: Various practitioners set up shops selling paraphernalia and charms, they also began exploiting the commercial opportunities of the religion by staging ceremonies which charged entry.


title: Louisiana Voodoo

text: Free women of color dominated the leadership of Voodoo in New Orleans during the 19th century. They made a living through the selling and administering of amulets, or "gris-gris" charms, and magical powers, as well as spells and charms that guaranteed to "cure ailments, grant desires, and confound or destroy one's enemies".


title: Louisiana Voodoo

text: As in other French colonial communities, a class of free people of color developed who were given specific rights and, in New Orleans, acquired property and education. Free women of color had a relatively high amount of influence, particularly those who were spiritual leaders.


title: Louisiana Voodoo

text: Among the fifteen "voodoo queens" in neighborhoods scattered around 19th-century New Orleans, Marie Laveau was known as "the Voodoo Queen", the most eminent and powerful of them all. Her religious rite on the shore of Lake Pontchartrain on St. John's Eve in 1874 attracted some 12,000 black and white New Orleanians.


title: Louisiana Voodoo

text: Although her help seemed non-discriminatory, she may have favored enslaved servants: Her most "influential, affluent customers...runaway slaves...credited their successful escapes to Laveau's powerful charms". Both her mother and grandmother had practiced Voodoo; she was also baptized a Roman Catholic and attended mass throughout her life.


title: Louisiana Voodoo

text: Laveau worked as a hairdresser, but also assisted others with the preparation of herbal remedies and charms. She died in 1881. Her influence continues in the city. In the 21st century, her gravesite in the oldest cemetery is a major tourist attraction; believers of Voodoo offer gifts here and pray to her spirit.


title: Louisiana Voodoo

text: Across the street from the cemetery where Laveau is buried, offerings of pound cake are left to the statue of Saint Expedite; these offerings are believed to expedite the favors asked of the Voodoo queen. Saint Expedite represents the spirit standing between life and death. The chapel where the statue stands were once used only for holding funerals. Marie Laveau continues to be a central figure of Louisiana Voodoo and of New Orleans culture. Gamblers shout her name when throwing dice, and multiple tales of sightings of the Voodoo Queen have been told.


title: Louisiana Voodoo

text: Another of the most prominent practitioners of the mid-19th century was Jean Montanée or "Dr John", a free black man who sold cures and other material to various clients, amassing sufficient funds to purchase several slaves. He alleged that he was a prince from Senegal who had been taken to Cuba and there freed before coming to Louisiana.


title: Louisiana Voodoo

text: By the early 20th century, there were no more publicly prominent Voodoo practitioners active in New Orleans. According to the historian Carolyn Morrow Long, "Voodoo, as an organized religion, had been thoroughly suppressed by the legal system, public opinion, and Christianity."


title: Louisiana Voodoo

text: In the late 1930s and early 1940s, the first serious attempts to document Voodoo's history were made. As part of the government's Works Progress Administration, the Louisiana Writers' Project financed fieldworkers to interview seventy elderly black New Orleanians regarding their experience with Voodoo as it existed between the 1870s and 1890s; many recounted tales of Marie Laveau. This interview material was used as a partial basis for the journalist Robert Tallant's "Voodoo in New Orleans"; first published in 1946, it engaged in sensationalist coverage although came to be regarded as the pre-eminent work on the subject throughout the century.


title: Louisiana Voodoo

text: As Voodoo as a communal religion devoted to worshiping deities and ancestors declined, many of its practices that were designed to control or influence events and people continued to be practiced, often being termed "hoodoo". In New Orleans, hoodoo displayed greater Roman Catholic influences than similar African American folk practices elsewhere in the southern states. Specialists in hoodoo, known as "doctors" or "workers", often worked out of their homes or shops providing gris-gris, powders, oils, perfume, and incense to clients. Such practices concerned the Anglo-Protestant elite, with regulations being introduced to restrict various healing and fortune-telling practices in the city, resulting in many hoodoo practitioners being convicted, and either fined or imprisoned, in the first half of the 20th century.


title: Louisiana Voodoo

text: The civil rights movement of the 1950s and 1960s marked a new period in which the New Orleans tourist industry increasingly recognized African American culture as an integral aspect of the city's heritage. From the 1960s onward, the city's tourist industry increasingly referenced Louisiana Voodoo as a means of attracting visitors. In 1972, Charles Gandolfo established the tourist-oriented New Orleans Historic Voodoo Museum. In New Orleans' French Quarter, as well as through mail-order catalogs and later the Internet, salespeople began selling paraphernalia that they claimed was associated with Voodoo. Several companies also began providing walking tours of the city pointing out locations alleged to have a prominent role in the history of Voodoo, and in some cases staging Voodoo rituals for paying onlookers. One company, Voodoo Authentica, began organizing an annual Voodoofest in Congo Square each Halloween, involving various stalls selling food and paraphernalia and a public Voodoo ceremony.


title: Louisiana Voodoo

text: In the latter part of the 20th century, Voodoo saw a resurgence in New Orleans, a phenomenon reflecting some survivals from earlier practices, some imports from other African diasporic traditions, and some consciously revivalist approaches. Various groups emerged; in 1990 the African American Miriam Chamani established the Voodoo Spiritual Temple in the French Quarter, which venerated deities from Haitian Vodou and Cuban Santería. A Ukrainian-Jewish American initiate of Haitian Vodou, Sallie Ann Glassman, launched another group, La Source Ancienne, in the Bywater neighborhood; she also operated the Island of Salvation Botanica store. The most publicly prominent of the new Voodoo practitioners was Ava Kay Jones, a Louisiana Creole woman who had been initiated into both Haitian Vodou and Orisha-Vodu, a U.S.-based derivative of Santería. Long believed that these groups reflected a "Voodoo revival" rather than a direct continuation of 18th and 19th century traditions; she noted that this new Voodoo typically resembled Haitian Vodou or Santería more than the 19th-century Louisiana Voodoo. These groups sought to promote understanding of their religion through websites, newsletters, and workshops.


