title: Horse breeding

text: There are value judgements involved in considering whether an animal is suitable breeding stock, hotly debated by breeders. Additional personal beliefs may come into play when considering a suitable level of care for the mare and ensuing foal, the potential market or use for the foal, and other tangible and intangible benefits to the owner.


title: Horse breeding

text: If the breeding endeavor is intended to make a profit, there are additional market factors to consider, which may vary considerably from year to year, from breed to breed, and by region of the world. In many cases, the low end of the market is saturated with horses, and the law of supply and demand thus allows little or no profit to be made from breeding unregistered animals or animals of poor quality, even if registered.


title: Horse breeding

text: The minimum cost of breeding for a mare owner includes the stud fee, and the cost of proper nutrition, management and veterinary care of the mare throughout gestation, parturition, and care of both mare and foal up to the time of weaning. Veterinary expenses may be higher if specialized reproductive technologies are used or health complications occur.


title: Horse breeding

text: Making a profit in horse breeding is often difficult. While some owners of only a few horses may keep a foal for purely personal enjoyment, many individuals breed horses in hopes of making some money in the process.


title: Horse breeding

text: A rule of thumb is that a foal intended for sale should be worth three times the cost of the stud fee if it were sold at the moment of birth. From birth forward, the costs of care and training are added to the value of the foal, with a sale price going up accordingly. If the foal wins awards in some form of competition, that may also enhance the price.


title: Horse breeding

text: On the other hand, without careful thought, foals bred without a potential market for them may wind up being sold at a loss, and in a worst-case scenario, sold for "salvage" value—a euphemism for sale to slaughter as horsemeat.


title: Horse breeding

text: Therefore, a mare owner must consider their reasons for breeding, asking hard questions of themselves as to whether their motivations are based on either emotion or profit and how realistic those motivations may be.


title: Horse breeding

text: The stallion should be chosen to complement the mare, with the goal of producing a foal that has the best qualities of both animals, yet avoids having the weaker qualities of either parent. Generally, the stallion should have proven himself in the discipline or sport the mare owner wishes for the "career" of the ensuing foal. Mares should also have a competition record showing that they also have suitable traits, though this does not happen as often.


title: Horse breeding

text: Some breeders consider the quality of the sire to be more important than the quality of the dam. However, other breeders maintain that the mare is the most important parent. Because stallions can produce far more offspring than mares, a single stallion can have a greater overall impact on a breed. Research from Nagoya University supports the belief that the most important factor affecting a thoroughbred’s race performance is the quality of its sire, whereas the effect of the age of its broodmare is negligible. However, the mare may have a greater influence on an individual foal because its physical characteristics influence the developing foal in the womb and the foal also learns habits from its dam when young. Foals may also learn the "language of intimidation and submission" from their dam, and this imprinting may affect the foal's status and rank within the herd. Many times, a mature horse will achieve status in a herd similar to that of its dam; the offspring of dominant mares become dominant themselves.


title: Horse breeding

text: A purebred horse is usually worth more than a horse of mixed breeding, though this matters more in some disciplines than others. The breed of the horse is sometimes secondary when breeding for a sport horse, but some disciplines may prefer a certain breed or a specific phenotype of horse. Sometimes, purebred bloodlines are an absolute requirement: For example, most racehorses in the world must be recorded with a breed registry in order to race.


title: Horse breeding

text: Bloodlines are often considered, as some bloodlines are known to cross well with others. If the parents have not yet proven themselves by competition or by producing quality offspring, the bloodlines of the horse are often a good indicator of quality and possible strengths and weaknesses. Some bloodlines are known not only for their athletic ability, but could also carry a conformational or genetic defect, poor temperament, or for a medical problem. Some bloodlines are also fashionable or otherwise marketable, which is an important consideration should the mare owner wish to sell the foal.


title: Horse breeding

text: Horse breeders also consider conformation, size and temperament. All of these traits are heritable, and will determine if the foal will be a success in its chosen discipline. The offspring, or "get", of a stallion are often excellent indicators of his ability to pass on his characteristics, and the particular traits he actually passes on. Some stallions are fantastic performers but never produce offspring of comparable quality. Others sire fillies of great abilities but not colts. At times, a horse of mediocre ability sires foals of outstanding quality.


title: Horse breeding

text: Mare owners also look into the question of if the stallion is fertile and has successfully "settled" (i.e. impregnated) mares. A stallion may not be able to breed naturally, or old age may decrease his performance. Mare care boarding fees and semen collection fees can be a major cost.


title: Horse breeding

text: Breeding a horse can be an expensive endeavor, whether breeding a backyard competition horse or the next Olympic medalist. Costs may include:


title: Horse breeding

text: Stud fees are determined by the quality of the stallion, his performance record, the performance record of his get (offspring), as well as the sport and general market that the animal is standing for.


title: Horse breeding

text: The highest stud fees are generally for racing Thoroughbreds, which may charge from two to three thousand dollars for a breeding to a new or unproven stallion, to several hundred thousand dollars for a breeding to a proven producer of stakes winners. Stallions in other disciplines often have stud fees that begin in the range of $1,000 to $3,000, with top contenders who produce champions in certain disciplines able to command as much as $20,000 for one breeding. The lowest stud fees to breed to a grade horse or an animal of low-quality pedigree may only be $100–$200, but there are trade-offs: the horse will probably be unproven, and likely to produce lower-quality offspring than a horse with a stud fee that is in the typical range for quality breeding stock.


title: Horse breeding

text: As a stallion's career, either performance or breeding, improves, his stud fee tends to increase in proportion. If one or two offspring are especially successful, winning several stakes races or an Olympic medal, the stud fee will generally greatly increase. Younger, unproven stallions will generally have a lower stud fee earlier on in their careers.


title: Horse breeding

text: To help decrease the risk of financial loss should the mare die or abort the foal while pregnant, many studs have a live foal guarantee (LFG) – also known as "no foal, free return" or "NFFR" - allowing the owner to have a free breeding to their stallion the next year. However, this is not offered for every breeding.


title: Horse breeding

text: After the mare is bred or artificially inseminated, she is checked using ultrasound 14–16 days later to see if she "took", and is pregnant. A second check is usually performed at 28 days. If the mare is not pregnant, she may be bred again during her next cycle.


title: Horse breeding

text: It is considered safe to breed a mare to a stallion of much larger size. Because of the mare's type of placenta and its attachment and blood supply, the foal will be limited in its growth within the uterus to the size of the mare's uterus, but will grow to its genetic potential after it is born. Test breedings have been done with draft horse stallions bred to small mares with no increase in the number of difficult births.


title: Horse breeding

text: When breeding live cover, the mare is usually boarded at the stud. She may be "teased" several times with a stallion that will not breed to her, usually with the stallion being presented to the mare over a barrier. Her reaction to the teaser, whether hostile or passive, is noted. A mare that is in heat will generally tolerate a teaser (although this is not always the case), and may present herself to him, holding her tail to the side. A veterinarian may also determine if the mare is ready to be bred, by ultrasound or palpating daily to determine if ovulation has occurred. Live cover can also be done in liberty on a paddock or on pasture, although due to safety and efficacy concerns, it is not common at professional breeding farms.


title: Horse breeding

text: When it has been determined that the mare is ready, both the mare and intended stud will be cleaned. The mare will then be presented to the stallion, usually with one handler controlling the mare and one or more handlers in charge of the stallion. Multiple handlers are preferred, as the mare and stallion can be easily separated should there be any trouble.


title: Horse breeding

text: The Jockey Club, the organization that oversees the Thoroughbred industry in the United States, requires all registered foals to be bred through live cover. Artificial insemination, listed below, is not permitted. Similar rules apply in other countries, such as Australia.


