title: Adonis Stevenson

text: On July 27, 2015 Premier Boxing Champions announced that Stevenson would headline a card on Spike TV on September 11 against WBC #9 ranked Tommy Karpency (25-4-1, 14 KOs) at the Ricoh Coliseum in Toronto. Karpency, previously coming off the biggest win of his career, a split decision win against Chad Dawson, the man who Stevenson beat to win the light heavyweight championship. Karpency was thought to be a stepping stone for Adonis, and he was. After barely escaping round 2, Karpency got knocked down at the beginning of round 3. He immediately knocked Karpency down after he got up, and the referee called a halt to the bout, awarding Stevenson a TKO victory in round 3. The fight averaged 581,000 viewers.


title: Adonis Stevenson

text: In November 2015, citing the fact that Stevenson hadn't faced a top-ranked opponent in the last two years, The Ring Magazine stripped Stevenson of his belt.


title: Adonis Stevenson

text: On May 31, 2016, it was announced that Stevenson would defend his WBC and Lineal titles against 28 year old southpaw Thomas Williams Jr. (20-1, 14 KOs) on July 16 in Quebec headlining a Premier Boxing Champions card. This was Stevenson's seventh defense of his WBC and Lineal light heavyweight titles. Williams weighed in the heaviest of the two at 174.6 pounds, with Stevenson weighing in at 173.6 pounds. In a brief slug fest, Stevenson knocked out Williams in round 4 to retain his titles in his seventh successful defense. Stevenson connected with a hard left to Williams' head in round one that floored him with approximately 30 seconds left, however Williams beat the referees count.


title: Adonis Stevenson

text: Undefeated Colombian boxer Eleider Álvarez (22-0, 11 KOs) became mandatory challenger following his win over Isaac Chilemba in November 2015. He then knocked out former super-middleweight world champion Lucian Bute in February 2017 in a final eliminator to become mandatory challenger once again for the WBC light heavyweight title. On February 27, 2017, the WBC ordered negotiations to begin between Stevenson and Álvarez, who are both managed by Al Haymon and promoted by Yvon Michel of GYM for a deal to be reached within 30 days or they would force a purse bid on March 24. Stevenson had a return date scheduled for April 29 at the newly renovated Nassau Coliseum in New York. Promoter Yvon Michel, stated on behalf of Álvarez, that he had averted from his mandatory position to allow Stevenson a voluntary defence.


title: Adonis Stevenson

text: On April 8, Stevenson revealed on social media that he had finalized a deal to fight Andrzej Fonfara (29-4, 17 KOs) in a rematch from their first fight in 2014. Yvon Michel later told ESPN that the fight would take place in Canada, at the Centre Bell in Montreal Quebec on June 3, 2017. The last time Stevenson fought at that arena was in 2014 against Fonfara. Fonfara was ranked #6 by the WBC at the time. Michel didn't go into detail around why a fight with Sean Monaghan, who he was tipped to fight originally in New York, never materialized, but said, if he continues winning, the fight could still happen. Fonfara started the fight well in round 1, connecting with the jab. Stevenson, who was patient with his left hand, eventually landed a left hook to the head of Fonfara, dropping him to the canvas. Fonfara beat the count, but was on steady legs and when he got backed up to in the corner, the bell saved him from an onslaught. Round 2 opened with Stevenson carrying on where he left of, pummeling Fonfara with huge lefts. The fight came to an abrupt end, when Fonfara's trainer, Virgil Hunter stepped up on the apron after just 28 seconds, motioning to the referee to stop the bout, which referee Michael Griffin did. Stevenson retained his WBC and Lineal world titles. When asked who Stevenson would fight next, he replied, "I'm the greatest at 175. I don't have to call out anybody," On the same card, Eleider Álvarez defeated Jean Pascal via majority decision to remain mandatory to Stevenson.


title: Adonis Stevenson

text: After Badou Jack (21-1-3, 13 KOs) defeated Nathan Cleverly in August 2017, to win the WBA 'Regular' light heavyweight title, he began to call out Stevenson, knowing that Stevenson had a mandatory challenger. Stevenson shrugged it off, claiming he was ready for anyone, "It was a good performance. He beat Cleverly now. So now he called me out and I'm ready. I'm ready to fight and I'm ready to unify the title. For Andre Ward or him, I'm ready. It doesn't matter to me [which one]. It's great for me to unify and add another title to my collection. I want to unify the titles. This is my goal and that's what I want to do." On September 8, 2017, mutual promoter Yvon Michel disclosed that there was serious ongoing negotiations between Stevenson and mandatory challenger Eleider Álvarez (23-0, 11 KOs) to fight before the end on 2017. He revealed the fight would take place in Quebec. In September, Michel said that he had a difficult time finalizing a date and venue for the fight, which meant the fight could get pushed to the end of January 2018. He also responded to claims of Jack wanting to fight Stevenson, saying it would only be possible if it were a unification. Michel confirmed the fight would take place on Showtime in January 2018. Michel spoke to Showtime about not going head to head locally with David Lemieux's next fight, which would take place on December 16 on HBO. On November 8, there was rumours stating that Stevenson would once again pay Álvarez a step-aside fee, in order to fight Badou Jack. Álvarez spoke to TVA Sports saying, "I do not think I'm going to fight Stevenson. I do expect to receive that (step-aside offer), and then I will analyze it with my team." On December 1, it was reported that GYM had offered Álvarez a step-aside deal which would give him 'a multi-fight agreement with six-figure guarantee per fight', with Stevenson being part of deal as well. On December 6, the WBC announced that they would investigate into Stevenson's title reign and lack of mandatories. A week later, the WBC stated they would allow Stevenson to avoid Álvarez once again in order to fight Jack. The WBC went on to state they would order Álvarez to fight Ukrainian boxer Oleksandr Gvozdyk (14-0, 12 KOs) for the interim title. Álvarez withdrew from the fight before the purse bid was scheduled on January 12, 2018. On January 24, 2018, Showtime confirmed the fight would take place on May 19 in Canada. The Bell Centre in Montreal was confirmed as the venue.


title: Adonis Stevenson

text: On April 11, news broke out from Álvarez's manager, Stephane Lepine that a deal was yet to be reached with Álvarez to be properly compensated. Yvon Michel admitted he was working on a deal to keep Álvarez happy and this was the same reason as to why tickets had not yet gone on sale for the Stevenson-Jack fight, which was a month away. On April 18, it was announced that a deal had been reached for Álvarez to challenge Sergey Kovalev (32-2-1, 28 KOs) for his WBO light heavyweight title on HBO. Kovalev was originally scheduled to fight contender Marcus Browne in the summer of 2018, however due to having been arrested for domestic violence, Kovalev's promoter, Kathy Duva of Main Events got in contact with Álvarez's manager Lepine about a potential fight. Due to Álvarez fighting Kovalev, this meant the announcement of Stevenson vs. Jack would be imminent. On April 23, the card was moved from Montreal and instead scheduled to take place at the Air Canada Centre in Toronto, Ontario, Canada. A day later, the official press conference was held to announce the fight.


title: Adonis Stevenson

text: Stevenson and Jack fought to a majority draw in a competitive bout. One judge scored the fight 115–113 in favor of Jack, whilst the remaining two judges overruled the decision, scoring the fight 114–114. Stevenson outpointed Jack in the early rounds being more active, however from round 5, it was Jack who was the busier and accurate of the two. From rounds 7 through 10, Jack out landed Stevenson 114–40 in total shots landed. It was in round 10 were Jack was hurt from multiple body shots from Stevenson's right hand. Stevenson carried the momentum into round 11 but it was Jack who finished the fight stronger. In round 7, Stevenson complained to referee Ian John Lewis about low blows and in round 8, Jack was warned. Jack later explained Stevenson's cup was low, hence why the shots looked like low blows. With the draw, Stevenson retained his WBC and Lineal titles for the ninth time. Jack was ranked as #1 at light heavyweight by the WBC at the time.


title: Adonis Stevenson

text: During the post fight interviews, Stevenson told Steve Gray, "I won the fight because I hurt him in the body. I hurt him in the body and he got slowed down. I kept the pressure on him. He was moving and moving – slick, slick – but I touched him more of the time and I think I won this fight." Speaking on the 3rd draw in his last 4 fights (before Bute was DQ'd for failed drug test), Jack stated, "I have no idea. It could be they're jealous of Floyd (Mayweather). I'm one of Floyd's top fighters. Maybe they don't like Floyd. Maybe they're trying to – you know, I don't know. To be honest, I don't know. I've gotta thank God for everything. ... I can't do anything about it. I thought I definitely won the fight, definitely won the fight. Nobody's complaining and no judge had him winning." According to CompuBox Stats, Stevenson landed 165 of 622 punches thrown (27%), 87 of which were power shots landed to the body and Jack landed 209 of his 549 thrown (38%) The fight averaged 535,000 viewers and peaked at 611,000 viewers on Showtime. The fight aired on pay-per-view in Canada.


title: Adonis Stevenson

text: On June 18, 2018, the WBC ordered Stevenson to make a mandatory defence against interim champion Oleksandr Gvozdyk (15-0, 12 KOs). In case a deal could not be reached, purse bids were set for July 2, 2018, where the split of 65-35 would be in favour of Stevenson. Yvon Michel of GYM won the rights to promote the fight with the winning bid of $2.1 million. He stated the fight was being targeted for November 3, 2018, in Quebec. Top Rank made a bid of $1.65 million. There was controversy surrounding the purse bids and claims of collusion by Top Rank. Initially, the bid was won by Phil Weiss on behalf of Tom Brown's TGB Promotions, with the winning bid at $3.102 million. TGB Promotions was known at the time for having close ties with Al Haymon, who was also the advisor of Stevenson. According to reports, the winning bid was withdrawn just minutes later. The next highest bidder, Michel, automatically won the bid, winning the rights to the fight. The WBC stated they would look into the claims. On July 6, the WBC upheld the purse bid giving Michel the promotional rights, however also stated they would impose punishment on TGB promotions of some sort. WBC president tweeted the bout would take place on December 1, 2018. Showtime confirmed they would televise the bout, which took place at Videotron Centre in Quebec, before the Deontay Wilder-Tyson Fury PPV telecast at the Staples Center in Los Angeles, California.


title: Adonis Stevenson

text: Gvozdyk ended Stevenson's five-year reign as champion by stopping him in round 11 by TKO to claim the WBC and Lineal titles.