title: Louisiana Voodoo

text: Some children are born into families that already practice Louisiana Voodoo; others come to the religion on their own.


title: Louisiana Voodoo

text: In 1873, the "Daily Picayune" estimated that there were about 300 dedicated practitioners of Voodoo in New Orleans, with about a thousand more looser adherents. In 2014, "Newsweek" reported a claim—cited to "locals"—that there had been between 2,500 and 3,000 practitioners in New Orleans at the start of the 21st century, but that following Hurricane Katrina and the subsequent dispersal of much of the city's population, that number was down to under 300.


title: Louisiana Voodoo

text: White people have been involved in Louisiana Voodoo since its early years; oral accounts recorded in the 1930s and 1940s suggest that many of Marie Laveau's followers and clients had been white. Tallant noted that, as of the 1940s, about a third of the religion's practitioners were white.


title: Louisiana Voodoo

text: Long noted that the "Voodoo revival" of the late 20th century had attracted many "well-educated" and middle-class Americans, both black and white. Glassman's group has been described as having a white-majority membership. In a 1995 article for "The New York Times", Rick Bragg noted that many contemporary practitioners were "white people — nose and tongue piercers, middle-aged intellectuals and men with foot-long ponytails — who enjoy the religion's drumming and cultural aspects." Osbey thought that this revival was appealing, especially to "young-ish whites", because they felt it offered "something at once forbidden, magical and compelling in its dramatic appeal"; in her view they were not real practitioners of Louisiana Voodoo because they do not descend from the ancestral spirits that the religion venerates.


title: Louisiana Voodoo

text: Like New Orleans itself, Louisiana Voodoo has long evoked both "fascination and disapproval" from the Anglo-dominated American mainstream. Louisiana Voodoo has gained negative connotations in wider American society, being linked to witchcraft and hexing; Protestant groups, including those present among the black New Orleanian population, have denounced Voodoo as devil worship. During the 19th century, many Anglo-Protestant arrivals to New Orleans also considered Voodoo a threat to public safety and morality; white writers in the late 19th century often expressed concern about the opportunities for racial mixing provided by Voodoo ceremonies, especially the presence of white women near to black men. By the late 20th century, it was gaining increasing recognition as a legitimate religion of the African diaspora.


title: Louisiana Voodoo

text: Sensationalist portrayals of Voodoo have been featured in a range of films and popular novels. The 1987 film "Angel Heart" connected Louisiana Voodoo with Satanism; the 2004 film "The Skeleton Key" evoked many older stereotypes although made greater reference to the actual practices of Louisiana Voodoo. The 2009 Disney film "The Princess and the Frog", which is set in New Orleans, depicted the character of Mama Odie as a practitioner of Vodou. Characters practicing Louisiana Voodoo were also incorporated into the 2013 U.S. television series "", where they were described as a coven of witches active since the 17th century.


title: Louisiana Voodoo

text: Voodoo has also influenced popular music, as seen in songs like Jimi Hendrix's "Voodoo Chile" and Colin James' "Voodoo Thing". The New Orleans singer Mac Rebennack took on the stage name of Dr. John after the 19th-century Voodoo practitioner and made heavy use of Voodoo terminology and aesthetics in his music; his first album, released in 1968, was titled "Gris-Gris".


title: Louisiana Voodoo

text: Elements of Voodoo were incorporated into the black Spiritual churches whose teachings drew upon Roman Catholicism, Spiritualism, and Pentecostalism.


title: Nixon shock

text: The Nixon shock was a series of economic measures undertaken by United States President Richard Nixon in 1971, in response to increasing inflation, the most significant of which were wage and price freezes, surcharges on imports, and the unilateral cancellation of the direct international convertibility of the United States dollar to gold.


title: Nixon shock

text: Although Nixon's actions did not formally abolish the existing Bretton Woods system of international financial exchange, the suspension of one of its key components effectively rendered the Bretton Woods system inoperative. While Nixon publicly stated his intention to resume direct convertibility of the dollar after reforms to the Bretton Woods system had been implemented, all attempts at reform proved unsuccessful. By 1973, the current regime based on freely floating fiat currencies "de facto" replaced the Bretton Woods system for other global currencies.


title: Nixon shock

text: In 1944, representatives from 44 nations met in Bretton Woods, New Hampshire, to develop a new international monetary system that came to be known as the Bretton Woods system. Conference attendees had hoped that this new system would "ensure exchange rate stability, prevent competitive devaluations, and promote economic growth". It was not until 1958 that the Bretton Woods system became fully operational. Countries now settled their international accounts in dollars that could be converted to gold at a fixed exchange rate of $35 per ounce, which was redeemable by the U.S. government. Thus, the United States was committed to backing every dollar overseas with gold, and other currencies were pegged to the dollar.


title: Nixon shock

text: For the first years after World War II, the Bretton Woods system worked well. With the Marshall Plan, Japan and Europe were rebuilding from the war, and countries outside the US wanted dollars to spend on American goods—cars, steel, machinery, etc. Because the U.S. owned over half the world's official gold reserves—574 million ounces at the end of World War II—the system appeared secure.