title: Horse breeding

text: By contrast, the U.S. standardbred industry allows registered foals to be bred by live cover, or by artificial insemination (AI) with fresh or frozen (not dried) semen. No other artificial fertility treatment is allowed. In addition, foals bred via AI of frozen semen may only be registered if the stallion's sperm was collected during his lifetime, and used no later than the calendar year of his death or castration.


title: Horse breeding

text: Whereas the various national Thoroughbred associations typically require live cover, by 2009 most horse breeds allowed for the artificial insemination of mares with cooled, frozen or even fresh semen.


title: Horse breeding

text: Artificial insemination (AI) has several advantages over live cover, and has a very similar conception rate:


title: Horse breeding

text: A stallion is usually trained to mount a phantom (or dummy) mare, although a live mare may be used, and he is most commonly collected using an artificial vagina (AV) which is heated to simulate the vagina of the mare. The AV has a filter and collection area at one end to capture the semen, which can then be processed in a lab. The semen may be chilled or frozen and shipped to the mare owner or used to breed mares "on-farm". When the mare is in heat, the person inseminating introduces the semen directly into her uterus using a syringe and pipette.


title: Horse breeding

text: Often an owner does not want to take a valuable competition mare out of training to carry a foal. This presents a problem, as the mare will usually be quite old by the time she is retired from her competitive career, at which time it is more difficult to impregnate her. Other times, a mare may have physical problems that prevent or discourage breeding. However, there are now several options for breeding these mares. These options also allow a mare to produce multiple foals each breeding season, instead of the usual one. Therefore, mares may have an even greater value for breeding.


title: Horse breeding

text: The world's first cloned horse, Prometea, was born in 2003. Other notable instances of horse cloning are:


title: Megaloblastic anemia

text: Megaloblastic anemia is a type of macrocytic anemia. An anemia is a red blood cell defect that can lead to an undersupply of oxygen. Megaloblastic anemia results from inhibition of DNA synthesis during red blood cell production. When DNA synthesis is impaired, the cell cycle cannot progress from the G2 growth stage to the mitosis (M) stage. This leads to continuing cell growth without division, which presents as macrocytosis.


title: Megaloblastic anemia

text: The defect in red cell DNA synthesis is most often due to hypovitaminosis, specifically vitamin B12 deficiency or folate deficiency. Loss of micronutrients may also be a cause.


title: Megaloblastic anemia

text: Megaloblastic anemia not due to hypovitaminosis may be caused by antimetabolites that poison DNA production directly, such as some chemotherapeutic or antimicrobial agents (for example azathioprine or trimethoprim).


title: Megaloblastic anemia

text: The pathological state of megaloblastosis is characterized by many large immature and dysfunctional red blood cells (megaloblasts) in the bone marrow and also by hypersegmented neutrophils (defined as the presence of neutrophils with six or more lobes or the presence of more than 3% of neutrophils with at least five lobes). These hypersegmented neutrophils can be detected in the peripheral blood (using a diagnostic smear of a blood sample).


title: Megaloblastic anemia

text: There is a defect in DNA synthesis in the rapidly dividing cells and to a lesser extent, RNA and protein synthesis are also impaired. Therefore, unbalanced cell proliferation and impaired cell division occur as a result of arrested nuclear maturation so the cells show nuclear-cytoplasmic asynchrony.


title: Megaloblastic anemia

text: In the bone marrow, most megaloblasts are destroyed prior to entering the peripheral blood (intramedullary hemolysis). Some can escape the bone marrow (macrocytes) to peripheral blood but they are destroyed by the reticulo-endothelial system (extramedullary hemolysis).


title: Megaloblastic anemia

text: The gold standard for the diagnosis of Vitamin B deficiency is a low blood level of Vitamin B. A low level of blood Vitamin B is a finding that normally can and should be treated by injections, supplementation, or dietary or lifestyle advice, but it is not a diagnosis. Hypovitaminosis B can result from a number of mechanisms, including those listed above. For determination of cause, further patient history, testing, and empirical therapy may be clinically indicated.


title: Megaloblastic anemia

text: A measurement of methylmalonic acid (methylmalonate) can provide an indirect method for partially differentiating Vitamin B and folate deficiencies. The level of methylmalonic acid is not elevated in folic acid deficiency. Direct measurement of blood cobalamin remains the gold standard because the test for elevated methylmalonic acid is not specific enough. Vitamin B is one necessary prosthetic group to the enzyme methylmalonyl-coenzyme A mutase. Vitamin B deficiency is but one among the conditions that can lead to dysfunction of this enzyme and a buildup of its substrate, methylmalonic acid, the elevated level of which can be detected in the urine and blood.


title: Megaloblastic anemia

text: Due to the lack of available radioactive Vitamin B, the Schilling test is now largely a historical artifact. The Schilling test was performed in the past to help determine the nature of the vitamin B deficiency. An advantage of the Schilling test was that it often included Vitamin B with intrinsic factor.


title: Megaloblastic anemia

text: Normal levels of both methylmalonic acid and total homocysteine rule out clinically significant cobalamin deficiency with virtual certainty.


title: Megaloblastic anemia

text: Bone marrow (not normally checked in a patient suspected of megaloblastic anemia) shows megaloblastic hyperplasia.


title: Hypnagogic pop

text: Hypnagogic pop (often abbreviated as h-pop) is pop or psychedelic music that evokes cultural memory and nostalgia for the popular entertainment of the past (principally the 1980s). It emerged in the mid to late 2000s as American lo-fi and noise musicians began adopting retro aesthetics remembered from their childhood, such as radio rock, new wave pop, light rock, video game music, synth-pop, and R&B. Recordings circulated on cassette or Internet blogs and were typically marked by the use of outmoded analog equipment and DIY experimentation.


title: Hypnagogic pop

text: The genre's name was coined by journalist David Keenan in an August 2009 issue of "The Wire" to label the developing trend, which he characterized as "pop music refracted through the memory of a memory." It was used interchangeably with "chillwave" or "glo-fi" and gained critical attention through artists such as Ariel Pink and James Ferraro. The music has been variously described as a 21st-century update of psychedelia, a reappropriation of media-saturated capitalist culture, and an "American cousin" to British hauntology.


title: Hypnagogic pop

text: In response to Keenan's article, "The Wire" received a slew of hate mail that derided hypnagogic pop as the "worst genre created by a journalist". Some of the tagged artists rejected the label or denied that such a unified style exists. During the 2010s, critical attention for the genre waned, although the style's "revisionist nostalgia" sublimated into various youth-oriented cultural zeitgeists. Hypnagogic pop evolved into vaporwave, with which it is sometimes conflated.


title: Hypnagogic pop

text: Hypnagogic pop is pop or psychedelic music that draws heavily from the popular music and culture of the 1980s – also ranging from the 1970s to the early 1990s. The genre reflects a preoccupation with outmoded analog technology and bombastic representations of synthetic elements from these epochs of pop culture, with its creators informed by collective memory as well as their personal histories. Per the imprecise nature of memory, the genre does not faithfully recreate the sounds and styles popular in those periods. In this way, hypnagogic pop distinguishes itself from revivalist movements. As authors Maël Guesdon and Philippe Le Guern write, the genre can be described as "revisionist nostalgia, not in the sense that 'everything used to be better' but because it rewrites collective memory with a view to being more faithful to an idea or a memory of the original than to the original itself."


title: Hypnagogic pop

text: Examples of specific sounds evoked by hypnagogic pop artists range from "ecstatically blurry and irradiated lo-fi pop" to "seventies cosmic-synth-rock" and "tripped-out, tribal exotica". Writing for "Vice" in 2011, Morgan Poyau described the genre as "making awkward bedfellows out of experimental music enthusiasts and weird progressive pop theorists." He described a typical manifestation of the style as featuring long tracks "saturated with echo, delay, smothered guitars and amputated synths." Critic Adam Trainer writes that, rather than a particular sound, the music was defined by a collection of artists who shared the same approaches and cultural experiences. He observed that their music drew from "the collective unconscious of late 1980s and early 1990s popular culture" while being "indebted stylistically to various traditions of experimentalism such as noise, drone, repetition, and improvisation."