title: Adonis Stevenson

text: Earlier in the fight, Gvozdyk knocked Stevenson down with a counter right hand to the head. Referee Michael Alexander did not rule it a knockdown, however replays later showed it was. Gvozdyk was the busier boxer landing punches through the mid rounds and it was Stevenson who looked to be landing the better shots in some rounds, but not all of them. Gvozdyk was spending most rounds using his movement to box on the outside. In round nine, Stevenson started throwing body shots, and had success landing them. At the same time, Stevenson seemed to be fading. In round 10, Gvozdyk was hurt after getting hit with a left hand that sent him into the ropes. Despite the ropes holding Gvozdyk up, the referee again did not call a knockdown. In round 11, Gvozdyk unloaded a 10-punch flurry that sent Stevenson down. The referee stopped the bout with Stevenson still on the canvas, as there was no signs of him beating the count. The time of stoppage was 2 minutes and 49 seconds of the round. At the time of stoppage, Stevenson was ahead 98–92 and 96–94 on two of the judges scorecards and the third judge had it 95–95. Gvozdyk celebrated with his team and trainer Teddy Atlas, but composed themselves quickly as soon as they realized Stevenson was badly hurt. Stevenson was able to sit back on his stool whilst doctors checked on him. In the post-fight interviews, Gvozdyk said, "This win means everything to me. I've trained my whole life for this, and tonight, all of the hard work was worth it." He also praised his new trainer Atlas. Stevenson began to feel dizzy in his dressing room, and was taken to a local hospital. Atlas ruled the 98-92 scorecard from Canadian judge Jack Woodburn as 'criminal'. However, Atlas did not criticize referee Griffin for missing the knockdowns.


title: Adonis Stevenson

text: The morning after the fight, it was reported that Stevenson was in critical condition in intensive care. The following Monday, his condition was changed to stable from critical and was placed in an induced coma. On December 20, despite a Russian tabloid reporting Stevenson had woken up and was seen speaking to family and friends, his promoter Yvon Michel stated he was still unconscious and his health had not improved since being sedated by doctors. He also required 'mechanical assistance' to breathe. On December 22, according to his girlfriend Simone God, Stevenson had woken up. As of February 18, 2019, Stevenson moved to a medical facility in Montreal, Canada, to continue receiving treatment related to his recovery. According to ESPN Deportes, Stevenson is talking and moving, becoming more mobile every day, and is well on the road to recovery. As of January 6, 2021, Stevenson is almost back to full health and in good spirits.


title: Adonis Stevenson

text: In 2012, in response to questioning at a press conference before a fight, Stevenson admitted to previously serving jail time in Bordeaux, Quebec, on charges of managing prostitutes, assault, and making threats. Stevenson served four years in prison for these crimes, and offenses which took place while incarcerated. Stevenson was released in 2001.


title: Nam June Paik

text: Nam June Paik (; July 20, 1932 – January 29, 2006) was a Korean American artist. He worked with a variety of media and is considered to be the founder of video art. He is credited with the first use (1974) of the term "electronic super highway" to describe the future of telecommunications.


title: Nam June Paik

text: Born in Seoul in 1932 in what was then Japanese Korea, the youngest of five children, Paik had two older brothers and two older sisters. His (who in 2002 was revealed to be a Chinilpa, or a Korean who collaborated with the Japanese during the latter's occupation of Korea) owned a major textile manufacturing firm. As he was growing up, he was trained as a classical pianist. By virtue of his affluent background, Paik received an elite education in modern (largely Western) music through his tutors.


title: Nam June Paik

text: In 1950, during the Korean War, Paik and his family fled from their home in Korea, first fleeing to Hong Kong, but later moving to Japan. Paik graduated with a BA in aesthetics from the University of Tokyo in 1956, where he wrote a thesis on the composer Arnold Schoenberg.


title: Nam June Paik

text: Paik moved West Germany in 1957 to study music history with composer Thrasybulos Georgiades at Munich University. While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace as well as George Maciunas, Joseph Beuys and Wolf Vostell.


title: Nam June Paik

text: In 1961, Paik returned to Tokyo to explore the country's advanced technologies. While living in Japan between 1962 and 1963, Paik first acquired a Sony Port-a-Pak, the first commercially available video recorder, perhaps by virtue of his close friendship with Nobuyuki Idei, who was an executive at (and later president of) the Sony corporation.


title: Nam June Paik

text: In 1964, Paik immigrated to the United States of America and began living in New York City, where he began working with classical cellist Charlotte Moorman, to combine his video, music, and performance.


title: Nam June Paik

text: After nearly thirty-five years of being exiled from his motherland of Korea, Paik returned to South Korea on June 22, 1984. From the mid-1980s to the mid-1990s, Paik played an integral role in Korea's art scene that, as the curator Lee Sooyon has argued, rendered him not merely an illustrious visitor to Korea, but instead a leader who helped open Korea's art scene to the broader international art world. In addition to opening solo exhibitions in Korea and mounting two world-wide broadcast projects for the 1986 Asia Games and the 1988 Olympics (both hosted in Seoul), Paik also organized a number of exhibitions in Korea. Some exhibitions coordinated by Paik introduced John Cage, Merce Cunningham, and Joseph Beuys to Korea's art scene; others brought recent developments in video art and interactivity from Europe and the U.S. to Korea, in ways that bridged similar activities in Korea's art scene. Paik was also involved in bringing the 1993 Whitney Biennial to Seoul, as well as in founding the Gwangju Biennale and establishing the Korea Pavilion at the Venice Biennale.


title: Nam June Paik

text: Beginning with his artistic career in Germany in the 1960s—and on through his immigration to the U.S., later involvement in South Korea’s art scene, and broader participation in international artistic currents—Paik’s transnational path has informed both his identity and his artistic practice in complex ways. At the outset of his career in Europe, Paik declared, “The yellow peril! C’est moi,” in a 1964 pamphlet, a reference to his Asian identity that, as the curators June Yap and Lee Soo-yon have noted, appropriates a xenophobic phrase coined by Kaiser Wilhelm II as Paik referenced his Asian identity. Curator John Hanhardt has observed that certain works recall Paik’s lived experience of transnational immigration from South Korea to Japan, Germany, and on the U.S.; one example is "Guadalcanal Requiem" (1977), which invokes “the history and memories of World War II in the Pacific.” Hanhardt has also concluded that—though "no single story" of Nam June Paik can capture the complexity of who he was and the places that shaped him—as Paik grew in public, transcultural, and global recognition, he held onto the significance of his birthplace in Korea. Similarly, the curator Lee Sook-kyung has called identifying what is Korea, Japanese, American, or German about Nam June Paik to be a "futile" effort, yet she has observed that Paik consistently emphasized his Korean heritage and "Mongolian" lineages.


title: Nam June Paik

text: Nam June Paik then began participating in the Neo-Dada art movement, known as Fluxus, which was inspired by the composer John Cage and his use of everyday sounds and noises in his music. He made his big debut in 1963 at an exhibition known as "Exposition of Music-Electronic Television" at the Galerie Parnass in Wuppertal in which he scattered televisions everywhere and used magnets to alter or distort their images. In a 1960 piano performance in Cologne, he played Chopin, threw himself on the piano and rushed into the audience, attacking Cage and pianist David Tudor by cutting their clothes with scissors and dumping shampoo on their heads.


title: Nam June Paik

text: Cage suggested Paik look into Zen Buddhism. Though Paik was already well familiar with Buddhism from his childhood in Korea and Japan, Cage’s interest in Zen philosophy compelled Paik to re-examine his own intellectual and cultural foundation.


title: Nam June Paik

text: During 1963 and 1964 the engineers Hideo Uchida and Shuya Abe showed Paik how to interfere with the flow of electrons in color TV sets, work that led to the Abe-Paik video synthesizer, a key element in his future TV work.


title: Nam June Paik

text: In 1965, Paik acquired a Sony TCV-2010, a combination unit that contained the first consumer-market video-tape recorder CV-2000. Paik used this VTR to record television broadcasts, frequently manipulating the qualities of the broadcast, and the magnetic tape in process. In 1967 Sony introduced the first truly portable VTR, which featured a portable power supply and handheld camera, the Sony Portapak. With this, Paik could both move and record things, for it was the first portable video and audio recorder. From there, Paik became an international celebrity, known for his creative and entertaining works.


title: Nam June Paik

text: In a notorious 1967 incident, Moorman was arrested for going topless while performing in Paik's "Opera Sextronique". Two years later, in 1969, they performed "TV Bra for Living Sculpture", in which Moorman wore a bra with small TV screens over her breasts. Throughout this period it was Paik's goal to bring music up to speed with art and literature, and make sex an acceptable theme. One of his Fluxus concept works ("Playable Pieces") instructs the performer to "Creep into the Vagina of a living Whale." Of the "Playable Pieces," the only one actually to have been performed was by Fluxus composer Joseph Byrd ("Cut your left forearm a distance of ten centimeters.") in 1964 at UCLA's New Music Workshop.


title: Nam June Paik

text: In 1971, Paik and Moorman made "TV Cello", a cello formed out of three television sets stacked up on top of each other and some cello strings. During Moorman's performance with the object, she drew her bow across the "cello," as images of her and other cellists playing appeared on the screens. Paik and Moorman created another TV Cello in 1976 as a Kaldor Public Art Project in Sydney, Australia.


title: Nam June Paik

text: In 1974 Nam June Paik used the term "super highway" in application to telecommunications, which gave rise to the opinion that he may have been the author of the phrase "Information Superhighway". In fact, in his 1974 proposal "Media Planning for the Postindustrial Society – The 21st Century is now only 26 years away" to the Rockefeller Foundation he used a slightly different phrase, "electronic super highway":


title: Nam June Paik

text: "The building of new electronic super highways will become an even huger enterprise. Assuming we connect New York with Los Angeles by means of an electronic telecommunication network that operates in strong transmission ranges, as well as with continental satellites, wave guides, bundled coaxial cable, and later also via laser beam fiber optics: the expenditure would be about the same as for a Moon landing, except that the benefits in term of by-products would be greater.


title: Nam June Paik

text: Also in the 1970s, Paik imagined a global community of viewers for what he called a Video Common Market which would disseminate videos freely. In 1978, Paik collaborated with Dimitri Devyatkin to produce a light hearted comparison of life in two major cities, "Media Shuttle: New York-Moscow" on WNET. The video is held in museum collections around the world.


title: Nam June Paik

text: Possibly Paik's most famous work, "TV Buddha" is a video installation depicting a Buddha statue viewing its own live image on a closed circuit TV. Paik created numerous versions of this work using different statues, the first version is from 1974.


title: Nam June Paik

text: Another piece, "Positive Egg", displays a white egg on a black background. In a series of video monitors, increasing in size, the image on the screen becomes larger and larger, until the egg itself becomes an abstract, unrecognizable shape. In "Video Fish", from 1975, a series of aquariums arranged in a horizontal line contain live fish swimming in front of an equal number of monitors which show video images of other fish.