title: Nixon shock

text: However, from 1950 to 1969, as Germany and Japan recovered, the US share of the world's economic output dropped significantly, from 35% to 27%. Furthermore, a negative balance of payments, growing public debt incurred by the Vietnam War, and monetary inflation by the Federal Reserve caused the dollar to become increasingly overvalued in the 1960s.


title: Nixon shock

text: In France, the Bretton Woods system was called "America's exorbitant privilege" as it resulted in an "asymmetric financial system" where non-US citizens "see themselves supporting American living standards and subsidizing American multinationals". As American economist Barry Eichengreen summarized: "It costs only a few cents for the Bureau of Engraving and Printing to produce a $100 bill, but other countries had to pony up $100 of actual goods in order to obtain one". In February 1965 President Charles de Gaulle announced his intention to exchange its U.S. dollar reserves for gold at the official exchange rate.


title: Nixon shock

text: By 1966, non-US central banks held $14 billion, while the United States had only $13.2 billion in gold reserve. Of those reserves, only $3.2 billion was able to cover foreign holdings as the rest was covering domestic holdings.


title: Nixon shock

text: By 1971, the money supply had increased by 10%. In May 1971, West Germany left the Bretton Woods system, unwilling to revalue the Deutsche Mark. In the following three months, this move strengthened its economy. Simultaneously, the dollar dropped 7.5% against the Deutsche Mark. Other nations began to demand redemption of their dollars for gold. Switzerland redeemed $50 million in July. France acquired $191 million in gold. On August 5, 1971, the United States Congress released a report recommending devaluation of the dollar, in an effort to protect the dollar against "foreign price-gougers". On August 9, 1971, as the dollar dropped in value against European currencies, Switzerland left the Bretton Woods system. The pressure began to intensify on the United States to leave Bretton Woods.


title: Nixon shock

text: At the time, the U.S. also had an unemployment rate of 6.1% (August 1971) and an inflation rate of 5.84% (1971).


title: Nixon shock

text: To combat these problems, President Nixon consulted Federal Reserve chairman Arthur Burns, incoming Treasury Secretary John Connally, and then Undersecretary for International Monetary Affairs and future Fed Chairman Paul Volcker.


title: Nixon shock

text: On the afternoon of Friday, August 13, 1971, these officials along with twelve other high-ranking White House and Treasury advisors met secretly with Nixon at Camp David. There was great debate about what Nixon should do, but ultimately Nixon, relying heavily on the advice of the self-confident Connally, decided to break up Bretton Woods by announcing the following actions on August 15:


title: Nixon shock

text: Speaking on television on Sunday, August 15, when American financial markets were closed, Nixon said the following:


title: Nixon shock

text: The American public believed the government was rescuing them from price gougers and from a foreign-caused exchange crisis. Politically, Nixon's actions were a great success. The Dow rose 33 points the next day, its biggest daily gain ever at that point, and the "New York Times" editorial read, "We unhesitatingly applaud the boldness with which the President has moved." By December 1971, the import surcharge was dropped as part of a general revaluation of the Group of Ten (G-10) currencies, which under the Smithsonian Agreement were thereafter allowed 2.25% devaluations from the agreed exchange rate. In March 1973, the fixed exchange rate system became a floating exchange rate system. The currency exchange rates no longer were governments' principal means of administering monetary policy.


title: Nixon shock

text: The Nixon Shock has been widely considered to be a political success, but an economic failure for bringing on the 1973–1975 recession, the stagflation of the 1970s, and the instability of floating currencies. The dollar plunged by a third during the 1970s. According to the "World Trade Review"s report "The Nixon Shock After Forty Years: The Import Surcharge Revisited", Douglas Irwin reports that for several months, U.S officials could not get other countries to agree to a formal revaluation of their currencies. The German Mark appreciated significantly after it was allowed to float in May 1971. Further, the Nixon Shock unleashed enormous speculation against the dollar. It forced Japan's central bank to intervene significantly in the foreign exchange market to prevent the yen from increasing in value. Within two days August 16–17, 1971, Japan's central bank had to buy $1.3 billion to support the dollar and keep the yen at the old rate of ¥360 to the dollar. Japan's foreign exchange reserves rapidly increased: $2.7 billion (30%) a week later and $4 billion the following week. Still, this large-scale intervention by Japan's central bank could not prevent the depreciation of US dollar against the yen. France also was willing to allow the dollar to depreciate against the franc, but not allow the franc to appreciate against gold. Even much later, in 2011, Paul Volcker expressed regret over the abandonment of Bretton Woods: "Nobody's in charge," Volcker said. "The Europeans couldn't live with the uncertainty and made their own currency and now that's in trouble."


title: Nixon shock

text: Debates over the Nixon Shock have persisted to the present day, with economists and politicians across the political spectrum trying to make sense of the Nixon Shock and its impact on monetary policy in the light of the financial crisis of 2007–2008.


title: Intel Graphics Technology

text: Intel Graphics Technology (GT) is the collective name for a series of integrated graphics processors (IGPs) produced by Intel that are manufactured on the same package or die as the central processing unit (CPU). It was first introduced in 2010 as Intel HD Graphics and renamed in 2017 as Intel UHD Graphics.


title: Intel Graphics Technology

text: Intel Iris Graphics and Intel Iris Pro Graphics are the IGP series introduced in 2013 with some models of Haswell processors as the high-performance versions of HD Graphics. Iris Pro Graphics was the first in the series to incorporate embedded DRAM. Since 2016 Intel refers to the technology as Intel Iris Plus Graphics with the release of Kaby Lake.