title: Hypnagogic pop

text: Common reference points include various forms of 1980s music, including radio rock, new wave pop, MTV one-hit wonders, New Age music, synth-driven Hollywood blockbuster soundtracks, lounge music, easy-listening, corporate muzak, lite rock "schmaltz", video game music, and 1980s synth-pop and R&B. Recordings are often deliberately degraded, produced with analog equipment, and exhibit recording idiosyncrasies such as tape hiss. It employs sounds that were considered "futuristic" during the 1980s which, due to their outmoded nature, appear psychedelic out of context. Also common was the use of outmoded audiovisual technology and DIY digital imagery, such as compact cassettes, VHS, CD-R discs, and early Internet aesthetics.


title: Hypnagogic pop

text: In the 2000s, a wave of retro-inspired home-recording artists begun dominating underground indie scenes. The emergence of Ariel Pink's Haunted Graffiti, in particular, prompted journalistic discussion of the philosophical concept of hauntology, most prominently among the writers Simon Reynolds and Mark Fisher. Later, the term "hauntology" was described as a British synonym for hypnagogic pop, while hypnagogic pop was described as an "American cousin" to Britain's hauntological music scene,


title: Hypnagogic pop

text: Todd Ledford, owner of the music label Olde English Spelling Bee (OESB), attributed a correlation between the proliferation of hypnagogic pop and the rise of YouTube. Reynolds attributed the origins of hypnagogic pop to Southern California and its culture. Trainer disagreed with Reynolds' assertion and said the style "arguably" emerged from numerous simultaneous scenes inhabited by artists working in a diverse form of "post-noise neo-psychedelia". "Pitchfork"s Marc Masters offered that it may have originated "less [as] a movement than a coincidence". The music was often issued in the form of limited-edition cassettes or vinyl records before reaching a wider audience through blogs and YouTube videos.


title: Hypnagogic pop

text: Ariel Pink gained recognition in the mid 2000s through a string of self-produced albums, pioneering a sound that Reynolds called "'70s radio-rock and '80s new wave as if heard through a defective transistor radio, glimmers of melody flickering in and out of the fog". He identified Pink and the Skaters as the "godparents of hypnagogic", but singled out Pink as the central figure to what he calls the "Altered Zones Generation", an umbrella term he designed for lo-fi, retro-inspired indie artists who were commonly featured on "Altered Zones", an associate site for "Pitchfork". "Tiny Mix Tapes" Jordan Redmond wrote that Pink's early collaborator John Maus was also placed "at the nexus of a number of recent popular movements" including hypnagogic pop, and that Maus was as "much of a progenitor of this sound as Pink, even though Pink has tended to be the headline-grabber."


title: Hypnagogic pop

text: R. Stevie Moore and Martin Newell were earlier artists who anticipated Pink's sound. Matthew Ingram of "The Wire" recognized Moore's influence on Pink and hypnagogic pop: "through his disciple ... he has unwittingly provided the [genre's] template". Another precursor to the genre was Nick Nicely and his 1982 single "Hilly Fields (1892)". "Red Bull Music"s J.R. Moore wrote that Nicely's "uniquely haphazard DIY aesthetic" and contemporary take on 1960s psychedelic pop "basically invented the sound of the 2000s Hypnagogic Pop movement decades beforehand."


title: Hypnagogic pop

text: The Skaters were a noise duo consisting of James Ferraro and Spencer Clark, and like Pink, were based in California. In the mid-2000s, they released dozens of CD-Rs and cassettes of psychedelic drone music, after which Ferraro and Clark each pursued solo outings. From 2009 to 2010, Ferraro's music evolved to be increasingly rhythmic and melodic, as Trainer describes, "an oversaturated sonic palette of cheesy pop reminiscent of early video game soundtracks and 1980s Saturday morning cartoons."


title: Hypnagogic pop

text: "Complex" contributor Joe Price felt that the h-pop movement was "birthed" by Ferraro and "the vastly overlooked [Missouri artist] 18 Carat Affair". In Reynolds' description, "other rising figures" from the original California scene included Sun Araw, LA Vampires and Puro Instinct. He added: "Other key hypnagogues such as Matrix Metals and Rangers reside elsewhere but seem SoCal in spirit." In a 2009 interview, Daniel Lopatin (Oneohtrix Point Never) stated that Salvador Dalí and Danny Wolfers were the "godfathers of hpop". He identified other progenitors to be DJ Screw, "retro kids", Joe Wenderoth, Autre Ne Veut, Church In Moon and DJ Dog Dick.


title: Hypnagogic pop

text: Journalist David Keenan, who was known as a reporter of noise, freak folk, and drone music scenes, coined "hypnagogic pop" in an August 2009 piece for "The Wire". He referred to a developing trend of 2000s lo-fi and post-noise music in which artists began to engage with elements of cultural nostalgia, childhood memory, and outdated recording technology. Inspired by comments by James Ferraro and Spencer Clark, and while invoking a similar concept discussed by Russian esotericist P.D. Ouspensky, Keenan employed the term "hypnagogic" as referring to the psychological state "between waking and sleeping, liminal zones where mis-hearings and hallucinations feed into the formation of dreams."


title: Hypnagogic pop

text: Among the artists discussed in Keenan's article were Ariel Pink, Daniel Lopatin, the Skaters, Gary War, Zola Jesus, Ducktails, Emeralds, and Pocahaunted. According to Keenan, these artists began to draw on cultural sources subconsciously remembered from their 1980s and early 1990s adolescence while freeing them from their historical contexts and "hom[ing] in on the futuristic signifiers" of the period. He alternately summarized hypnagogic pop as "pop music refracted through the memory of a memory" and as "1980's-inspired psychedelia" that engages with capitalist detritus of the past in an attempt to "dream of the future." In a later article, Keenan identified Lopatin, Ferraro, Clark, and ex-Test Icicles member Sam Mehran as hypnagogic pop's "most adventurous proponents".


title: Hypnagogic pop

text: Once "hypnagogic pop" was coined, a variety of music blogs immediately wrote about the phenomenon. By 2010, albums by Ariel Pink and Neon Indian were regularly hailed by publications like "Pitchfork" and "The Wire", with "hypnagogic pop", "chillwave", and "glo-fi" employed to describe the evolving sounds of such artists, a number of which had songs of considerable success within independent music circles. Pink was frequently called "godfather" of h-pop, chillwave or glo-fi as new acts that were associated with him (aesthetically, personally, geographically, or professionally) attracted notice from critics. Some of his contemporaries, such as Ferraro, Clark, and War, failed to match his mainstream success. When this point was raised to Clark in a 2013 interview, he replied that Pink was simply "an ambassador of California, like the Beach Boys."


title: Hypnagogic pop

text: In 2010, "Pitchfork" launched "Altered Zones", effectively an online newsletter for hypnagogic acts. Beginning that July, "Altered Zones" aggregated its content from a collective of leading blogs specializing in the movement. By the end of the year, OESB, now known for its roster of hypnagogic acts such as Ferraro and Mehran, had grown to be one of the most prominent underground indie labels. In January 2011, Keenan wrote that OESB was "the imprint most associated with H-pop" and "in many ways ... "the" label of 2010", although he mused, "It has been interesting to see how its demographic has morphed from an early underground/Noise audience to being embraced by the fringes of indie and dance culture, helped by groups like Forest Swords, who muddy the line between H-pop and dubstep."