title: Nam June Paik

text: Paik completed an installation in 1993 in the NJN Building in Trenton, NJ. This work was commissioned under the public building arts inclusion act of 1978. The installation's media is neon lights incorporated around video screens. This particular piece is currently non-operational, though there are plans to make necessary upgrades/repairs to restore it to working order.


title: Nam June Paik

text: During the New Year's Day celebration on January 1, 1984, he aired "Good Morning, Mr. Orwell," a live link between WNET New York, Centre Pompidou Paris, and South Korea. With the participation of John Cage, Salvador Dalí, Laurie Anderson, Joseph Beuys, Merce Cunningham, Allen Ginsberg and Peter Orlovsky, George Plimpton, and other artists, Paik showed that George Orwell's Big Brother had not arrived.


title: Nam June Paik

text: As the curator Suh Jinsuk has observed, after returning to Korea in 1984, Nam June Paik increasingly explored symbols of global exchange with Asia, such as the Silk Road and Eurasia. Moreover, as Paik became involved in Korea's art scene, he spearheaded projects that drew upon his connections with business and government circles in South Korea. "Bye Bye Bye Kipling", a tape that mixed live events from Seoul, South Korea; Tokyo, Japan; and New York, USA, demonstrates this new phase in Paik's practice. Broadcast on the occasion of the Asia Games in Seoul, "Bye Bye Kipling"'s title referenced a poem by Rudyard Kipling, “East is East, and West is West, and never the twain shall meet,” as it fostered collaborations such as between the American artist Keith Haring and the Japan-based fashion designer Issey Miyake. As curator Lee Sooyon has argued, "Bye Bye Kipling" also contributed to the Korea government’s agendas of “the advancement and internationalization of culture” by bringing together video sketches of shaman rituals and Korean drum dancers with Seoul’s “economic miracle” and the bustling business of Namdaemun Market.


title: Nam June Paik

text: Two years later, in 1988 Paik installed "The More the Better" in the atrium of the National Museum of Modern and Contemporary Art, Gwacheon. A giant tower, the work is made of 1003 monitors—a number that references October 3 as the day of Korea was founded by Dangun, according to legend. "The More the Better" appears prominently in Paik's 1988 broadcast "Wrap Around the World," which was made for the Seoul Olympics.


title: Nam June Paik

text: For the German pavilion at the 1993 Venice Biennale, Paik created an array of robot sculptures of historic figures, such as Catherine the Great and the legendary founder of Korea, Dangun, so as to emphasize the connections between Europe and Asia.


title: Nam June Paik

text: Paik's 1995 piece "Electronic Superhighway: Continental U.S., Alaska, Hawaii", is on permanent display at the Lincoln Gallery of the Smithsonian American Art Museum.


title: Nam June Paik

text: Paik was known for making robots out of television sets. These were constructed using pieces of wire and metal, but later Paik used parts from radio and television sets.


title: Nam June Paik

text: Despite his stroke, in 2000, he created a millennium satellite broadcast entitled "Tiger is Alive" and in 2004 designed the installation of monitors and video projections Global Groove 2004 for the Deutsche Guggenheim in Berlin.


title: Nam June Paik

text: Paik's first exhibition, entitled "Exposition of Music - Electronic Television", was held in 1963 at Galerie Parnass in Wuppertal, Germany. A retrospective of Paik's work was held at the Whitney Museum of American Art in the spring of 1982. Major retrospectives of Paik's work have been organized by Kölnischer Kunstverein (1976), Musée d'art moderne de la Ville de Paris (1978), Whitney Museum of American Art in New York (1982), San Francisco Museum of Modern Art (1989), and the Kunsthalle Basel (1991).


title: Nam June Paik

text: Nam June Paik’s first major retrospective in Korea, "Video Time - Video Space", opened at the Gwacheon location of the National Museum of Modern and Contemporary Art, Korea on July 30, 1992. Although the exhibition lasted merely 34 days, it saw 117,961 paid visitors; the unofficial visitor count reached nearly 200,000. The exhibition involved the participation of major entities of media and business—including the Korea Broadcasting Corporation and Samsung Electronics. The exhibition presented approximately 150 artworks, beginning with "The More the Better" as the exhibition’s starting point. According to Lee Sooyon, Paik carefully tailored the exhibition’s works to his audiences. Knowing that Korea’s audience was not familiar with international art world conversations of video art, Fluxus, and performance art, Paik selected artworks that appealed to popular subjects of Korean culture and history. The exhibition also featured works from Paik's "TV Buddha" and "My Faust" series.


title: Nam June Paik

text: A final retrospective of his work was held in 2000 at the Guggenheim Museum in New York, with the commissioned site-specific installation "Modulation in Sync" (2000) integrating the unique space of the museum into the exhibition itself. This coincided with a downtown gallery showing of video artworks by his wife Shigeko Kubota, mainly dealing with his recovery from a stroke he had in 1996.


title: Nam June Paik

text: In 2011, an exhibition centered on Paik's video sculpture "One Candle, Candle Projection" (1988-2000) opened at the National Gallery of Art in Washington, D.C. Another retrospective was mounted at the Smithsonian American Art Museum in Washington, D.C., in 2012–2013. As a leading expert in Paik's work, art historian John G. Hanhardt was the curator for three landmark exhibitions devoted to the artist, the ones at the Whitney Museum, the Guggenheim Museum, and the Smithsonian American Art Museum.


title: Nam June Paik

text: Paik's work also appeared in important group exhibitions such as São Paulo Biennale (1975), Whitney Biennial (1977, 1981, 1983, 1987, and 1989), Documenta 6 and 8 (1977 and 1987), and Venice Biennale (1984 and 1993).


title: Nam June Paik

text: From April 24, 2015, to September 7, 2015, Paik's works "T.V. Clock", "9/23/69: Experiment with David Atwood," and "ETUDE1" were displayed at "Watch This! Revelations in Media Art" at the Smithsonian American Art Museum.


title: Nam June Paik

text: Although Paik’s pioneering experimentalism and foresight of the important role media would continue to play in society has been examined across many exhibitions, for a 2019 exhibition, the Tate Modern turned its focus upon Paik as a collaborator. This exhibition later travelled to the San Francisco Museum of Modern Art, where it was presented at the first West-coast retrospective of Paik's work from May 8, 2021 through October 3, 2021.


title: Nam June Paik

text: In late 2022, the National Museum of Modern and Contemporary Art, Korea, will present an exhibition that focuses on Paik as cultural organizer who made an immense impact upon South Korea’s art scene; it aims to bring into greater focus Paik's relationship with national identity.


title: Nam June Paik

text: Public collections that hold work by Nam June Paik include: the Detroit Institute of Arts, the National Museum of Modern and Contemporary Art (Gwacheon and Seoul, Korea), Leeum, Samsung Museum of Art (Seoul), the Nam June Paik Art Center (Yongin, Korea), the Ackland Art Museum (University of North Carolina), the Albright-Knox Art Gallery (Buffalo, New York), the Art Museum of the Americas (Washington D.C.), Daimler-Chrysler Collection (Berlin), Fukuoka Art Museum (Fukuoka, Japan), the Hirshhorn Museum and Sculpture Garden (Washington D.C.), the Honolulu Museum of Art, Kunsthalle zu Kiel (Germany), Kunstmuseum St. Gallen (Switzerland), Kunstsammlung Nordrhein-Westfalen (Düsseldorf), Ludwig Forum für Internationale Kunst (Aachen, Germany), Musée d'Art Moderne de la Ville de Paris, Museum Wiesbaden (Germany), the National Gallery of Australia (Canberra), the Berardo Collection Museum (Lisbon), |National Museum of Contemporary Art (Athens), Palazzo Cavour (Turin), the Royal Museums of Fine Arts of Belgium, the Stedelijk Museum, Amsterdam, Schleswig-Holstein Museums (Germany), the Smart Museum of Art (University of Chicago), Smith College Museum of Art (Massachusetts), Hessel Museum of Art at Bard College, the Smithsonian American Art Museum (Washington D.C.), the Stuart Collection (University of California, San Diego), the Dayton Art Institute (Dayton, Ohio) and the Walker Art Center (Minneapolis, Minnesota), the Rose Goldsen Archive of New Media Art, Cornell University Library, (Ithaca, New York), The Worcester Art Museum (Worcester, Massachusetts), and Reynolda House Museum of American Art (Winston-Salem, North Carolina).


title: Nam June Paik

text: Given its largely antiquated technology, Paik's oeuvre poses a unique conservation challenge. In 2006, Nam June Paik's estate asked a group of museums for proposals on how each would use the archive. Out of a group that included the Museum of Modern Art, the J. Paul Getty Museum, the Solomon R. Guggenheim Museum and the Whitney Museum of American Art, it chose the Smithsonian American Art Museum. The archive includes Paik's early writings on art history, history and technology; correspondence with other artists and collaborators like Charlotte Moorman, John Cage, George Maciunas and Wolf Vostell; and a complete collection of videotapes used in his work, as well as production notes, television work, sketches, notebooks, models and plans for videos. It also covers early-model televisions and video projectors, radios, record players, cameras and musical instruments, toys, games, folk sculptures and the desk where he painted in his SoHo studio.


title: Nam June Paik

text: Curator John Hanhardt, an old friend of Paik, said of the archive: "It came in great disorder, which made it all the more complicated. It is not like his space was perfectly organized. I think the archive is like a huge memory machine. A wunderkammer, a wonder cabinet of his life." Hanhardt describes the archives in the catalog for the 2012 Smithsonian show in the book "Nam June Paik: Global Visionary".


title: Nam June Paik

text: Michael Mansfield, associate curator of film and media arts at the Smithsonian American Art Museum, supervised the complex installation of several hundred CRT TV sets, the wiring to connect them all, and the software and servers to drive them. He developed an app on his phone to operate every electronic artwork on display.


title: Nam June Paik

text: Many of Paik's early works and writings are collected in a volume edited by Judson Rosebush titled "Nam June Paik: Videa 'n' Videology 1959–1973," published by the Everson Museum of Art, Syracuse, New York, in 1974.


title: Nam June Paik

text: As a pioneer of video art his influence was from a student he met at CalArts named Sharon Grace he described her as "pure genius" from the moment they met. The two met while she was filming fellow students at random with her Sony Portapak as an artistic sociological practice akin to the artist in the studio. This led to "TV Buddha" and people’s model of the internet as we know it today with such art pieces as "Send / Receive". The artwork and ideas of Nam June Paik were a major influence on late 20th-century art and continue to inspire a new generation of artists. Contemporary artists considered to be influenced by Paik include Christian Marclay, Jon Kessler, Cory Arcangel, Ryan Trecartin and Haroon Mirza.


title: Nam June Paik

text: Nam June Paik's work was first screened in Korea on March 20, 1974, at the United States Information Center in Seoul. The artist Park Hyunki was among the audience (which featured Paik's Global Groove); the screening notably inspired Park Hyunki to first experiment with video.