title: Intel Graphics Technology

text: In the fourth quarter of 2013, Intel integrated graphics represented, in units, 65% of all PC graphics processor shipments. However, this percentage does not represent actual adoption as a number of these shipped units end up in systems with discrete graphics cards.


title: Intel Graphics Technology

text: Before the introduction of Intel HD Graphics, Intel integrated graphics were built into the motherboard's northbridge, as part of the Intel's Hub Architecture. They were known as Intel Extreme Graphics and Intel GMA. As part of the Platform Controller Hub (PCH) design, the northbridge was eliminated and graphics processing was moved to the same die as the central processing unit (CPU).


title: Intel Graphics Technology

text: The previous Intel integrated graphics solution, Intel GMA, had a reputation of lacking performance and features, and therefore was not considered to be a good choice for more demanding graphics applications, such as 3D gaming. The performance increases brought by Intel's HD Graphics made the products competitive with integrated graphics adapters made by its rivals, Nvidia and ATI/AMD. Intel HD Graphics, featuring minimal power consumption that is important in laptops, was capable enough that PC manufacturers often stopped offering discrete graphics options in both low-end and high-end laptop lines, where reduced dimensions and low power consumption are important.


title: Intel Graphics Technology

text: Intel HD and Iris Graphics are divided into generations, and within each generation are divided into 'tiers' of increasing performance, denominated by the 'GTx' label. Each generation corresponds to the implementation of a Gen graphics microarchitecture with a corresponding GEN instruction set architecture since Gen4.


title: Intel Graphics Technology

text: In January 2010, Clarkdale and Arrandale processors with Ironlake graphics were released, and branded as Celeron, Pentium, or Core with HD Graphics. There was only one specification: 12 execution units, up to 43.2 GFLOPS at 900 MHz. It can decode a H264 1080p video at up to 40 fps.


title: Intel Graphics Technology

text: In January 2011, the Sandy Bridge processors were released, introducing the "second generation" HD Graphics:


title: Intel Graphics Technology

text: Sandy Bridge Celeron and Pentium have Intel HD, while Core i3 and above have either HD 2000 or HD 3000. HD Graphics 2000 and 3000 include hardware video encoding and HD postprocessing effects.


title: Intel Graphics Technology

text: On 24 April 2012, Ivy Bridge was released, introducing the "third generation" of Intel's HD graphics:


title: Intel Graphics Technology

text: Ivy Bridge Celeron and Pentium have Intel HD, while Core i3 and above have either HD 2500 or HD 4000. HD Graphics 2500 and 4000 include hardware video encoding and HD postprocessing effects.


title: Intel Graphics Technology

text: For some low-power mobile CPUs there is limited video decoding support, while none of the desktop CPUs have this limitation. HD P4000 is featured on the Ivy Bridge E3 Xeon processors with the 12X5 v2 descriptor, and supports unbuffered ECC RAM.


title: Intel Graphics Technology

text: The 128 MB of eDRAM in the Iris Pro GT3e is in the same package as the CPU, but on a separate die manufactured in a different process. Intel refers to this as a Level 4 cache, available to both CPU and GPU, naming it "Crystalwell". The Linux codice_1 driver is aware and capable of using this eDRAM since kernel version 3.12.


title: Intel Graphics Technology

text: In November 2013, it was announced that Broadwell-K desktop processors (aimed at enthusiasts) would also carry Iris Pro Graphics.


title: Intel Graphics Technology

text: The Skylake line of processors, launched in August 2015, retires VGA support, while supporting multi-monitor setups of up to three monitors connected via HDMI 1.4, DisplayPort 1.2 or Embedded DisplayPort (eDP) 1.3 interfaces.


title: Intel Graphics Technology

text: The Kaby Lake line of processors was introduced in August 2016. New features: speed increases, support for 4K UHD "premium" (DRM encoded) streaming services, media engine with full hardware acceleration of 8- and 10-bit HEVC and VP9 decode.


title: Intel Graphics Technology

text: The Kaby Lake Refresh line of processors was introduced in October 2017. New features: HDCP 2.2 support


title: Intel Graphics Technology

text: New features: 10 nm Gen 11 GPU microarchitecture, two HEVC 10-bit encode pipelines, three 4K display pipelines (or 2× 5K60, 1× 4K120), variable rate shading (VRS), and integer scaling.


title: Intel Graphics Technology

text: While the microarchitecture continues to support double-precision floating-point as previous versions did, the mobile configurations of it do not include the feature and therefore on these it is supported only through emulation.


title: Intel Graphics Technology

text: These are based on the Intel Xe-LP microarchitecture, the low power variant of the Intel Xe GPU architecture also known as Gen 12. New features include Sampler Feedback, Dual Queue Support, DirectX12 View Instancing Tier2, and AV1 8-bit and 10-bit fixed-function hardware decoding.


title: Intel Graphics Technology

text: New features: DirectX 12 Ultimate Feature Level 12_2 support, 8K 10-bit AV1 hardware encoder, HDMI 2.1 48Gbps native support


title: Intel Graphics Technology

text: Beginning with Sandy Bridge, the graphics processors include a form of digital copy protection and digital rights management (DRM) called "Intel Insider", which allows decryption of protected media within the processor. Previously there was a similar technology called Protected Audio Video Path (PAVP).


title: Intel Graphics Technology

text: Intel Graphics Technology supports the HDCP technology, but the actual HDCP support depends on the computer's motherboard.