title: Hypnagogic pop

text: "Chillwave", a tag used to describe a similar trend was coined one month before Keenan's 2009 article and was adopted synonymously with "hypnagogic pop". While the two styles are similar in that they both evoke 1980s–90s imagery, chillwave has a more commercial sound with an emphasis on "cheesy" hooks and reverb effects. A contemporary review by Marc Hogan for Neon Indian's "Psychic Chasms" (2009) listed "dream-beat", "chillwave", "glo-fi", "hypnagogic pop", and "hipster-gogic pop" as interchangeable terms for "psychedelic music that's generally one or all of the following: synth-based, homemade-sounding, 80s-referencing, cassette-oriented, sun-baked, laid-back, warped, hazy, emotionally distant, slightly out of focus."


title: Hypnagogic pop

text: The experimental tendencies of hypnagogic pop artists like Pink and Ferraro were soon amplified by the Internet-centric genre dubbed "vaporwave". Although the name shares the "-wave" suffix, it is only loosely connected to chillwave. Sam Mehran was one of the earliest hypnagogic acts to anticipate vaporwave, with his project Matrix Metals and the 2009 album "Flamingo Breeze", which was built on synthesizer loops. That same year, Lopatin uploaded a collection of plunderphonics loops to YouTube inconspicuously under the alias sunsetcorp. These clips were later assembled for the album "Chuck Person's Eccojams Vol. 1" (2010). "Stereogum"s Miles Bowe summarized vaporwave as a combination of "the chopped and screwed plunderphonics of Dan Lopatin ... with the nihilistic easy-listening of James Ferraro’s Muzak-hellscapes on [the 2011 album] "Far Side Virtual"".


title: Hypnagogic pop

text: Writers, fans, and artists struggled to differentiate between hypnagogic pop, chillwave, and vaporwave. The earliest known use of the term "vaporwave" is generally attributed to an October 2011 blog post that discussed the hypnagogic album "Surfs Pure Hearts" by Girlhood. Adam Harper surmised that the author cited the work as "vaporwave" instead of "hypnagogic pop" possibly because they were unfamiliar with the latter term. He also remarked of "a special place in hell" for those who attempt to separate the three genres: "it's a back room where Satan forever explains the differences between death metal, black metal and doom metal."


title: Hypnagogic pop

text: According to Harper, vaporwave and hypnagogic pop share an affinity for "trash music", both are "dreamy" and "chirpy", and both "manipulate their material to defamiliarise it and give it a sense of the uncanny, such as slowing it down and/or lowering the pitch, making it, as the term goes, ‘screwed’." Of differences, vaporwave does not typically engage in long tracks, lo-fi productions, or non-sampled material, and it draws more from the early 1990s than it does the 1970s and 1980s. Compared to hypnagogic pop, vaporwave bears a stronger musical connection to chillwave for its sampling of slowed-down synth funk.


title: Hypnagogic pop

text: David Keenan's original "Wire" article incited a slew of hate mail that derided the "hypnagogic pop" label as the "worst genre created by a journalist". As the movement's popularity grew, the analogue lo-fi aspirations of Pink and Ferraro were taken up by "groups with names like Tape Deck Mountain, Memory Tapes, Memory Cassette – and turned into cliché." Both chillwave and vaporwave had been conceived as tongue-in-cheek, hyperbolic responses to such trends.


title: Hypnagogic pop

text: Keenan became disenchanted with artists of the movement who streamlined their sound and "chillwave" came to serve as a pejorative for such acts. In the 2010 Rewind issue of "The Wire", Keenan said that h-pop had "migrated from a process designed to liberate desire from marketing formulas to a carrot in the mouth of a corpse that has proved irresistible to underground musicians looking for an easy route to mainstream acceptance." He invoked chillwave as "one of the more meaningless sobriquets applied to the new future pop visions" and "a much more appropriate description of the mindless, depoliticised embracing of mainstream values that H-pop has come to be associated with."


title: Hypnagogic pop

text: Some of the tagged artists, such as Neon Indian and Toro y Moi, rejected the h-pop tag or denied that such a unified style exists. "The Guardian"s Dorian Lynskey called the hypnagogic tag "pretentious", while "New York Times" writer Jon Pareles criticized the style as "annoyingly noncommittal music". The latter described a showcase of such bands at the 2010 South by Southwest festival as "a hedged, hipster imitation of the pop they're not brash enough to make". "Altered Zones" contributor Emilie Friedlander prophesied in 2011 that Ariel Pink, John Maus, James Ferraro, Spencer Clark, and R. Stevie Moore would be remembered as musicians who "elevated the crackle and grain of low-fidelity recording ... and made the vocabulary of pop music and the preoccupations of the avant-garde seem a lot less incompatible than much of the previous century had implied." However, like Keenan, she later wrote of her disenchantment with the movement following the "deliberately cringeworthy" example of Ferraro's "Far Side Virtual". Weeks after the album's release, "Altered Zones" shut down. OESB also went defunct the same year.


title: Hypnagogic pop

text: Usage of "hypnagogic pop" has since diminished, although the genre's "imagined sonic past" has sublimated into various pop culture zeitgeists. Likewise, an affinity for the retro proved itself as a hallmark of 2010s youth culture. In a 2012 interview, Pink acknowledged that he was aware that he "was doing something that sounded like the trace of a memory you can't place" and argued that such evocations had become so ingrained into modern music that "people take it for granted". On websites such as "Drowned in Sound", "Dummy Mag", and "Electronic Beats", hauntology and hypnagogic pop were ultimately supplanted by an interest in post-Internet artists.


title: Hypnagogic pop

text: Simon Reynolds described hypnagogic pop as a "21st-century update of psychedelia" in which "lost innocence has been contaminated by pop culture" and hyper-reality. He notes a particular concern with the "scrambling of pop time", suggesting that "perhaps the secret idea buried inside hypnagogic pop is that the '80s never ended. That we're still living there, subject to that decade's endless end of History." Guesdon and Le Guern posit that "the hypnagogic movement can be seen as an aesthetic response to the growing feeling that time is speeding up: a feeling that often proves to be one of the fundamental components of advanced modernity."


title: Hypnagogic pop

text: Adam Trainer suggested that the style allowed artists to engage with the products of media-saturated capitalist consumer culture in a way that focuses on affect rather than irony or cynicism. Adam Harper noted among hypnagogic pop artists a tendency "to turn trash, something shallow and determinedly throwaway, into something sacred or mystical" and to "manipulate their material to defamiliarise it and give it a sense of the uncanny."


title: Peggy Olson

text: Margaret "Peggy" Olson is a fictional character and the female lead of the AMC television series "Mad Men", and is portrayed by Elisabeth Moss. Initially, Peggy is secretary to Don Draper (Jon Hamm), creative director of the advertising agency Sterling Cooper. Later, she is promoted to copywriter, the first female writer at the firm since World War II. She later joins Draper when he leaves Sterling Cooper to become a founding member of Sterling Cooper Draper Pryce. By the end of Season 4, Peggy is effectively Draper's second-in-command in the creative department. Towards the end of season five, Peggy accepts a job offer from another agency, CGC, and quits her job at Sterling Cooper Draper Pryce. However, following a merger between SCDP and CGC, Peggy finds herself working again with Don Draper.


title: Peggy Olson

text: Moss received critical acclaim for her performance and received six Primetime Emmy Award nominations, a Golden Globe nomination, three Critics' Choice Television Award nominations, and has been nominated for two individual nominations for the Screen Actors Guild Awards for her performance. She has also won two Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series along with the cast of "Mad Men".


title: Peggy Olson

text: Peggy Olson is initially presented as an innocent but determined young woman, eager to be a success in her job at Sterling Cooper after having graduated from the respected Miss Deaver's secretarial school. She was born on May 25, 1939, and was brought up in Bay Ridge, Brooklyn, New York in a Roman Catholic Norwegian and Irish-American family. When she was 12 years old, her father died of a heart attack in front of her.