title: Nam June Paik

text: Christie's holds the auction record for Paik's work since it achieved $646,896 in Hong Kong in 2007 for his "Wright Brothers", a 1995 propeller-plane-like tableau comprising 14 TV monitors.


title: Nam June Paik

text: In 1996, Paik had a stroke, which paralyzed his left side. He used a wheelchair the last decade of his life, though he was able to walk with assistance. He died on January 29, 2006, in Miami, Florida, due to complications from his stroke. At the time of his death, he was survived by his wife, as well as by a brother, Ken Paik, and a nephew, Ken Paik Hakuta, an inventor and television personality best known for creating the Wacky WallWalker toy, and who managed Paik's studio in New York.


title: Nam June Paik

text: One of his grandsons is Jinu, a South Korean rapper, singer, songwriter, and member of a hip-hop duo Jinusean.


title: ICC Awards

text: The ICC Awards are an annual set of sports awards for international cricket, which recognise and honour the best international cricket players of the previous 12 months. The awards were introduced by the International Cricket Council (ICC) in 2004. Between 2009 and 2014 the awards were known, for sponsorship reasons, as the LG ICC Awards.


title: ICC Awards

text: In 2021, The award was succeeded by "ICC T20I Player of the Year", which is given to a player based on his performance in the whole year.


title: ICC Awards

text: In January 2021, the ICC introduced "Player of the Month" awards to recognise cricketers, male and female, that performed best across all forms of international cricket each month. Nominees and winners are determined by an ICC panel of ex-players and journalists, with a public vote having a 10% contribution to the final results.


title: ICC Awards

text: In December 2016, ICC Development Programme Awards were announced for the ICC's Associate and Affiliate Members aimed at creating improving structures within the 95 member federations.


title: ICC Awards

text: The judging/voting period was originally from 1 August of the current year to 31 July of the next year. It then underwent two changes and used to take place between September of the current year and September of the next year.


title: ICC Awards

text: The ICC Selection Committee comprised eminent former players (one chairman, four other members) who selected the finalists for the Cricketer of the Year, Test Player of the Year, ODI Player of the Year and the Emerging Player of the Year, as well as the final ICC Test Team of the Year and ICC ODI Team of the Year.


title: ICC Awards

text: The final selection for the awards were previously voted on by an academy of 56 (expanded from 50 in 2004–05), which included current national team captains of Test playing nations (10), members of the Elite panel of ICC umpires and referees (18), prominent former players and cricket correspondents (28). In the event of a tie in the voting, awards are shared.


title: Nedelin catastrophe

text: The Nedelin catastrophe or Nedelin disaster was a launch pad accident that occurred on 24 October 1960 at Baikonur test range (of which Baikonur Cosmodrome is a part), during the development of the Soviet R-16 ICBM. As a prototype of the missile was being prepared for a test flight, an explosion occurred when the second stage engine ignited accidentally, killing an unknown number of military and technical personnel working on the preparations. Despite the magnitude of the disaster, news of it was suppressed for many years and the Soviet government did not acknowledge the event until 1989. The disaster is named after Chief marshal of Artillery Mitrofan Ivanovich Nedelin, who was killed in the explosion. As commanding officer of the Soviet Union's Strategic Rocket Forces, Nedelin was the head of the R-16 development program.


title: Nedelin catastrophe

text: On 23 October 1960, the prototype R-16 had been installed on launching pad 41 ("") awaiting final tests before launch. The missile was over 30 m long, 3.0 m in diameter and had a launch weight of 141 tons. The rocket was fueled with the hypergolic pair of UDMH as fuel and a saturated solution of in nitric acid as the oxidizer—nicknamed "Devil's venom"—which was used because of the high boiling temperatures and hence storability of the fuel and oxidizer, despite being extremely corrosive and toxic. These risks were accounted for in the safety requirements of the launch procedures, but Nedelin's insistence on achieving a test launch ahead of the 7 November 1960 anniversary of the Bolshevik Revolution resulted in extreme schedule pressure, in a context of substantial emerging engineering difficulties. Ultimately pre-launch tests began to overlap with launch preparations.


title: Nedelin catastrophe

text: A short circuit in the replaced main sequencer caused the second-stage engine to fire while being tested before launch. This detonated the first stage fuel tanks directly below, destroying the missile in an enormous explosion. Before seeking refuge, the camera operator remotely activated automatic cameras set around the launching pad that filmed the explosion in detail. People near the rocket were instantly incinerated; those farther away were burned to death or poisoned by the toxic fuel component vapors. Andrei Sakharov described many details: as soon as the engine fired, most of the personnel there ran to the perimeter, but were trapped inside the security fence and then engulfed in the fireball of burning fuel. The explosion incinerated or asphyxiated Nedelin, a top aide, the USSR's top missile-guidance designer, and over 70 other officers and engineers. Still others died later of burns or poisoning. Missile designer Mikhail Yangel and the test range commanding officer survived only because he had left to smoke a cigarette behind a bunker a few hundred metres away, but nonetheless suffered burn injuries.


title: Nedelin catastrophe

text: The exact death toll of the explosion is not known. The first Western reporting of the accident via the Italian Continentale News Agency in December 1960 said that 100 people were killed, while "The Guardian" reported in 1965, citing information from spy Oleg Penkovsky who had passed information to the West, that as many as 300 had died. The Soviet Union said only that a "significant number" had died when it first acknowledged the incident in a 1989 "Ogoniok" article, but later in the year, the government put the number of dead at 54. The most recent estimated death toll, released by Roscosmos on the 50th anniversary of the accident and originating with agency engineer Boris Chertok, was that 126 people had died, but the agency qualified the number by saying that the actual number could be anywhere from 60 to 150 dead.


title: Nedelin catastrophe

text: Complete secrecy was immediately imposed on the events of 24 October 1960 by Nikita Khrushchev. A news release stated that Nedelin had died in a plane crash and the families of the other engineers were advised to say their loved ones had died of the same cause. Khrushchev also ordered Leonid Brezhnev to head an investigation commission and go to the site. Among other things, the commission found that many more people were present on the launch pad than should have been—most were supposed to be safely offsite in bunkers.


title: Nedelin catastrophe

text: When Brezhnev arrived at the firing range on 25 October 1960, he said: "Comrades! We do not intend to put anyone on trial; we are going to investigate the causes and take actions to recover from the disaster and continue operations". Despite this, I. A. Doroshenko was held accountable for the event.


title: Nedelin catastrophe

text: Afterwards, when Nikita Khrushchev asked Yangel, "But why have you remained alive?", Yangel answered in a trembling voice, "Walked away for a smoke. It's all my fault". Yangel later suffered a heart attack and was off work for months.


title: Nedelin catastrophe

text: After the committee presented its report, the R-16 program resumed in January 1961 with first successful flight on 2 February 1961. The delay to the R-16 spurred the USSR toward the development of more effective ICBMs and sparked Khrushchev's decision to install Intermediate-range ballistic missile (IRBM)s in Cuba. Before the disaster Yangel had ambitions to challenge Sergei Korolev as leader of the Manned Space program, but he was directed to focus on the R-16.


title: Nedelin catastrophe

text: A memorial to the victims of the test was erected in the first half of the 1960s in the Park of Baikonur and is still visited by RKA officials before any manned launch.


title: Nedelin catastrophe

text: Another fatal accident, with the R-9 missile, occurred at Baikonur exactly three years after the Nedelin catastrophe, causing 24 October to be referred to as Baikonur's "Black Day." No launches have been attempted on that date at Baikonur ever since.


title: Nedelin catastrophe

text: A news release stated that Nedelin had died "in a plane crash while on an undisclosed mission". The Italian news agency Continentale first reported on 8 December 1960, from undisclosed sources, that Marshal Nedelin and 100 people had been killed in a rocket explosion. "The Guardian" reported on 16 October 1965 that captured spy Oleg Penkovsky had confirmed details of the missile accident, and exiled scientist and Soviet dissident Zhores Medvedev provided further details in 1976 in the British weekly magazine "New Scientist". However, it was not until 16 April 1989 that the Soviet Union acknowledged the events, with a report appearing in the weekly newsmagazine "Ogoniok".


title: Abhishek Banerjee (politician)

text: Abhishek Banerjee is an Indian politician. He is a member of the All India Trinamool Congress and he is currently serving as a Member of Parliament, Diamond Harbour (Lok Sabha constituency), South 24 Parganas, West Bengal since 2014. Banerjee has also been the National President of All India Trinamool Youth Congress since 2011, the youth wing of the All India Trinamool Congress, currently in power in the Indian state of West Bengal.


title: Abhishek Banerjee (politician)

text: Abhishek Banerjee has served as a member of the Standing Committee of Commerce in 2014. He was also selected as a member of the Consultative Committee under the Ministry of Finance and Corporate affairs in 2014. He had served as a member of Railway Convention Committee (R.C.C.) from April 2015 to May 2019.


title: Abhishek Banerjee (politician)

text: Abhishek Banerjee is the nephew of West Bengal Chief Minister Mamata Banerjee. He was born and raised in Kolkata, India. Banerjee attended Nava Nalanda High School and M.P. Birla Foundation Higher Secondary School both in Kolkata. Later, Banerjee moved to Delhi and pursued his BBA and MBA in Human Resource and Marketing from the, controversial and now defunct, Indian Institute of Planning and Management (IIPM), New Delhi in 2009. Banerjee married Rujira Banerjee on 24 February 2012. He has two children, a daughter named Azania and a son named Aayansh.


title: Abhishek Banerjee (politician)

text: Abhishek Banerjee joined politics as a member of All India Trinamool Congress in 2011 after the party had uprooted 34 years of Communist Party of India led Left Front regime by winning the Assembly Election in the same year. Abhishek Banerjee was recognised as the youth icon of All India Trinamool Congress when he was selected as the National President of All India Trinamool Youth Congress in 2011.


title: Abhishek Banerjee (politician)

text: In 2014, Banerjee contested the Lok Sabha elections on behalf of All India Trinamool Congress as a candidate from the constituency of Diamond Harbour and won by a significant margin defeating the nearest opponent from Communist Party of India. At that time, Banerjee was the youngest parliamentarian in the lower house. He had also arranged the M.P. Cup Football Tournament in his constituency to inspire the youth to engage in sports and physical activities. After the successful completion of his first tenure, Banerjee won the 2019 Lok Sabha Election from Diamond Harbour with a margin of 320,594 votes, defeating the nearest opponent from BJP.


title: Abhishek Banerjee (politician)

text: In 2015, a person named Debashish Acharya slapped Abhishek at a public meeting after which Debashish was attacked by Trinamool Congress Party supporters. He was also arrested by the police. Later, Abhishek forgave him and he was released. Six years later, in June 2021, Debashish was found dead under mysterious circumstances. According to reports, Debashish was brought to the hospital by some unidentified people where the doctor declared him brought dead. His family claims that he was murdered by party goons.