title: Intel Graphics Technology

text: Intel Quick Sync Video is Intel's hardware video encoding and decoding technology, which is integrated into some of the Intel CPUs. The name "Quick Sync" refers to the use case of quickly transcoding ("syncing") a video from, for example, a DVD or Blu-ray Disc to a format appropriate to, for example, a smartphone. Quick Sync was introduced with the Gen 6 in Sandy Bridge microprocessors on 9 January 2011.


title: Intel Graphics Technology

text: Graphics Virtualization Technology (GVT) was announced 1 January 2014 and introduced at the same time as Intel Iris Pro. Intel integrated GPUs support the following sharing methods:


title: Intel Graphics Technology

text: Gen9 (i.e. Graphics powering 6th through 9th generation Intel processors) is the last generation of the software-based vGPU solution GVT-G (Intel® Graphics Virtualization Technology –g).


title: Intel Graphics Technology

text: SR-IOV (Single Root IO Virtualization) is supported only on platforms with 11th Generation Intel® Core™ "G" Processors (products formerly known as Tiger Lake) or newer. This leaves Rocket Lake (11th Gen Intel Processors) without support for GVT-g and/or SR-IOV. This means Rocket Lake has no full virtualization support.


title: Intel Graphics Technology

text: HD 2500 and HD 4000 GPUs in Ivy Bridge CPUs are advertised as supporting three active monitors, but this only works if two of the monitors are configured identically, which covers many but not all three-monitor configurations. The reason for this is that the chipsets only include two phase-locked loops (PLLs) for generating the pixel clocks timing the data being transferred to the displays.


title: Intel Graphics Technology

text: Therefore, three simultaneously active monitors can only be achieved when at least two of them share the same pixel clock, such as:


title: Intel Graphics Technology

text: Another possible three-monitor solution uses the Embedded DisplayPort on a mobile CPU (which does not use a chipset PLL at all) along with any two chipset outputs.


title: Intel Graphics Technology

text: ASRock Z87- and H87-based motherboards support three displays simultaneously. Asus H87-based motherboards are also advertised to support three independent monitors at once.


title: Intel Graphics Technology

text: OpenCL 2.1 and 2.2 possible with software update on OpenCL 2.0 hardware (Broadwell+) with future software updates.


title: Intel Graphics Technology

text: Support for Direct3D 9 in Mesa is only implemented for Gallium3D-style drivers, and is thus only available with the newer Gallium3D Iris driver, which is the default for Broadwell+ since Mesa 20.0. It is not supported in the classic Mesa i965 driver.


title: Intel Graphics Technology

text: The classic Mesa i965 driver, which is the only one for Haswell and older on Linux, only supports core profile for OpenGL 3.1+, not compatibility profile. The Iris Gallium3D driver supports compatibility profile for OpenGL 4.6.


title: Intel Graphics Technology

text: Intel developed a dedicated SIP core which implements multiple video decompression and compression algorithms branded Intel Quick Sync Video. Some are implemented completely, some only partially.


title: Intel Graphics Technology

text: Intel releases programming manuals for most of Intel HD Graphics devices via its Open Source Technology Center. This allows various open source enthusiasts and hackers to contribute to driver development, and port drivers to various operating systems, without the need for reverse engineering.


title: Jeremy Stephens

text: Jeremy Stephens (born May 26, 1986) is an American professional mixed martial artist who competes in the Lightweight division of Professional Fighters League (PFL). A professional since 2005, he spent 15 years and competed in 33 bouts in the UFC's Featherweight and Lightweight divisions.


title: Jeremy Stephens

text: Stephens was born in Des Moines, Iowa, on May 26, 1986, and came from a broken home. When he was eight years old, Stephens parents divorced and he constantly switched between schools while also living in various apartments, shelters, and even in his mother's car before moving to Norwalk, Iowa with his father, who was granted custody of Stephens when he was in the fifth grade. Growing up, Stephens played baseball, basketball, and also competed in wrestling. Stephens attended Norwalk High School where he was a standout in baseball and wrestling, having returned to wrestling during his senior year. Stephens was introduced to mixed martial arts by his grandfather who had also originally persuaded Stephens to compete in wrestling. While beginning his career in mixed martial arts, Stephens looked up to and later became friends with fellow Des Moines native Josh Neer.


title: Jeremy Stephens

text: At age 16, Stephens began mixed martial arts as an amateur and began full-time training at the age of 18. Stephens was the UGC and MCC Lightweight Champion.


title: Jeremy Stephens

text: Stephens was defeated via second round armbar submission in his UFC debut against veteran Din Thomas at UFC 71 on May 26, 2007.


title: Jeremy Stephens

text: Jeremy then scored his second win inside the Octagon after beating Cole Miller via second-round TKO at UFC Fight Night 12.


title: Jeremy Stephens

text: At the finale of The Ultimate Fighter 7, Jeremy took on former trainer and friend Spencer Fisher. Stephens lost via unanimous decision.


title: Jeremy Stephens

text: After the loss he rebounded with an emphatic come from behind knockout victory over BJJ black belt and future UFC Lightweight Champion, Rafael dos Anjos at UFC 91. He was out-grappled the first two rounds but in the third came out swinging and landed a huge uppercut on dos Anjos that knocked him unconscious. This win earned him the Knockout of the Night award.


title: Jeremy Stephens

text: Stephens next stepped in as a late replacement for Hermes Franca against Joe Lauzon on February 7, 2009 at UFC Fight Night 17. Lauzon defeated Stephens with an armbar late in the second round.