title: Peggy Olson

text: Peggy has an immense dislike of the double standard in the treatment and expectations of men and women.


title: Peggy Olson

text: Lauren Chval of the "Chicago Tribune" wrote that Peggy's character "arc" showed the highest degree of change in the show, stating that "No other character has seen the same level of transformation."


title: Peggy Olson

text: In the pilot episode, "Smoke Gets in Your Eyes", which takes place in March 1960, Peggy begins work as a secretary for Don Draper (Jon Hamm). Her supervisor, office manager Joan Holloway (Christina Hendricks), directs her in her duties as well as offers personal advice, which includes referring her to a gynecologist to obtain a prescription for birth control pills. When Peggy initially meets account executive Pete Campbell (Vincent Kartheiser), he makes rude comments about her appearance, and Don defends her. Later that night, after his bachelor party, Pete shows up at Peggy's apartment drunk. Despite Pete's offensive remarks earlier, Peggy sleeps with him. Months later, Peggy and Pete have another sexual encounter on Pete's office couch, early one morning before other employees arrive.


title: Peggy Olson

text: In "Babylon", Sterling Cooper executive Freddy Rumsen (Joel Murray) notices Peggy's sharp mind and creativity during a focus group for Belle Jolie lipstick. After hearing Peggy's insightful remarks during a brainstorming session, Rumsen comments that her performance "was like watching a dog play the piano". She is asked to write some copy for the campaign in addition to her other duties. The campaign is a success, and she is made to work on other campaigns. As a result, she is soon promoted to Junior Copywriter and ceases being Don's secretary. She reveals herself to be highly ambitious, and her approach to her work is compared to Don's. Later, after Rumsen is fired, Peggy convinces Senior Partner Roger Sterling (John Slattery) to give her Rumsen's office.


title: Peggy Olson

text: During her first year at Sterling Cooper, Peggy begins to gain weight, which appears to confuse her. The male account executives begin to mock her, and Joan makes unkind remarks to her about her appearance in an attempt to encourage her to lose weight and dismisses her success at copywriting. When Peggy is promoted, she begins experiencing severe abdominal pain; she attributes it to a "bad sandwich" from the office cart and heads to St. Mary's Hospital in Brooklyn. She is shocked and in denial when informed she's actually in labor. As she gets up to leave, she collapses, and the hospital staff moves her into a hospital room in labor and delivery. She gives birth to a healthy baby boy, but she refuses to hold him or even look at him.


title: Peggy Olson

text: Season 2 begins 15 months later, on February 14, 1962, with a slim Peggy and no mention of the birth. Her long absence (not shown) is a mystery to Sterling Cooper's employees. One co-worker jokes during a meeting that "Draper knocked her up and she's dropped nine pounds, eight ounces." Pete has heard through office gossip that Peggy went to a fat farm.


title: Peggy Olson

text: It is revealed later in the season, through a series of flashbacks, that Peggy's family has covered up Peggy's sudden disappearance from Sterling Cooper. They tell Don that Peggy is in quarantine with tuberculosis, but she is actually in a mental hospital because she has had a break with reality after giving birth. Don becomes suspicious and seeks her out at the hospital. He encourages her to do whatever the doctors are asking her to do and move forward as if nothing ever happened, adding, "It will shock you how much this never happened."


title: Peggy Olson

text: Peggy's out-of-wedlock pregnancy causes tension with her deeply Catholic mother, Katherine, and sister, Anita. When a visiting parish priest, Father Gill (Colin Hanks), befriends Peggy after seeking out her advice regarding public speaking, Anita goes to confession and tells him that she hates and resents Peggy for seducing a married man, getting pregnant and abandoning her child, then pretending as though nothing happened. Afterward Father Gill repeatedly tries to persuade Peggy to take confession, which Peggy consistently declines to do. After season two, she is no longer seen attending mass, but notably performs the sign of the cross before taking her first plane flight in "Waterloo."


title: Peggy Olson

text: Toward the end of season two, Peggy becomes frustrated that she is often left out of business meetings that occur in mens-only environments after work hours. Joan advises her to "stop dressing like a little girl," which leads Peggy to start dressing more professionally and also to agree to a dramatic haircut from copywriter Kurt Smith (Edin Gali), who cuts her demure ponytail in favor of a shorter, more modern hairstyle.


title: Peggy Olson

text: In the Season 2 finale, set during the Cuban Missile Crisis, Pete confesses to Peggy that he's in love with her and wants to be with her. Peggy tells him she could have forced him to be with her if she wanted to, then confesses that he got her pregnant and she gave the baby away. Pete is stunned and even suggests it would have been better if he hadn't known.


title: Peggy Olson

text: In Season 3 (1963), Peggy's ideas for advertising, while respected, are frequently ignored. In particular, her comment that Salvatore Romano's (Bryan Batt) proposed ad campaign for Pepsi's new diet cola Patio (involving a shot-for-shot remake of Ann-Margret's opening scene in "Bye Bye Birdie") would not appeal to the target audience, is dismissed. When the ad in question is shot down by Pepsi (whose idea it was in the first place), she smiles to herself. When she attempts to get a raise, Don shuts her down.


title: Peggy Olson

text: Due to the lengthy commute from Brooklyn, Peggy decides to move to an apartment in Manhattan. She posts an ad at SC for a roommate. Following Joan's advice to make her ad about fun and good times, and post it somewhere other than at SC, Peggy finds a prospective roommate in Karen Ericson (Carla Gallo); her conversation with Karen reveals that Peggy is Norwegian on her father's side.


title: Peggy Olson

text: Peggy becomes romantically involved with Duck Phillips (Mark Moses), who is seeking to lure her and Pete away to his firm. In considering the move, Peggy is motivated by how underutilized she has been at Sterling Cooper, and by Draper in particular, who has shut down her attempt to get a raise. As a result, when Don comes tells her to pack her things and join his new agency, Peggy refuses, noting that everyone thinks he does her work and that while she's had generous offers to join other agencies, Don ordered her to join him instead of actually asking her. Later, Don comes to Peggy at her apartment and tells her how much he values her, and that if she refuses again he'll spend the rest of his life trying to hire her. Peggy accepts his offer and becomes a part of Sterling Cooper Draper Pryce.


title: Peggy Olson

text: In the fourth season (1964–65), Peggy perseveres as a trusted member of the SCDP creative staff, despite lingering resentment and patronizing behavior from most of the men she works with. Her affair with Duck has ended and she dates a young, weak-willed man named Mark (Blake Bashoff) but they break up when she chooses to work late instead of coming to a birthday dinner with her family he has planned. Peggy then meets political journalist Abe Drexler (Charlie Hofheimer) through her new friend Joyce Ramsay (Zosia Mamet), a photo editor for "Life" magazine. Peggy is initially repelled by Abe's criticisms of advertising and his dismissal of her struggles as a professional woman, but a romance develops between them.


title: Peggy Olson

text: When Lucky Strike, SCDP's biggest client, ends their relationship with the firm, Peggy is responsible for essentially saving the company by signing Topaz Pantyhose, breaking a long streak of clients either leaving SCDP or refusing to sign with them.


title: Peggy Olson

text: In season five, Peggy is given more responsibility, but her relationship with Don is strained as his new marriage to Megan causes him to neglect his work. She fails repeatedly to please Heinz Baked Beans's executive, and is finally removed from the account when she mimics Don's authoritative style but ends up offending the client instead.


title: Peggy Olson

text: Peggy also clashes with Art Director Stan Rizzo (Jay R. Ferguson), who antagonizes her by making crude passes at her. While they are spending the weekend together working in a hotel room, Peggy finally calls Stan's bluff and takes off her clothes. He does likewise and is alarmed that he's aroused by Peggy's body, which he has always insulted. Peggy is able to continue working productively, and afterward they have a more positive working relationship.