title: Abhishek Banerjee (politician)

text: He was accused in Coal smuggling scam in 2021. He was questioned twice by Enforcement Directorate on 6 September 2021 and 21 March 2022.


title: 3 Commando Brigade

text: 3 Commando Brigade (3 Cdo Bde), previously called the 3rd Special Service Brigade, is a commando formation of the British Armed Forces. It is composed of the Royal Marine Commandos, alongside commando qualified sailors, soldiers and airmen from the British Army, Royal Navy and Royal Air Force.


title: 3 Commando Brigade

text: The brigade was formed on 14 February 1942, during the Second World War, with a mixture of Army Commando and Royal Marine Commando units, and was deployed to the South-East Asian Theatre of World War II to conduct operations against the invading forces of Imperial Japan, such as the Burma Campaign. After the Second World War, the Army Commandos were disbanded and the brigade became a Royal Marine formation. Recently, 3 Commando Brigade has again become a mixed formation with the addition of commando qualified soldiers from the Royal Artillery and Royal Engineers to provide support for the Royal Marine Commandos. Since the end of the Second World War, it has been involved in a number of engagements such as the Suez Crisis, Falklands War, Gulf War and the War in Afghanistan.


title: 3 Commando Brigade

text: Between September and November 1943, in Scotland, 102nd Brigade, Royal Marines Division, was detached from the division, to form the independent 3rd Special Service Brigade – a joint British Army-Royal Marines formation. The founding commander was Brigadier Wilfrid Nonweiler and it was composed of the following units:


title: 3 Commando Brigade

text: Nos. 1 and 5 Commandos had already earned battle honours as units in, respectively, the North African and Madagascar campaigns. Because "Commando", at the time, implied a company/battalion-sized unit, the name "Special Service" was instead used for British commando brigades. (However, the term "Commando Brigade" was often used informally, because "Special Service" was unpopular and had a superficial similarity to the name of the notorious German Schutzstaffel (SS). The brigade was later officially renamed 3rd Commando Brigade.


title: 3 Commando Brigade

text: On 10 November 1943, elements of the brigade embarked at Gourock, bound for India. It was intended that the brigade would be used in operations against Japanese forces in the South-East Asia theatre, such as the Burma campaign. However, the limited shipping capacity available at the time meant that the relocation was prolonged and the components of the brigade were not reunited until late 1944. Lt Col. Peter Young was transferred from the Normandy campaign to become 2IC of 3rd Commando Brigade. Young succeeded Nonweiler as commander of the brigade.


title: 3 Commando Brigade

text: During January 1945, the brigade was involved in the campaign to recapture Arakan, including the battles of Myebon peninsula and Kangaw. The brigade was then withdrawn to India to prepare for Operation Zipper, a proposed amphibious operation to recapture the Malayan peninsula. The atomic bombs against Japan precipitated an earlier surrender of Japan than expected. The 3rd Commando Brigade moved to secure Hong Kong – a British crown colony that was under Japanese occupation in 1941–45. During 1946, British Army personnel and units within the 3rd Commando Brigade were demobilised or transferred elsewhere and it became a Royal Marine formation.


title: 3 Commando Brigade

text: 3 Commando Brigade's most high-profile operation after the war was the Suez Crisis, when it took part in the amphibious assault against Egyptian targets. During Operation Musketeer, units of the brigade made a helicopter-borne assault.


title: 3 Commando Brigade

text: 1971 saw the withdrawal of British forces from the Far East and Persian Gulf. The brigade returned to the UK with other British units. It moved to Stonehouse Barracks in Plymouth, where it remains to this day.


title: 3 Commando Brigade

text: The brigade's next large operation was in 1982. Argentina invaded the Falkland Islands, and 3 Commando Brigade, reinforced by 2 Para and 3 Para, was one of the two main British land formations that took part in operations to recapture the islands. The brigade landed at San Carlos Water and marched across East Falkland to Stanley. Argentine units were defeated in several sharp engagements, and their forces surrendered on 14 June.


title: 3 Commando Brigade

text: In the aftermath of the 1991 Gulf War, the brigade was deployed on a non-combat task in northern Iraq. The Iraqi Kurds had suffered immensely during the war and in its immediate aftermath, and the brigade was used due to its rapid deployment ability. It provided humanitarian aid to the Kurds and saved many from starvation.


title: 3 Commando Brigade

text: Recently, the brigade has been involved in two major campaigns, including Operation Veritas in Afghanistan, 2001 and 2002, and Operation Telic during the 2003 invasion of Iraq. Iraq, however, saw heavy fighting occur in the early stages of the campaign, as the brigade made its first amphibious assault in over 20 years by landing on the Al-Faw peninsula in south-east Iraq. In 2006, the brigade returned to Afghanistan on Operation Herrick, replacing 16 Air Assault Brigade, where intense fighting occurred.


title: 3 Commando Brigade

text: The brigade contains Royal Marines, Royal Navy, Army and Royal Air Force personnel. The subordinate units are:


title: 3 Commando Brigade

text: Joint Terminal Attack Controllers from the RAF Regiment are assigned to Brigade HQ. When operating as part of the combined United Kingdom / Netherlands Landing Force, the 1st Marine Combat Group of the Dutch Korps Mariniers is also attached to the brigade.


title: Spaghetti code

text: Spaghetti code is a pejorative phrase for unstructured and difficult-to-maintain source code. Spaghetti code can be caused by several factors, such as volatile project requirements, lack of programming style rules, and software engineers with insufficient ability or experience.


title: Spaghetti code

text: Code that overuses GOTO statements rather than structured programming constructs, resulting in convoluted and unmaintainable programs, is often called spaghetti code.


title: Spaghetti code

text: Such code has a complex and tangled control structure, resulting in a program flow that is conceptually like a bowl of spaghetti, twisted and tangled.


title: Spaghetti code

text: In a 1980 publication by the United States National Bureau of Standards, the phrase spaghetti program was used to describe older programs having "fragmented and scattered files".


title: Spaghetti code

text: Spaghetti code can also describe an anti-pattern in which object-oriented code is written in a procedural style, such as by creating classes whose methods are overly long and messy, or forsaking object-oriented concepts like polymorphism. The presence of this form of spaghetti code can significantly reduce the comprehensibility of a system.


title: Spaghetti code

text: It is not clear when the phrase spaghetti code came into common usage; however, several references appeared in 1977 including "Macaroni is Better Than Spaghetti" by Guy Steele. In the 1978 book "A primer on disciplined programming using PL/I, PL/CS, and PL/CT", Richard Conway used the term to describe types of programs that "have the same clean logical structure as a plate of spaghetti", a phrase repeated in the 1979 book "An Introduction to Programming" he co-authored with David Gries. In the 1988 paper "A spiral model of software development and enhancement", the term is used to describe the older practice of the "code and fix model", which lacked planning and eventually led to the development of the waterfall model. In the 1979 book "Structured programming for the COBOL programmer", author Paul Noll uses the phrases "spaghetti code" and "rat's nest" as synonyms to describe poorly structured source code.


title: Spaghetti code

text: In the "Ada – Europe '93" conference, Ada was described as forcing the programmer to "produce understandable, instead of spaghetti code", because of its restrictive exception propagation mechanism.


title: Spaghetti code

text: In a 1981 computer languages spoof in "The Michigan Technic" titled "BASICally speaking...FORTRAN bytes!!", the author described FORTRAN stating that "it consists entirely of spaghetti code".


title: Spaghetti code

text: Richard Hamming described in his lectures the etymology of the term in the context of early programming in binary codes:


title: Spaghetti code

text: Ravioli code is a term specific to object-oriented programming. It describes code that comprises well-structured classes that are easy to understand in isolation, but difficult to understand as a whole.


title: Spaghetti code

text: Lasagna code refers to code whose layers are so complicated and intertwined that making a change in one layer would necessitate changes in all other layers.


title: Spaghetti code

text: Here follows what would be considered a trivial example of spaghetti code in BASIC. The program prints each of the numbers 1 to 100 to the screen along with its square. Indentation is not used to differentiate the various actions performed by the code, and the program's codice_1 statements create a reliance on line numbers. The flow of execution from one area to another is harder to predict. Real-world occurrences of spaghetti code are more complex and can add greatly to a program's maintenance costs.


title: Spaghetti code

text: The program jumps from one area to another, but this jumping is formal and more easily predictable, because for loops and functions provide flow control whereas the "goto" statement encourages arbitrary flow control. Though this example is small, real world programs are composed of many lines of code and are difficult to maintain when written in a spaghetti code fashion.


title: Dharmesh Yelande

text: Dharmesh Yelande (born 31 October 1983), popularly known as D-sir, is an Indian dancer, choreographer, actor and television personality.


title: Dharmesh Yelande

text: Yelande participated in "Dance India Dance" (2009–2010), "Dance India Dance Li'l Masters" (2010) and "Dance Ke Superstars" (2011) that aired on Zee TV. He was hired by Farah Khan to choreograph the movie "Tees Maar Khan" (2010).


title: Dharmesh Yelande

text: In 2013, he debuted as an actor by playing a lead role in the 3D dance-based Indian film "" co-starring Salman Yusuff Khan and Prabhu Deva. In 2015, he acted in Disney's, "ABCD 2" with Varun Dhawan and Shraddha Kapoor. He has a dance academy in Vadodara known as the "D'virus Dance Academy".


title: Dharmesh Yelande

text: In 2016, he has worked in the film "Banjo" opposite Riteish Deshmukh and Nargis Fakhri. He was a mentor for the dance reality show "Dance Plus" (2015–2019) for five consecutive seasons.


title: Dharmesh Yelande

text: In 2020, he appeared in dance film "Street Dancer 3D" with Varun Dhawan, Shraddha Kapoor, Nora Fatehi and Raghav Juyal. Later he participated in "" (2020) and emerged as the second runner-up.


title: C-ration

text: The C-Ration, or Field Ration, Type C, was a prepared and canned wet combat ration intended to be issued to U.S. military land forces when fresh food (A-ration) or packaged unprepared food (B-ration) prepared in mess halls or field kitchens was not possible or not available, and when a survival ration (K-ration or D-ration) was insufficient. Development began in 1938 with the first rations being field-tested in 1940 and wide-scale adoption following soon after. Operational conditions often caused the C-ration to be standardized for field issue regardless of environmental suitability or weight limitations.