title: Jeremy Stephens

text: Then on April 1, 2009 at , Stephens was out-wrestled by Gleison Tibau and lost his second straight fight via unanimous decision.


title: Jeremy Stephens

text: Stephens was expected to return to the octagon on September 16, 2009, at against UFC newcomer Ronnys Torres. However, Torres sustained an injury during training and was replaced by Justin Buchholz. Stephens defeated Buchholz after landing several big strikes and opening up a deep gash on Buchholz's forehead, forcing the doctor to stop the fight midway through the first round. This win earned him the Knockout of the Night award.


title: Jeremy Stephens

text: Stephens was expected to face Nik Lentz on January 11, 2010, at UFC Fight Night 20. However, Stephens suffered a cut and was forced to pull out of the fight.


title: Jeremy Stephens

text: Stephens defeated Sam Stout via split decision on May 8, 2010, at UFC 113. He won the fight via split decision. This win earned him the Fight of the Night award.


title: Jeremy Stephens

text: Stephens faced Marcus Davis on January 1, 2011, at UFC 125. After likely losing the first two rounds, Stephens then came out more aggressive in the third round and caught Davis with a counter punch resulting in a KO win. This win earned him the Knockout of the Night award.


title: Jeremy Stephens

text: Stephens was expected to face Jonathan Brookins on June 4, 2011, at The Ultimate Fighter 13 Finale. However, Brookins was forced from the bout with an injury and replaced by Danny Downes. Stephens defeated Downes via unanimous decision after dominating all three rounds.


title: Jeremy Stephens

text: Stephens faced Anthony Pettis on October 8, 2011, at UFC 136. Pettis defeated Stephens via split decision (29-28, 28–29, 29-28).


title: Jeremy Stephens

text: Stephens replaced an injured Yves Edwards against Donald Cerrone on May 15, 2012 at He lost the fight via unanimous decision.


title: Jeremy Stephens

text: Stephens was expected to face Yves Edwards on October 5, 2012, at UFC on FX 5. However, the bout was cancelled due to Stephens being arrested on the day of the event for an assault charge that dates back to 2011. The fight eventually took place on December 8, 2012 at UFC on Fox 5. Edwards won by knockout in the first round, being the first fighter to ever stop Stephens via strikes.


title: Jeremy Stephens

text: Stephens made his Featherweight debut against promotional newcomer Estevan Payan on May 25, 2013 at UFC 160. He won the bloody fight via unanimous decision.


title: Jeremy Stephens

text: Stephens was expected to face Rony Jason on October 9, 2013, at UFC Fight Night 29. However, Jason pulled out of the bout citing an injury (lumbar hernia). The bout eventually took place on November 9, 2013, at UFC Fight Night 32. Stephens won via knockout early in the first round.


title: Jeremy Stephens

text: Stephens faced Darren Elkins on January 25, 2014, at UFC on Fox 10. He won the fight via unanimous decision.


title: Jeremy Stephens

text: Stephens faced Cub Swanson on June 28, 2014, at UFC Fight Night 44. He lost the fight via unanimous decision. This fight earned him the Fight of the Night award.


title: Jeremy Stephens

text: Stephens next faced Charles Oliveira on December 12, 2014, at . He lost the fight by unanimous decision.


title: Jeremy Stephens

text: Stephens faced Dennis Bermudez on July 11, 2015, at UFC 189. He won the fight by TKO due to a flying knee and punches after a close first two rounds.


title: Jeremy Stephens

text: Stephens faced Max Holloway on December 12, 2015, at UFC 194. He lost the fight via unanimous decision.


title: Jeremy Stephens

text: Stephens faced former UFC Bantamweight Champion Renan Barão on May 29, 2016, at UFC Fight Night 88. He won the back and forth bout by unanimous decision. Both participants were awarded "Fight of the Night" honors for their performance.


title: Jeremy Stephens

text: Stephens faced former UFC Lightweight Champion Frankie Edgar on November 12, 2016, at UFC 205. He lost the fight via unanimous decision.


title: Jeremy Stephens

text: Stephens faced Renato Moicano on April 15, 2017, at UFC on Fox 24. He lost the fight by split decision.


title: Jeremy Stephens

text: Stephens faced Gilbert Melendez on September 9, 2017, at UFC 215. He won the fight via unanimous decision. Both participants were awarded "Fight of the Night" honors for their performance.


title: Jeremy Stephens

text: Stephens faced Doo Ho Choi on January 14, 2018, at . He won the fight via TKO in the second round. Both participants were awarded "Fight of the Night".


title: Jeremy Stephens

text: Stephens faced Josh Emmett on February 24, 2018 at UFC on Fox 28. He won the fight via knockout in round two. This win earned him a Performance of the Night bonus.


title: Jeremy Stephens

text: Stephens next faced former WEC Featherweight Champion and 2-time UFC Featherweight Champion José Aldo, on July 28, 2018 at . He lost the fight via TKO in the first round.


title: Jeremy Stephens

text: Stephens faced Zabit Magomedsharipov on March 2, 2019 at UFC 235. He lost the fight via unanimous decision.


title: Jeremy Stephens

text: Stephens faced Yair Rodríguez on September 21, 2019 in the main event at UFC on ESPN+ 17. The bout ended in a "No Contest" just 15 seconds into the first round after Rodríguez accidentally swatted Stephens in the left eye, rendering Stephens unable to continue.


title: Jeremy Stephens

text: Stephens faced Yair Rodríguez in a rematch on October 18, 2019 at UFC on ESPN 6. He lost the fight via unanimous decision. This fight earned him the "Fight of the Night" award.