title: Peggy Olson

text: In the season five episode "The Other Woman", Peggy saves an account by coming up with an idea on the fly for an ad set in Paris. Her colleagues are impressed, but Don, frustrated by the lack of progress with another client, takes it out on Peggy and humiliates her. Peggy meets with Freddy Rumsen, who encourages her to move on from SCDP. Peggy then accepts an offer from another agency, Cutler, Gleason and Chaough, to become their Copy Chief with a generous salary. When she gives Don her notice, he initially doesn't believe her, then offers to beat whatever salary she's been offered, but Peggy remains firm, and Don kisses her hand before she leaves.


title: Peggy Olson

text: Peggy is widely respected by her superiors and feared by her subordinates at CGC. Her secretary recommends she try a little positive reinforcement along with her criticism, which gets mixed results. Peggy frequently works late, sharing gossip and news with Stan by phone. At one point, CGC partner Ted Chaough (Kevin Rahm) kisses Peggy, and later, she reveals she has feelings for him as well.


title: Peggy Olson

text: In "The Flood", Peggy is nominated for a prestigious advertising award for her Heinz Baked Beans ad, which she developed with Draper's wife, Megan (Jessica Paré). They are the only SCDP/SC&P nominees, despite the fact that neither works there anymore. The evening is interrupted by news of the assassination of Martin Luther King, Jr., and in a final frame showing the CLIO Award in Megan's living room, the audience learns that Megan and Peggy won the award.


title: Peggy Olson

text: When Draper and Ted join forces to pitch Chevrolet, leading the two firms to merge, they turn to Peggy to draft the press release. Both are oblivious to Peggy's distress.


title: Peggy Olson

text: When Draper starts a new firm called Sterling Cooper & Partners, he asks Peggy to join, with the promise of greater creative control and a bigger salary. Joan assigns Peggy to the office previously used by Harry Crane and Pete Campbell, which features an awkwardly placed pillar. Peggy has been unanimously declared Copy Chief but finds it very difficult to serve two masters, as she is almost continually put in the middle of Draper and Ted's leadership squabbles.


title: Peggy Olson

text: As Peggy's attraction to Ted grows, her relationship with Abe suffers. They grow further apart as his politics become more radical, and she becomes increasingly unhappy living in the building Abe suggested they buy, which is in a dangerous neighborhood, and decides to sell it. That night, while frightened, she accidentally stabs him. In the ambulance, Abe labels her an enemy to his beliefs, and they break up.


title: Peggy Olson

text: In "A Tale of Two Cities", Joan recruits Peggy to assist her in securing Avon as a client, but Peggy is distressed to discover that Joan has excluded Pete (whom Ted has ordered to handle that prospect) from the proceedings and is managing things on her own. Peggy and Joan have a heated discussion about their different paths to power. When Pete and Ted confront Joan, Peggy realizes Joan needs support from someone who believes in her, and so improvises a fake phone call to save Joan.


title: Peggy Olson

text: In "The Quality of Mercy", Draper and Megan catch Ted and Peggy together at the movies during a work day. Their affection for each other is apparent and problematic to everyone in the office. Draper criticizes Ted for allowing Peggy to exceed the budget on an overly expensive but brilliant television ad. In a client meeting, Draper soothes the client's worries about the expense (which could clearly jeopardize the account), but attributes the ad concept to the late Frank Gleason. While this tactic saves the account, it takes credit away from Peggy, who had hoped to win a CLIO Award for it. Draper also subtly alludes to an inappropriate relationship between Peggy and Ted (which only the SC&P insiders catch). After this, Ted backs off from his and Peggy's romantic relationship. After finding out that Draper is undermining both her professional and personal life, Peggy calls him "a monster".


title: Peggy Olson

text: In the Season 6 finale, "In Care Of", Peggy leaves the office for a date in a revealing dress, smelling of Chanel No. 5. When she returns, Ted is waiting at her apartment; he states that he loves her and plans to leave his wife, and he and Peggy consummate their relationship. The next morning, Ted asks Don to let him manage the SC&P office in California, in an effort to put as much distance between himself and Peggy as possible, and to achieve a fresh start with his family. Don eventually concedes, and Ted informs Peggy of his plans. Peggy is angered by Ted's unilateral decision and says, "Well, aren't you lucky, to have decisions?"


title: Peggy Olson

text: Draper's erratic attendance and behavior start to cause concern, and in the wake of a disastrous Hershey's pitch meeting, the partners place him on a leave of absence of unspecified duration. Peggy, again working late, takes over Draper's office.


title: Peggy Olson

text: In Season 7, Peggy becomes frustrated that Don's replacement, Lou, does not have the same standards and has little respect for her talents. She complains that the work is not as good as it was under Don, even though the company remains profitable, and dislikes working with Lou, who is dismissive and rude to Peggy.


title: Peggy Olson

text: She continues to live in the apartment building she owns and has developed a close friendship with Julio, a little boy who lives upstairs and comes over to watch television.


title: Peggy Olson

text: When Don returns to SC&P under numerous restrictions, Peggy is forced to bring him on as her subordinate for the Burger Chef campaign. Don at first is infuriated at having to work under his own protégé, refusing to turn in work, but soon resigns himself to the role, realizing he won't be able to return to his previous position if he doesn't cooperate. They create a great ad together, but Peggy is undercut when Pete insists that Don give the presentation. At the last minute, however, Don tells Peggy to do it. She gives a powerful presentation and wins the business for SC&P.


title: Peggy Olson

text: Peggy is reluctant to join McCann Erickson after they absorb SC&P, but a recruiter tells her that it's the best choice for her career at the moment. Stan goes with her, and soon afterward Joan tries to lure Peggy into her new film production company, but she chooses to stay in advertising.


title: Peggy Olson

text: Peggy is concerned for Don when he stops coming to work and basically vanishes. He calls her, deeply troubled, from a wellness retreat in California, telling her he realized he never said goodbye to her. Peggy tries to persuade him that he is not the bad person he thinks he is and tries to convince him to come home. After Don hangs up, she calls Stan and expresses concern. He comforts her and they finally admit they're in love with each other. Peggy is last seen working, with Stan embracing her lovingly.


title: Peggy Olson

text: Peggy is Don's secretary until she is promoted, thanks to Freddy Rumsen's telling Don about how she acted during the Belle Jolie focus group. Don allows Peggy to work on accounts but tells her that she is still his secretary. Peggy is often openly resentful of Don's demanding requirements and his refusal to express appreciation for her work, but is also conscious that he is the only one in the firm who views her as an equal to her fellow copywriters, notwithstanding her gender. At the end of Season 1, Don gives her a raise and promotes her, meaning she will no longer work as his secretary. As the series progresses, they develop a work spouse type of relationship.


title: Peggy Olson

text: During Season 2, Peggy and Don's relationship deepens after Don drives while intoxicated and gets into a car accident. Having no one else to call and under arrest for drunk driving, he calls Peggy, who bails him and his mistress Bobbie Barret (Melinda McGraw) out of jail. Bobbie stays at Peggy's apartment for a few days and constantly asks Peggy why she is helping Don so much. It is revealed that at the end of Season 1, Peggy gave birth to a son, which she gave up for adoption. Traumatized by the experience, Peggy is forced to stay in the hospital for a long time, and Don was the only one who cared enough to investigate her whereabouts and is also the only one who visits her in the hospital, besides her mother. Peggy and Don have an intense conversation in the hospital, and he encourages her to do what the doctors are telling her to do. At the end of the episode, "The New Girl", Peggy calls him "Don" instead of "Mr. Draper", which she has been doing since the beginning of the series.