title: C-ration

text: The C-Ration was replaced in 1958 with the Meal Combat Individual (MCI). Although officially a new ration, the MCI was derived from and very similar to the original C-Ration, and in fact continued to be called "C-Rations" by American troops throughout its production life as a combat ration (1958–1980). Although the replacement for the MCI, the MRE, was formally adopted as the Department of Defense combat ration in 1975, the first large-scale production test did not occur until in 1978 with the first MRE I rations packed and delivered in 1981. While the MRE officially replaced the MCI in 1981, previously packed MCI rations continued to be issued until depleted.


title: C-ration

text: The first U.S attempt to make an individual ration for issue to soldiers in the field was the "iron ration", introduced in 1907. It contained three 3-ounce cakes (made from a concoction of beef bouillon powder and parched and cooked wheat), three 1-ounce bars of sweetened chocolate and packets of salt and pepper. The ration was issued in a sealed tin packet that weighed one pound, to be carried in an infantryman's top tunic pocket, and was designed for emergency use when the troops were unable to be supplied with food. It was later discontinued by the adoption of the "Reserve Ration", but findings from the development and use of the Iron Ration went into the development of the emergency D-ration.


title: C-ration

text: The Reserve Ration was issued during the later part of World War I to feed troops who were away from a garrison or field kitchen. It originally consisted of of bacon or of meat (usually canned corned beef), two cans of hard bread or hardtack biscuits, a packet of of pre-ground coffee, a packet of of granulated sugar, and a packet of of salt. There was also a separate "tobacco ration" of of tobacco and 10 cigarette rolling papers, later replaced by brand-name machine-rolled cigarettes.


title: C-ration

text: After the war, there were attempts to improve the ration based on input from the field. In 1922, the ration was reorganized to consist of of meat (usually beef jerky), of canned corned beef or chocolate, of hard bread or hardtack biscuits, coffee and sugar. In 1925, the meat ration was replaced with canned pork and beans. In 1936, there was an attempt at variety by having an "A"-menu of corned beef and a "B"-menu of pork and beans. This was cancelled upon introduction of the new Field Ration, Type C, in 1938.


title: C-ration

text: The original Type C ration, commonly known as the C-Ration, was intended to replace the Reserve Ration as a short-term individual ration designed for short use, to be supplemented by the D-Ration emergency ration.


title: C-ration

text: Development of a replacement for the Reserve Ration was undertaken by the newly formed Quartermaster Subsistence Research and Development Laboratory in Chicago in 1938 with the aim of producing a ration that was more palatable, nutritionally balanced, and had better keeping qualities.


title: C-ration

text: The first Type C ration consisted of a 'meat' unit (M-unit) (reduced to after being field tested during the 1940 Louisiana maneuvers). In the initial Type C ration, there were only three variations of the main course: meat and beans, meat and potato hash, or meat and vegetable stew. Also issued was one bread-and-dessert can, or B-unit. Each daily ration (i.e. enough food for one soldier for one day) consisted of six cans (three M-units and three B-units), while an individual meal consisted of one M-unit and one B-unit. The original oblong can was replaced with the more common cylindrical design in June 1939 due to mass production problems with the former shape of can.


title: C-ration

text: The C-Ration can was about tall and in diameter. It was made of non-corrugated tinplate, had a visible tin solder seam, and incorporated an opening strip. A key for use on the opening strip was soldered to the base of every B unit can.


title: C-ration

text: The first C-Ration cans had an aluminized finish, but in late 1940, this was changed to a gold lacquer finish to improve corrosion resistance. There was noticeable variation in the depth of gold color in World War II vintage cans, because of the large number of suppliers involved. Late in the war this was changed to drab green paint, which remained standard through the remainder of the C-ration's service life, as well as that of its (very similar) successor, the Meal Combat Individual (MCI).


title: C-ration

text: During the war, soldiers frequently requested that the cylindrical cans be replaced with flat, rectangular ones (similar to a sardine can), comparable to those used in the earliest versions of contemporary K rations, because of their compactness and packability; but this was deemed impractical because of the shortage of commercial machinery available to produce rectangular cans. After 1942 the K ration too, reverted to the use of small round cans.


title: C-ration

text: Initially, C-Ration cans were marked only with paper labels, which soon fell off and made a guessing game out of evening meals; US Soldiers and Marines receiving an unpopular menu item several nights in a row often found themselves powerless to bargain for a more palatable one.


title: C-ration

text: The C-Ration was, in general, not well liked by U.S. Army or Marine forces in World War II, who found the cans heavy and cumbersome, and the menu monotonous after a short period of time. There were also inevitable problems with product consistency given the large number of suppliers involved and the pressures of wartime production. When issued to British or other Commonwealth forces formerly issued hardtack and bully beef-type rations, the C ration was initially accepted, but monotony also became a chief complaint after a few days of consumption. Australian forces tended to dislike the C ration, finding the canned food items generally bland, overly soft in texture, and unappealing. Originally intended only for infrequent use, the exigencies of combat sometimes forced supply authorities to make the C ration the only source of sustenance for several weeks in succession. In 1943, a ration board reviewing medical examinations of soldiers after long-term use of Type C rations recommended that they be restricted to a maximum of five continuous days in the absence of supplementation with other rations.


title: C-ration

text: While the initial specification was officially declared obsolete in 1945, and production of all Type C rations ended in 1958, existing stockpiles of both original and revised Type C rations continued to be issued to troops serving in Korea and even as late as the Vietnam War. A Marine tank commander serving in Vietnam in 1968 noted his unit was frequently supplied with older stocks of C rations, complete with early 1950s dates on the cans.


title: C-ration

text: The M-unit contained a canned entrée originally made of stew meat (a mixture of beef and pork) seasoned with salt, various spices, and chopped onions. They initially came in three varieties: Meat Stew with Beans, Meat with Vegetable Hash, and Meat Stew with Vegetables (carrots and potatoes). The commonplace nature of the menu was intentional, and designed to duplicate the menu items (hash, stews, etc.) soldiers were normally served as A- or B-rations in Army mess halls.


title: C-ration

text: Another new menu item, "Meat & Spaghetti in Tomato Sauce", was added in 1943. In late 1944 "Chopped Ham, Egg, and Potato", "Meat and Noodles", "Pork and Rice", "Frankfurters and Beans", "Pork and Beans", "Ham and Lima Beans", and "Chicken and Vegetables" were introduced in an attempt to increase the C rations' period of continuous use. The unpopular Meat Hash and equally unpopular experimental "Mutton Stew with Vegetables" meal were dropped. In the final revision, "Beef Stew with Vegetables" was added in 1945. By all accounts, after the meat hash and mutton stew, the Ham and Lima Beans entrée was the most unpopular; despite continued negative field reports, it inexplicably remained a standard entrée item not only during World War II, but also during the Korean War and Vietnam War.


title: C-ration

text: The B-unit (bread and dessert portion) contained several calorie-dense crackers, 3 sugar tablets, 3 dextrose energy tablets, and a packet or small can of beverage mix (instant coffee; powdered synthetic lemon drink, containing the rations' main source of vitamin C; or bouillon soup powder). Later revisions added orange drink powder (1944), sweetened cocoa powder (1944), and grape drink powder (1945), all enriched with vitamin C, to the list of beverages. In 1941, the energy tablets were replaced with loose candy, such as candy-coated peanuts or raisins, Charms hard candy, or Brachs chocolate or vanilla caramels. Due to spoilage, the loose candy was replaced in 1944 with a chocolate disk (e.g. Brachs fudge disk) or a cookie sandwich (e.g., Jim Dandee), and the number of biscuits was reduced to 4.


title: C-ration

text: Another B-unit, consisting of pre-mixed oatmeal cereal, was introduced in 1944 as a breakfast ration that was usually paired with the "Ham, Egg, and Potato" Meal.


title: C-ration

text: The inclusion of additional accessories and condiments led to the development of an accessory package.


title: C-ration

text: The brown butcher paper accessory pack contained sugar tablets, halazone water purification tablets (for a brief period in 1945), a flat wooden spoon, a piece of candy-coated chewing gum, 3 "short" sample 3-packs or one "long" sample 9-pack of commercial-grade cigarettes and a book of 20 cardboard moisture-resistant matches, a paper-wrapped P-38 can opener printed with instructions for its proper use, and typically 22.5 sheets of toilet paper (compared to 3 sheets for the British Army). The P-38 can openers were generally worn on the GI's "dog tag" chain to facilitate opening the next meal's cans.


title: C-ration

text: In 1945, the accessory pack was modified. Per the order of the Surgeon General, the halazone tablets were removed and salt tablets were added. Also, feedback from the field revealed that some soldiers opened up accessory packs just to get the cigarettes and threw away the rest of the items. To reduce waste, the accessory pack was now divided into the short pack with cigarettes and matches, and the long pack containing the other accessories.


title: C-ration

text: Cigarette brands issued included Camel, Chelsea, Chesterfield, Craven A, Lucky Strike, Old Gold, Philip Morris, Player's, Raleigh, and Wings.


title: C-ration

text: The rations came packed in a small rectangular wooden crate that weighed 40 lbs. and had a volume of 1.12 cubic feet. Each crate contained 8 daily rations of 3 meals each for a total of 24 M-units, 24 B-units, and 24 accessory packs.


title: C-ration

text: Early rations came with a variety of 8 "Meat and Beans", 8 "Meat & Vegetable Hash", and 8 "Meat & Vegetable Stew" M-units and 24 B-units. Later rations (c. 1944–1945) added a breakfast meal of 8 "Chopped Ham, Egg, & Potato" M-units and 8 "Compressed Cereal" B-units in place of the "Meat and Vegetable Hash". Alternate M-unit menu items came packed in cases of 24 M-units (and 24 B-units) rather than a mixed 8-8-8 menu like the main items.


title: C-ration

text: After World War II there was an attempt to combine the best features of the C-ration and the K-ration into a new individual ration. Called the E-ration, it was for all intents and purposes the same canned C-ration, with the addition of some new components. In field testing, the bread component of the E-ration was found to be so unpalatable that the E-ration was quickly dropped from classification and inventory.


title: C-ration

text: After the failure of the E-Ration, ration planners decided to save costs by returning to the basic C-ration designation, intermittently revised with new menus and item specifications.


title: C-ration

text: The C-2 ration was described in TB-QM-53, Department of the Army, dated March 1948, as an individual ration which consisted of packaged pre-cooked foods which could be eaten hot or cold. It replaced the World War II C-Ration, and later, the short-lived E-Ration. It could be carried and prepared by the individual soldier. The revised C-Ration was now intended for feeding combat troops continuously, up to three weeks (21 days). Due to the required individual portability of this ration, maximum nourishment had to be provided in the smallest physical unit. The components of this ration were prepared in five different menus.


title: C-ration

text: Each menu included an accessory packet which consisted of essential toilet articles, tobacco, and confections.