title: Jeremy Stephens

text: Stephens was scheduled to Calvin Kattar on April 18, 2020 at UFC 249. However, on April 9, Dana White, the president of UFC announced that this event was postponed and the bout eventually took place on May 9, 2020. At the weigh-ins on May 8, Stephens missed weight, weighing in at 150.5 pounds, 4.5 pounds over the non-title featherweight limit. As a result, the bout proceeded as a catchweight bout and Stephens was fined 20% of his purse. Despite having success and out-striking Kattar in the first round, Stephens lost the fight via technical knockout in round two.


title: Jeremy Stephens

text: Stephens was scheduled to face Arnold Allen on November 7, 2020 at . However, Stephens was forced to withdraw from the event, citing injury.


title: Jeremy Stephens

text: Stephens was expected to return to the lightweight division for the first one since 2012 to face Drakkar Klose at UFC on ESPN 22. However, day of the event, it was announced that the bout was scrapped due to Klose sustaining a spinal injury as a result of being shoved by Stephens at the weigh-ins.


title: Jeremy Stephens

text: In late-January 2022, it was announced that after a nearly 15 year tenure and 33 fights in the UFC, Stephens contract was not renewed after his most recent fight for the promotion.


title: Jeremy Stephens

text: After his contract was not renewed by the UFC, Stephens signed with PFL for the 2022 season to compete in their Lightweight division.


title: Jeremy Stephens

text: In his promotional debut, Stephens faced Clay Collard on April 23, 2022 at PFL 1. In a back and forth affair, Stephens lost the bout via unanimous decision.


title: Jeremy Stephens

text: Stephens faced Natan Schulte on November 25, 2022 at PFL 10. Stephens lost the bout in the second round, getting submitted by arm-triangle choke.


title: Jeremy Stephens

text: Stephens is of Mexican descent maternally. He has two daughters and is a good friend of former UFC Fighter Anton Kuivanen. Stephens has spoken about how self-doubt has affected his life and how his failures have led to suicidal thoughts in the past.


title: Jeremy Stephens

text: On October 5, 2012, the date Stephens was supposed to fight at , Stephens was arrested in Minneapolis, Minnesota after Minneapolis PD served an arrest warrant. Stephens was charged with felony assault and burglary, stemming from an incident that took place in Des Moines, Iowa in 2011. Stephens was then extradited to the Polk County jail where he was incarcerated for 15 days before being released. Most of the charges, however, were eventually dropped, and Stephens pleaded guilty to one count of disorderly conduct, a misdemeanor.


title: Discipline

text: Discipline refers to rule following behavior, to regulate, order, control and authority. It may also refer to punishment. Discipline is used to create habits, routines, and automatic mechanisms such as blind obedience. It may be inflicted on others or on oneself. Self discipline refers to the practice of self restraint, controlling one's emotions, and ignoring impulses.


title: Discipline

text: Disciplinarians have been involved in many societies throughout history. The Victorian era resulted in the popular use of disciplinarian governance over children. Edward VIII had a disciplinarian father, and the English had modeled the royal families during this era. Edward's grandmother was Queen Victoria who had championed the role of the family unit during her reign. Disciplinarians will enforce a stricter set of rules that are aimed at developing children according to theories of order and discipline. Disciplinarians have also been linked to child abuse in numerous cases and biographies.


title: Discipline

text: Self-discipline is about creating new habits of thought, action, and speech toward improving oneself and reaching institutional goals . This is an alternative to viewing discipline as a means to obtain more information. We can also define exercising self-control or discipline as the ability to give up immediate pleasures for long-term goals (also called deferred gratification), according to Simons. True discipline is grounded in your ability to leave your comfort zone. Habit is about wanting to change, not about wanting to sweat and undergo activity. To forego or sacrifice immediate pleasure requires thought and focused discipline. Self-discipline is, more specifically, about your ability to control your desires and impulses in order to keep yourself focused on what needs to get done to successfully achieve that goal, according to Sicinski. It's about taking those small consistent steps of daily action to build a strong set of disciplined habits that fulfill your objectives. One trains oneself to proactively follow a specific set of rules and standards that help determine, coalesce and line-up one's thoughts and actions with the task at hand. It's small acts that allows us to achieve greater goals. The key component of self-discipline is the trait of persistence or perseverance; it's the daily choices that accumulate to produce those changes we want the most in spite of obstacles. Without it, self-discipline would be largely impossible. Self-discipline, persistence and perseverance is similar to grit.


title: Discipline

text: Discipline is about inner and outer dimensions, discipline could be about the capacity to decide on what is right from wrong (internal consistency) and to use our skills well, properly or routine compliance and to adhere to external regulation which is to have compliance with rules (external consistency). "Discipline is the thing that happens when you expend some effort (both physical and mental) to do a thing that in that moment, you don’t feel like doing... Discipline doesn’t really take into account your thoughts or feelings." that Erin Carpenter says is the beauty of discipline since what we do is something that is entirely within our control, an action is completely under our control. Secondly, it is action that completes, furthers or solidifies a goal, not merely our thought and feeling. Thirdly, an action conforms to a value. Actions are then value-laden and are therefore helpful and useful, in other words we allow values to determine the choices we make, we don't let conditions or circumstances dictate it like for example we don't wait for emotional motivation to drive us or waiting to be feeling "up to it" that day. Erin says that discipline means the perpetual practice of taking action that's inline with a rule or a set of standards, even if that rule has been self-imposed.