title: Peggy Olson

text: When in "Maidenform" (Season 2) Peggy questions her male colleagues' categorizations of women as "Marilyns" or "Jackies", and asks which she is, Ken quips that she's Gertrude Stein, and the younger men laugh. Don quickly counters that Peggy is Irene Dunne, which Freddy supports with, "I love Irene Dunne".


title: Peggy Olson

text: In Season 3, Don and Peggy continue to rely on each other. However, their relationship becomes strained due to Don's anger and seemingly lack of appreciation for Peggy and her work. When Don decides to start his own advertising agency, Peggy is one of the first people he talks to. He assumes she will quit Sterling Cooper and follow him to his new agency, but is surprised and hurt when she declines, stating that she's tired of being on the receiving end of his anger when something doesn't work out for him. Don later goes to Peggy's apartment, and the two have an emotional conversation, in which Don asks her to go with him to his new agency. When Peggy continues to express reluctance, Don tells her that if she doesn't go with him, he will spend the rest of his life trying to hire her. Matthew Weiner, the series' creator, head writer, and showrunner, has stated that this conversation is essentially Don telling Peggy that he loves her.


title: Peggy Olson

text: Don and Peggy's relationship is further solidified in Season 4, when Don forces Peggy to work all night on her birthday (in "The Suitcase"). Though she is initially angry at Don for having to cancel dinner plans with her boyfriend to accommodate Don's work demands, Peggy and Don eventually make up and go to dinner.


title: Peggy Olson

text: They spend the night talking, and each reveals personal details about their life to the other. Peggy tells Don that her mother hates him because she thinks he fathered her baby. They also discuss the fact that everyone in the office assumes the two are either sleeping together or have slept together in the past.


title: Peggy Olson

text: Peggy asks him in a roundabout way why he never attempted to have an affair with her. He tells her that he has rules that he cannot break, to which she makes a snide remark and refers to his previous affairs. Peggy complains about dating, and Don responds that she's "cute as hell" and will find someone.


title: Peggy Olson

text: Peggy and Don return to the office building, where Peggy helps Don get through his drunken stupor. Duck unexpectedly shows up, also extremely drunk. He believes that Peggy and Don are romantically involved and calls her a whore. In response, Don attacks Duck, and the two drunkenly brawl. Peggy eventually gets Duck to leave and then returns to Don's office, where she finds him drinking again. Don apologizes to Peggy for embarrassing her, and the two fall asleep on his office couch with his head on Peggy's lap.


title: Peggy Olson

text: Later that morning, a distraught Don weeps in Peggy's presence after he learns of Anna's death over the telephone. When Don tells Peggy that he has lost the only one in the world who truly knew him, Peggy tenderly places a consoling hand on his shoulder and replies, "That's not true." which appears to calm him down. Later that morning, a sober Don calls Peggy into his office to talk about the ad they had been struggling with. Don abruptly stops the work related conversation by holding Peggy's hand, as a sign of gratitude for everything she did the night before.


title: Peggy Olson

text: Peggy appears surprised and disappointed when Don announces his engagement to Megan Calvet, his secretary. Peggy congratulates Don, and Don replies that Megan admires her and that Megan reminds him a lot of Peggy. Peggy interprets the gesture as a backhanded compliment, and in a private chat with Joan remarks indignantly that Don seems more excited about marrying his secretary than about her own success. Joan tells Peggy that Don is no less superficial and shallow than any of their other male superiors, and his engagement to Megan should come as no surprise.


title: Peggy Olson

text: Peggy and Don's relationship becomes more strained after Don marries Megan and promotes her to copywriter at SCDP. Peggy takes on the role of Megan's mentor and attempts to nurture her apparent talent (although it later turns out Megan is dissatisfied with being a copywriter). Don also gives Peggy more responsibility, as he has begun spending more time at home than at work. Peggy is often frustrated by her new workload, and matters do not improve when the agency hires another male copywriter - Michael Ginsberg - who seems to receive more credit than his supervisor Peggy does for the same amount of work.


title: Peggy Olson

text: After Peggy manages to save an account, she asks Don if she will be going to Paris with the remainder of the team and requests recognition for saving the Château Cheval Blanc client account (in the Season 5 episode, "The Other Woman"), Don grows angry and throws money in her face, assuming that she is asking for another raise.


title: Peggy Olson

text: This is Peggy's breaking point, and she realizes she can no longer stay at Sterling Cooper Draper Pryce. Following Freddy Rumsen's advice, Peggy takes meetings with other agencies, ultimately choosing to go with Don's rival Ted Chaough at Cutler, Gleason, and Chaough, where she will receive more money and the title of Copy Chief.


title: Peggy Olson

text: Peggy breaks the news to Don immediately after he learns SCDP has landed Jaguar. Don mistakenly assumes she is asking for a raise and is shocked when she tells him that she's actually quitting. Don tells her to state the amount of money she is being offered at the other agency, and he will pay her more, but Peggy holds her ground. After using several failed tactics to get her to stay, Don gets increasingly emotional and angry, but finally accepts her two weeks' notice of resignation. He cruelly tells Peggy that she can leave that day instead of waiting the customary two weeks.


title: Peggy Olson

text: When Peggy holds out her hand for a handshake, Don takes her hand and kisses it, and refuses to let go until Peggy forcefully removes it. An emotional Peggy walks out, leaving Don distraught in his office.


title: Peggy Olson

text: In Season 6, SCDP and CGC merge, reuniting Peggy and Don, much to Peggy's disappointment. Don and Peggy's relationship is at this point extremely strained, cemented by Don's alcoholism and his jealousy of Ted. Most of Don and Peggy's interactions during this season comprises their fighting over the fact that Don constantly puts her in the middle of arguments between him and Ted, which makes her uncomfortable. Don confronts Peggy after she refuses to pick a side, telling her that it's her job to pick the best idea. Peggy argues that he only gets angry when she refuses to pick a side or when she sides with Ted. She tells him that both he and Ted are similar, except that Ted never hurts her like Don does. Don replies, "He doesn't know you," and walks out, leaving Peggy shaken.


title: Peggy Olson

text: In the Season 6 finale ("In Care Of"), Don is set to move to California with Megan, but puts his marriage on the line by allowing Ted to take his place, in order to save Ted's marriage after Ted has slept with Peggy. When Ted tells Peggy he is leaving, she grows angry and assumes this is Don's doing as revenge for her affair with Ted, but is shocked and confused when Ted tells her that he asked Don, and Don accepted.


title: Peggy Olson

text: The other partners place Don on a forced leave due to his behavior, making Peggy SC&P's "de facto" creative director. In a much talked-about tableau, the season closes on a shot of Peggy sitting at Don's desk chair, gazing at the New York skyline, in a pose reminiscent of Don's in "Mad Men"'s title card.


title: Peggy Olson

text: During the most of the first half of Season 7, Don and Peggy are not in communication since Don has been placed on leave - though it is revealed that Don has been submitting work to Peggy through Freddy Rumsen (Peggy assumes it is Freddy's work). When Don is in the office waiting to see if he will be allowed to return, Peggy tells Don that his presence was not missed. After Don is allowed to return to work full-time (with some conditions), both Don and Peggy avoid seeing or talking to each other. In the fourth episode of the season, "The Monolith", Peggy is told that Burger Chef is interested in running an ad campaign and she will be put in charge. She is thrilled until she is told that Don must be on her team for this assignment since he hasn't been doing much since his return. Peggy calls the team into her office and assigns each person to write 25 tags. She avoids making eye contact with Don, as he glares at her during the entire meeting. After the meeting, Don goes into his office and throws a typewriter at the wall.


title: Peggy Olson

text: He spends the rest of the episode defying Peggy's orders by refusing to complete the assignment and does not attend meetings that Peggy calls. After Don drinks heavily in the office, Freddy, who has been helping Don stay sober, comes to the office to take him home. After Don wakes up, Freddy lectures him and convinces Don to keep his head down and do the work. Don, now sober, goes back to the office and tells Peggy he will have by lunch the 25 taglines she asked for.