title: C-ration

text: In 1951, a new C-3 menu for the Type C-Ration was introduced. The C-3 ration was composed of the same five menus of the C-2, but offered greater variety. In addition to new and improved “B” (bread) and “M” (meat) units, each menu contained an accessory packet, fruit, and cigarettes. The ration was very heavy, weighing 5 lbs. 8.5 oz. [2.5 kg.], and was packed in 8 small cans in a cardboard box. There were 6 daily ration boxes per cardboard case.


title: C-ration

text: Field cooking equipment was not required for the preparation of this ration. The C-3 ration was more adequate than the original C-Ration in respect to its nutritional value.


title: C-ration

text: In 1954, the C-4 ration was developed as a modification of the C-3 ration, and was called Ration, Combat, Individual. It included the issue of two cans of fruit for 2 meals to replace the one can issued for one meal in the C-3 ration.


title: C-ration

text: At its introduction, the QMC stated that the Type C ration was intended for short-term use for periods not to exceed three days. After the war, in light of field evaluation reports of monotony, the QMC Food Services Branch used this limitation as a defense to the largely negative response to the C-Ration during the war, while at the same time advocating standardization on the C-Ration as the sole individual packaged ration for U.S. troops. Not only did the QMC decide not to develop or introduce new alternative lightweight individual rations, it successfully campaigned for the elimination of alternatives, including the K-ration, Mountain ration, Jungle ration, and even the 10-in-1 group ration (which had proven somewhat useful in boosting nourishment and alleviating complaints of monotony for men living for extended periods on C-Rations or K-Rations).


title: C-ration

text: Instead, the C-Ration, still designated as a packaged ration intended for infrequent or short-term use, went through a series of largely unsuccessful minor revisions. This decision resulted in limiting troops in the field to a single class of packaged ration that despite meal variances was neither suited to varied field environments nor for long-term use. Troops continued to complain of the monotony of a single class of field ration with one or more unpalatable menu items, especially where A and B rations were not available for extended periods.


title: C-ration

text: Primarily implemented due to cost concerns, the selection of a heavy canned wet ration resulted in a severe weight penalty for troops marching on foot and forced to carry a multi-day supply of rations. The overuse of the canned wet ration reached an extreme during the Vietnam War, where American troops resorted to placing stacked ration cans in socks to save bulk and reduce noise on patrol, while their enemy increased their mobility by carrying lightweight rations of dry rice. The Quartermaster Branch's insistence on canned wet rations for all postwar field issue and the failure to develop a suitable lightweight dehydrated or other dry ration for jungle and other extreme environments led directly to the hurried development of the LRP ration or Long Range Patrol ration in 1966.


title: C-ration

text: Starting in 1958, C-Rations were slowly replaced by the nearly identical canned Meal, Combat, Individual ration.


title: C-ration

text: These rations were issued for most of the next two plus decades, until they were replaced by Meal Ready to Eat or MREs in the Mid 1980s.


title: Working animal

text: A working animal is an animal, usually domesticated, that is kept by humans and trained to perform tasks instead of being slaughtered to harvest animal products. Some are beasts of burden (draught animals) that provide transportation (e.g. riding horses and camels) and aid in physical labor (e.g. oxen and elephants), while others are service animals trained to execute certain specialized tasks (e.g. hunting and guide dogs, messenger pigeons and fishing cormorants). They may also be used for milking or herding. Some, at the end of their working lives, may also be used for meat or other products such as leather.


title: Working animal

text: The history of working animals may predate agriculture, with dogs used by our hunter-gatherer ancestors. Around the world, millions of animals work in relationship with their owners. Domesticated species are often bred for different uses and conditions, especially horses and working dogs. Working animals are usually raised on farms, though some are still captured from the wild, such as dolphins and some Asian elephants.


title: Working animal

text: People have found uses for a wide variety of abilities in animals, and even industrialised societies use many animals for work. People use the strength of horses, elephants, and oxen to pull carts and move loads. Police forces use dogs for finding illegal substances and assisting in apprehending wanted persons, others use dogs to find game or search for missing or trapped people. People use various animals—camels, donkeys, horses, dogs, etc.—for transport, either for riding or to pull wagons and sleds. Other animals, including dogs and monkeys, help disabled people.


title: Working animal

text: On rare occasions, wild animals are not only tamed, but trained to perform work—though often solely for novelty or entertainment, as such animals tend to lack the trustworthiness and mild temper of true domesticated working animals. Conversely, not all domesticated animals are working animals. For example, while cats may catch mice, it is an instinctive behaviour, not one that can be trained by human intervention. Other domesticated animals, such as sheep or rabbits, may have agricultural uses for meat, hides and wool, but are not suitable for work. Finally, small domestic pets, such as most small birds (other than certain types of pigeon) are generally incapable of performing work other than providing companionship.


title: Working animal

text: Some animals are used due to sheer physical strength in tasks such as ploughing or logging. Such animals are grouped as a draught or draft animals. Others may be used as pack animals, for animal-powered transport, the movement of people and goods. Together, these are sometimes called beasts of burden. Some animals are ridden by people on their backs and are known as mounts. Alternatively, one or more animals in harness may be used to pull vehicles.


title: Working animal

text: They mainly include equines such as horses, donkeys, and mules; bovines such as cattle, water buffalo, and yak. In some places, elephants, llamas and camels are also used. Dromedary camels are in arid areas of Australia, North Africa and the Middle East; the less common Bactrian camel inhabits central and East Asia; both are used as working animals. On occasion, reindeer, though usually driven, may be ridden.


title: Working animal

text: Certain wild animals have been tamed and used for riding, usually for novelty purposes, including the zebra and the ostrich. Some mythical creatures are believed to act as divine mounts, such as garuda in Hinduism (See vahana for divine mounts in Hinduism) and the winged horse Pegasus in Greek mythology.


title: Working animal

text: Pack animals may be of the same species as mounts or harness animals, though animals such as horses, mules, donkeys, reindeer and both types of camel may have individual bloodlines or breeds that have been selectively bred for packing. Additional species are only used to carry loads, including llamas in the Andes.


title: Working animal

text: Domesticated cattle and yaks are also used as pack animals. Other species used to carry cargo include dogs and pack goats.


title: Working animal

text: An intermediate use is as draft animals, harnessed singly or in teams, to pull sleds, wheeled vehicles or ploughs.


title: Working animal

text: Assorted wild animals have, on occasion, been tamed and trained to harness, including zebras and even moose.


title: Working animal

text: As some domesticated animals display extremely protective or territorial behaviour, certain breeds and species can be utilised to guard property, including dogs, geese and llamas.


title: Working animal

text: Working draught animals may power fixed machinery using a treadmill and have been used throughout history to power a winch to raise water from a well. Turnspit dogs were formerly used to power roasting jacks for roasting meat.


title: Working animal

text: Working as a form of biological treatment for the environment. Animals such as Asian carps were imported to the U.S. in 1970s to control algae, weed, and parasite growth in aquatic farms, weeds in canal systems, and as one form of sewage treatment.


title: Working animal

text: As predatory species are naturally equipped to catch prey, this is a further use for animals and birds. This can be done either for sustenance, sport, or to reduce the population of undesired animals that are considered harmful to crops, livestock or the environment.


title: Working animal

text: The defensive and offensive capabilities of animals (such as fangs and claws) can be used to protect or to attack humans.


title: Working animal

text: In some jurisdictions, certain working animals are afforded greater legal rights than other animals. One such common example is police dogs and military dogs, which are often afforded additional protections and the same memorial services as human officers and soldiers.


title: Working animal

text: India law have provision for the in loco parentis for implementing animal welfare laws. Under the India law the non-human entities such as animals, deities, trusts, charitable organizations, corporate, managing bodies, etc. and several other non-human entitles have been given the status of the "legal person" with legal rights and duties, such as to sue and be sued, to own and transfer the property, to pay taxes, etc. In court cases regarding animals, the animals have the status of ""legal person"" and humans have the legal duty to act as "loco parentis" towards animals welfare like a parent has towards the minor children. In a case of cow-smuggling, the Punjab and Haryana High Court mandated that ""entire animal kingdom including avian and aquatic"" species has a ""distinct legal persona with corresponding rights, duties, and liabilities of a living person"" and humans are ""loco parentis"" while laying out the norms for animal welfare, veterinary treatment, fodder and shelter, e.g. animal drawn carriages must not have more than four humans, and load carrying animals must not be loaded beyond the specified limits and those limits must be halved when animals have to carry the load up a slope. A court while deciding the ""Animal Welfare Board of India vs Nagaraja"" case in 2014 mandated that animals are also entitled to the fundamental right to freedom enshrined in the Article 21 of Constitution of India i.e. right to life, personal liberty and the right to die with dignity (passive euthanasia). In another case, a court in Uttarakhand state mandated that animals have the same rights as humans.


title: Michel Brown

text: Misael Browarnik Beiguel (born June 10, 1976) better known as Michel Brown is an Argentine actor, singer and Television presenter.


title: Michel Brown

text: He was discovered by Argentine producer Cris Morena for her teen variety show "Jugate Conmigo". Cris Morena also produced his solo album (titled "Michel") and gave him a starring role in popular kids soap "Chiquititas".


title: Michel Brown

text: In 1999, Michel decided to invest in his international career and traveled to Mexico, where he got a role in the teen telenovela "DKDA Sueños de Juventud" for Televisa and soon signed a contract with No. 2 network TV Azteca. The same year he also starred in the video for the track "Out of Control" by the UK big beat act The Chemical Brothers.


title: Michel Brown

text: He became one of Latin-America and Spain's most popular performers after starring as Franco Reyes in the popular telenovela "Pasión de Gavilanes", which became the top-rated soap opera in several countries, including his native Argentina and Spain, where he became a huge star.


title: Michel Brown

text: He is the host of the Univision network version of "Survivor", titled "", which premiered June 20, 2010.


title: Agony (2018 video game)

text: Agony is a 2018 dark fantasy survival horror video game developed by Polish developer Madmind Studio and published by PlayWay. Players begin their journey as a tormented soul within the depths of Hell without any memories about his past. The special ability to control people on their path, and possess weak-minded demons, gives players the necessary measures to survive in the extreme conditions they are in. The game received generally unfavorable reviews.


title: Agony (2018 video game)

text: The game is played from a first-person perspective. The player controls one of the Martyrs condemned to Hell, Amraphel (aka Nimrod) tasked with meeting the Red Goddess, one of the creators of Hell, in an effort to escape and return to the land of the living. Unlike other Martyrs, the player possesses the unique ability to possess both other Martyrs and, later in the game, lesser and higher demons, giving them access to special abilities. Using mechanics such as crouching and holding their breath, the player can avoid demons. Besides hiding, the player needs to solve puzzles in order to unlock new areas. There are available hidden statues that the player can collect, as well as paintings which are possible to discover.