title: Discipline

text: Self-discipline may be an answer to procrastination according to Rory Vaden a leading psychologist specializing on procrastination. People spend time regretting things they haven't done compared to things they have done. When you procrastinate you spend time on things you don't like to do or don't think you should do and who would otherwise be someone who invests in something meaningful that could be beneficial to you. Procrastination is not laziness or relaxation. We procrastinate due to how we did last time or how we may fail to learn.


title: Discipline

text: A life changing habit is one that will help you to enhance your health, working life and quality of life. The key to using this three-step process to your benefit is identifying the emotional state or emotional responses we have to prompt us (triggers) to take an action, keeping the same reward we simply switch out the action or routine as it maybe to one that is healthier, more productive or useful to us to help us follow our rule or guidelines. Knowing how we feel we can isolate the specific behavioral patterns that prompt the learned routine and reward/outcome and planning out how we really want it to occur and take control. The behavioural responses are ones that prevent us from breaking through and hold us back. There are many ways of satisfying our emotional needs and then changing behavioural responses with ones we like. Finding what emotional state we need to be in takes effort to figure out. It takes some effort to satisfy our specific needs while having a new good or healthier habit. The reward is something that we enjoy.


title: Discipline

text: When motivation begins to waver, it's self-discipline that makes us continue on in spite of our emotions and thoughts.


title: Discipline

text: It takes two months for a new habit to form, according to research by Phillippa Lally and colleagues. Firstly, there is no reason to get depressed because it takes more than a few weeks to develop a habit, embrace the slow move towards discipline. Secondly, making some kind of mistake has no measurable impact on any long-term habits; develop ways to get back on track, you don't have to have a perfect pattern or life. Thirdly, habit making is a process and not an event, you must embrace the process to get there, commitment is key to all disciplined people.


title: Discipline

text: When you’re building habits that will allow you to overcome your impulses, those are easy ways of achieving short-term gratification, we are likely to be free to be ourselves and only if we have control over our own mind. Controlling our mind is so that we aren't bound to believe in or to be sensitive to failure, financial strains or mental anxiety. In other words, we aren't being so reactive to life's problems but are being a proactive player. Mental anxiety, even without listing the other problems, is playing a role in making us more alarmist and overly sensitive to our environment. Chronic stress can be detrimental to the development of executive function, and may make us perceive problems where they don't exist, as outnumbering the solutions


title: Discipline

text: Brett McKay recommends we focus on whats in our circle of influence, what we we're in control of rather than our sphere of concern, whats outside of our control. Self-discipline is as simple as doing something difficult before going to bed or at other times of the day; it's merely controlling a portion of your day to build self-discipline. It's overcoming the urge to take the path of least resistance (primitive urges) in order to accomplish something long-term.


title: Discipline

text: Your actions and behaviors come as a result of your ability to control yourself, this is for better and for worse. The habits are an automatic mechanism to save our willpower energy, about forty percent of our actions are driven by programmed habits, to be self-disciplined you need to control your habits. Its to stay task oriented more often. They free up our mind so that we can envision and take care of the big picture things. The longer we hold to bad habits the more difficult it is to break free from them. Also the more we resist temptations then ironically we tend to ruminate more and thus the stronger those desires tends to get. An example of a good habit is holding an organized physical space, this makes for a relaxed, stress-free environment.


title: Discipline

text: Choices can be split between what gives us short-term pleasure but long-term pain, which is called experiencing immediate gratification, or interestingly has us experience short-term pain and long-term pleasure thus allowing us to experience delayed gratification. Habits get us doing things only for a long while, it may not have us stuck to routine as we think, we in order maintain habits you have to put effort into them while you’re doing them. Discipline is making our habits to be done exactly as said we must do them, rather than relying on merely the cue for the help we turn that 'should do' to a 'must do' so that we are in a better position to accomplish them and beat a competing behaviour. Doing "that ideal routine" when there isn't a cue to. Doing something as soon as we can is discipline, habit is when we're prepared to and have that inclination. Its a good level of and relevant level of buffering of competing behaviors. To change a behaviour we need discipline to be able to do it.


title: Discipline

text: There are three ways to learn to build discipline according to Sam Thomas Davies. The first is self-assessment, identify the why behind what you need discipline for, use a focusing question and make it essential your one thing that is going to get you to this. Find out the cause of resistance and learn to buffer it by doing your routine instead of excuses, sleeping or giving in to peer pressure. Secondly, self-awareness is learning to understand why you don't break your habits. Its simply because we don't have an understanding of how easy it is to give in to our impulses or urges rather than stay on track. The answer is to eliminate anything that will distract you, become indistractable, become a Choice Architect. "Out of sight, out of mind" is the saying applicably. Thirdly, self-celebration is to celebrate or reward your efforts for each win you accumulate every single day, celebrate when you fail to live up to your expectations as you now have learned something new by that opportunity or better yet celebrate your progress.


title: Discipline

text: There is a difference between active goals and passive goals. Passive goals are just goals we've thought of and include ways of doing things that can cater to those goals. Active goals are written, they have specific and measurable quantities or qualities, there is a plan towards their attainment. Included in these goals is setting long-term goals, as well as achieving and setting out to do daily tasks because we've set a set of active goals, we find it easier to achieve things this way. It provides some much needed direction. May help us avoid distractions as we've put into words and written down just what we will do.


title: Discipline

text: Self-discipline is an important principle in several religious systems. For example, in Buddhist ethics as outlines in the Noble Eightfold Path, the element of commitment to harmony and self-restraint has been described as a moral discipline.