title: Agony (2018 video game)

text: The story follows a lost soul trapped in Hell without any memory of his former life. From what is revealed of the protagonist's backstory, he was a king of an ancient land who made a Faustian bargain with the Red Goddess. In-story, he is referred to as both Nimrod by the Goddess and Amraphel by other condemned souls, some of whom still have their memories, blaming the protagonist for them being damned to Hell because of the acts he committed while alive. As the protagonist wanders through the wastelands of Hell, he discovers a possibility of escaping through the aid of the Red Goddess. Determined, he travels to the Red Goddess' lair to learn how he can be set free.


title: Agony (2018 video game)

text: If the player obeys the Red Goddess's commands, they will ultimately venture to the lowest depths of Hell, provoking a creature known only as the Beast. Sufficiently wearing down the Beast, the protagonist is able to possess it, using its power to break the seals binding it to the lower depths. Satisfied, the Red Goddess reveals herself as the Whore of Babylon and vows to use the Beast to begin the Apocalypse. The protagonist is returned to the living world, per his deal, only to be killed by the Beast moments later as the Red Goddess begins her conquest of Earth, leaving the player's soul to return to Hell.


title: Agony (2018 video game)

text: The story features multiple other endings, dependent on how the player progresses and the choices they make. However, only two of these are canonical.


title: Agony (2018 video game)

text: In November 2016, the developers of "Agony" started a Kickstarter campaign to fund the creation of the game. The Kickstarter campaign surpassed its goal and ended in December 2016. The game was originally scheduled for a release on March 30, 2018, but was delayed to May 29, 2018.


title: Agony (2018 video game)

text: The game originally had received an "Adults Only" rating from the ESRB due to its level of violence. This led to the developers toning down some of the violence to allow the game to receive a "Mature" rating instead and allowed it to be rated by The ESRB.


title: Agony (2018 video game)

text: A planned "Adults Only" unrated patch for PC was later dropped due to "legal issues". However, on June 6, 2018, the developers said they were "talking with Steam representatives" about offering Agony Unrated as "a separate title produced and published by Madmind Studio and without the involvement of any publishers." For those who already own the original game, this version is either free DLC or a separate purchase at 99% off, which currently is the highest possible discount on Steam's platform. "Agony Unrated", the uncensored version of the game, was released on Steam on October 31, 2018. The unrated edition also contains various quality of life improvements such as updated graphics and character models, new gameplay mechanics and enemies, and new endings.


title: Agony (2018 video game)

text: On September 5, 2018, Madmind Studio announced a partnership with Forever Entertainment to bring "Agony" to Nintendo Switch. It was released on October 31, 2019.


title: Agony (2018 video game)

text: On November 6, 2020, Ignibit announced their partnership with Agony developer MadMind Studio to bring the game to VR.


title: Agony (2018 video game)

text: "Agony" was met with "generally unfavorable reviews", according to Metacritic. "The Escapist"s Ben "Yahtzee" Croshaw in his "Zero Punctuation" review referred to it as "liquidized offal." He specifically criticized the game's overuse of gore, stating: "... environments are simultaneously too busy and extremely boring; turn things up to eleven and stay there, and it's just as dull as staying at one", as well as the unforgiving stealth mechanics. He later ranked it as the second worst game of 2018.


title: Agony (2018 video game)

text: A spin-off game titled "Succubus" was announced by Madmind in December 2018. It centers on playing a succubus, Vydija, as she seeks revenge and a task set by Nimrod: gather Baphomet's tongue. In July 2020, a free demo was made available. A Switch port was announced to be in development by Console Labs.


title: Agony (2018 video game)

text: Another spin-off game titled "Agony: Lords of Hell" was officially announced in December 2021. The game will be set between the events of "Agony" and "Succubus" and expands upon the fate of the protagonist of the former game and Vydija who is the protagonist of the latter.


title: Sheila Jackson Lee

text: Sheila Jackson Lee (born January 12, 1950) is an American lawyer and politician who is the U.S. representative for , having served since 1995. The district includes most of central Houston. She is a member of the Democratic Party, and served as an at-large member of the Houston City Council before being elected to the House.


title: Sheila Jackson Lee

text: Jackson Lee was born Sheila Jackson in Queens, New York. Her parents were immigrants from Jamaica. She graduated from Jamaica High School in Queens. She earned a BA in political science from Yale University in 1972 and a JD from the University of Virginia School of Law in 1975. She is a member of the Alpha Kappa Alpha sorority.


title: Sheila Jackson Lee

text: Jackson Lee made three unsuccessful attempts at local judgeships before becoming a Houston, Texas municipal judge from 1987 to 1990. Along with Sylvia Garcia, Jackson Lee was appointed by then Mayor of Houston Kathy Whitmire.


title: Sheila Jackson Lee

text: In 1989, Jackson Lee won the at-large position for a seat on the Houston City Council, serving until 1994. On the city council, she helped pass a safety ordinance that required parents to keep their guns away from children. She also worked for expanded summer hours at city parks and recreation centers as a way to combat gang violence.


title: Sheila Jackson Lee

text: In 1994, Jackson Lee challenged four-term incumbent U.S. Representative Craig Washington in the Democratic primary. Washington had come under fire for opposing several projects that would have benefited the Houston area. Jackson Lee defeated Washington, 63% to 37%. The victory was tantamount to election in this heavily Democratic, black-majority district. In the general election, she defeated Republican nominee Jerry Burley, 73%–24%.


title: Sheila Jackson Lee

text: During this period, Jackson Lee was never challenged in the Democratic primary. She was reelected with at least 76% of the vote in every election.


title: Sheila Jackson Lee

text: For the first time in her congressional career, Jackson Lee was challenged in the Democratic primary; her opponents were Houston City Councilmember Jarvis Johnson and Sean Roberts. She defeated them, 67%–28%-5%.


title: Sheila Jackson Lee

text: It was reported that in October 2010 Jackson Lee was "asking the Department of Justice to investigate whether tea party groups are intimidating black and Hispanic voters in her district." She requested that Attorney General Eric Holder send poll monitors to make sure that no local group was stopping people from voting.


title: Sheila Jackson Lee

text: In 2012, Jackson Lee was unopposed in the Democratic primary and won the general election with 75% of the vote.


title: Sheila Jackson Lee

text: Jackson Lee defeated Republican nominee Sean Seibert, 71.78% to 24.76%. She received 76,097 votes to Seibert's 26,049. Green Party candidate Remington Alessi and independent Vince Duncan received the remainder.


title: Sheila Jackson Lee

text: Four candidates competed in the March 1 Republican primary election. Lori Bartley, with 5,679 votes (33.7%), led the field and faced a runoff on April 24 with the second-placed contender, Reggie Gonzales, who drew 5,578 votes (33.1%). Two other contenders, Sharon Joy Fisher with 4,405 votes (26.1%) and Ave Reynero Pate (7.13%), took the remainder of the vote. Bartley defeated Gonzales, 58% to 42%.


title: Sheila Jackson Lee

text: In the general election, Jackson Lee defeated Bartley, 73.5% to 23.64%. She received 150,157 votes to Bartley's 48,306. Green Party candidate Tom Kleven received 5,845 votes.


title: Sheila Jackson Lee

text: In the Democratic primary, Jackson Lee defeated Richard Johnson, 85.3% to 14.7%. In the general election, she defeated Republican nominee Ave Reynero Pate, 75.25% to 20.81%. Libertarian Luke Spencer and independent Vince Duncan received the remainder of the vote.


title: Sheila Jackson Lee

text: In the Democratic primary, Jackson Lee defeated seven other candidates with 77% of the vote. In the general election, she defeated Pate again, 73.3% to 23.5%. Libertarian Luke Spencer and independent Vince Duncan received the remainder of the vote.


title: Sheila Jackson Lee

text: Before the 110th Congress, Jackson Lee served on the House Science Committee and on the Subcommittee that oversees space policy and NASA. She is a member of the Congressional Black Caucus, and a CBC whip. She is known to be gaffe-prone and has a reputation for treating staffers poorly.


title: Sheila Jackson Lee

text: In 2000, Jackson Lee favored permanently normalizing trade status for China, arguing that it would aid both human rights and Houston's economy.


title: Sheila Jackson Lee

text: Jackson Lee traveled to the 2001 World Conference against Racism in South Africa, and has backed sanctions against Sudan. On April 28, 2006, along with four other members of Congress and six other activists, she was arrested for disorderly conduct in front of Sudan's embassy in Washington. They were protesting the role of Sudan's government in ethnic cleansing in Darfur.


title: Sheila Jackson Lee

text: Jackson Lee has urged better relations between the U.S. and Venezuela, which she describes as a friendly nation. She said the U.S. should reconsider its ban on selling F-16 fighter jets and spare parts to Venezuela. The U.S. State Department bans such sales due to "lack of support" for counter-terrorist operations and Venezuela's relations with Iran and Cuba.


title: Sheila Jackson Lee

text: In July 2010, Jackson Lee said: "Today, we have two Vietnams, side by side, North and South, exchanging and working. We may not agree with all that North Vietnam is doing, but they are living in peace. I would look for a better human rights record for North Vietnam, but they are living side by side." It was noted that Vietnam had not been split for four decades, and that Vietnam's government does not consider South Vietnam to have ever been a sovereign state.


title: Sheila Jackson Lee

text: Jackson Lee condemned President Erdoğan's wide-ranging crackdown on dissent following a failed July 2016 coup in Turkey.


title: Sheila Jackson Lee

text: Jackson Lee is active on immigration issues. She has proposed increasing border security and increasing opportunities for legalization among those living in the U.S. She has opposed a guest worker program, saying that the idea "connotate[s] 'invite, come,' and, at the same time, it misleads because you ask people to come for a temporary job of three to six years and they have to leave if they don't have another job and I would think that they would not."


title: Sheila Jackson Lee

text: In an October 2016 MSNBC interview, Jackson Lee mistakenly denounced Wikipedia when she meant WikiLeaks. The story concerned the Hillary Clinton email controversy. Jackson said, "You know that I'm going to first of all denounce the use of this intrusion by Wikipedia through the Russian intrusion" and "This is what it's about. Espionage just like what was said over these last couple of days. We need to be concerned about the intrusion of Russia and Putin in these elections."


title: Sheila Jackson Lee

text: In January 2011, Jackson Lee said that repealing the Patient Protection and Affordable Care Act would violate the Constitution, arguing that the act is constitutional under the Commerce Clause, and that repealing it would violate both the Fifth and the Fourteenth Amendments.


title: Sheila Jackson Lee

text: At a March 2011 Homeland Security Committee hearing on radical Muslims in the U.S., Jackson Lee said that Peter King's hearings were helping al-Qaeda and "going the same route as Arizona." She complained that the hearings were scaring Muslim Americans and called them "an outrage".