title: Peggy Olson

text: The tension between Peggy and Don continues until episode 6, "The Strategy". Peggy is still struggling with Burger Chef, and is further discouraged after Lou Avery and Pete Campbell tell her she needs to be "the voice of moms" with the campaign and that it must focus on a happy family life. She finally has what she feels is a good campaign, but is shaken after Don innocently suggests something different. This causes Peggy to doubt the campaign, and she goes into the office to work during the weekend. She calls Don on a Saturday to tell him that his idea was horrible, and to yell at him for expressing himself. She also accuses him of doing it on purpose since he knows she will fret over the campaign.


title: Peggy Olson

text: Don ignores her and continues to spend time with Megan, who is visiting from California over the weekend. However, Don cuts Megan's visit short, and instead goes to the office on Sunday to help Peggy. They argue initially, but as the night goes on, they begin to get along like they used to. They bond over the fact that they both believe that the perfect, nuclear families do not exist.


title: Peggy Olson

text: Don confesses to Peggy that he is afraid he has wasted his life, and he doesn't have anyone who cares for him. Peggy tells Don that she traveled to several different states and spoke to hundreds of Burger Chef customers, and begins to cry because she doesn't know what she did wrong with the campaign. Don comforts her and tells her she's doing a great job. He continues to encourage her, and Peggy finally comes up with the perfect idea for the campaign.


title: Peggy Olson

text: Don notices that Frank Sinatra's "My Way" is playing on the radio and asks Peggy to dance with him. As they dance, Peggy rests her head on Don's chest, and he kisses her head.


title: Peggy Olson

text: The next night, the two of them meet with Pete at a Burger Chef to talk about the new campaign. Pete is unhappy that they are changing everything at the last minute and blames Peggy, but Don stands up for her, and the three eat dinner together as a family.


title: Peggy Olson

text: Don has started to become responsible and reliable after their reconciliation, and he and Peggy continue to support and encourage each other. In the final episode of the season's first half, it is revealed that the Burger Chef team will be traveling to Indianapolis, and Don will be presenting the Burger Chef campaign. During the run through meeting, Pete begins to pick on them, but Peggy and Don stand up for one another.


title: Peggy Olson

text: While staying in a hotel in Indianapolis Don, Peggy, Harry, and Pete gather to watch the Moon landing together. Harry points out that Peggy only brought a beer for Don and herself (which Don opens for her). Don and Peggy sit close to each other on the hotel bed as the four of them watch Neil Armstrong walk on the Moon.


title: Peggy Olson

text: Later that night, Don is informed that Sterling Cooper founder Bert Cooper (Robert Morse) has died and, as a result, he will be fired since Cooper's vote was needed for him to stay employed. Don immediately goes to Peggy's room and tells her she must do the Burger Chef presentation. He wants her to do it because if the meeting is a success, the account belongs to whomever did the presentation. Since he is getting fired, Don fears that if he does the presentation and it's successful, Peggy will be left with nothing. However, if she wins the account, she will be okay even if he leaves.


title: Peggy Olson

text: Peggy argues with him saying that it's too last minute, and she fears she will be unable to do it. Don encourages her, telling her he wouldn't be doing this if he genuinely didn't believe she could do it. Peggy continues to refuse, but finally accepts after Don tells her that although he hasn't watched her present, he has heard her - referring to the Season 6 premiere in which Don eavesdrops on Peggy's presentation with Heinz.


title: Peggy Olson

text: Don and Peggy smile at each other throughout the Burger Chef presentation. Then, they return to New York, where it is revealed that Don will be able to stay after Roger convinces another agency to buy them out, meaning they are an independent firm.


title: Peggy Olson

text: Peggy receives a call from Burger Chef saying they loved the presentation and want to get to work. She runs to tell Don, and the two happily share a hug.


title: Peggy Olson

text: During Season 7, after Peggy learns SCDP has been absorbed back into McCann-Erickson, she considers leaving entirely, but a headhunter convinces her that she is better off moving to McCann and remaining there for a few years, until she's built up her resume. Though frustrated by McCann's misogynistic culture and thrown by Don's sudden and unexplained departure, she is briefly tempted by Joan's proposal that they join forces and start their own agency. However, in the final episode, Peggy ultimately decides to stay at McCann, in part to remain with Stan, as they come to realize that a mutual love has developed between them.


title: Petrarchan sonnet

text: The Petrarchan sonnet, also known as the Italian sonnet, is a sonnet named after the Italian poet Francesco Petrarca, although it was not developed by Petrarch himself, but rather by a string of Renaissance poets. Because of the structure of Italian, the rhyme scheme of the Petrarchan sonnet is more easily fulfilled in that language than in English. The original Italian sonnet form consists of a total of fourteen hendecasyllabic lines (in English sonnets, iambic pentameter is used) in two parts, the first part being an octave and the second being a sestet.


title: Petrarchan sonnet

text: The rhyme scheme for the octave is typically ABBAABBA. The sestet is more flexible. Petrarch typically used CDECDE or CDCDCD for the sestet. Some other possibilities for the sestet include CDDCDD, CDDECE, or CDDCCD (as in Wordsworth's "Nuns Fret Not at Their Convent's Narrow Room," a sonnet about sonnets). This form was used in the earliest English sonnets by Wyatt and others. For background on the pre-English sonnet, see Robert Canary's web page, "The Continental Origins of the Sonnet". In a strict Petrarchan sonnet, the sestet does not end with a couplet, since this would tend to divide the sestet into a quatrain and a couplet. However, in Italian sonnets in English, this rule is not always observed, and CDDCEE and CDCDEE are also used.


title: Petrarchan sonnet

text: The octave introduces a problem or conflict in the mind of the speaker, in the first four lines (known as the first quatrain). The next quatrain explains the problem or provides an exposition to the reader. The sestet begins with a volta which marks the change in rhyme scheme as well as the change of the conflict into a solution or some form of resolution.


title: Petrarchan sonnet

text: Sir Thomas Wyatt and Henry Howard, Earl of Surrey are both known for their translations of Petrarch's sonnets from Italian into English. While Surrey tended to use the English sonnet form in his own work, reserving the Petrarchan form for his translations of Petrarch, Wyatt made extensive use of the Italian sonnet form in the poems of his that were not translation and adaptation work. As a result, he is often credited for integrating the Petrarchan sonnet into English vernacular tradition.


title: Petrarchan sonnet

text: The form also gave rise to an "anti-Petrarchan" convention. The convention was also mocked, or adopted for alternative persuasive means by many of the Inns of Court writers during the Renaissance.


title: Petrarchan sonnet

text: The sonnet is split in two stanzas: the "octave" or "octet" (of 8 lines) and the "sestet" (of 6 lines), for a total of 14 lines.


title: Petrarchan sonnet

text: The octave typically introduces the theme or problem using a rhyme scheme of ABBAABBA. The sestet provides resolution for the poem and rhymes variously, but usually follows the schemes of CDECDE or CDCCDC.


title: Vijay Kedia

text: He realized his passion for stock market when he was 14 and joined the stock market when he turned 19. He started doing his own trading without any success. After few years he left Kolkata and came to Mumbai to try his luck. In 2004 and 2005 he identified and invested in three such shares (Atul auto, Aegis logistics, Cera sanitaryware) which appreciated more than 100 times in next 10 to 12 years. In early 2012, he correctly predicted that India was at the beginning of a structural bull run. In 2016 Kedia was featured at #13 in Business World list of Successful Investors In India In 2017 "MoneyLife Advisory" launched an "Ask Vijay Kedia microsite In 2017 Vijay Kedia's portfolio stocks rose up to 170%. In 2018, he was invited to speak at London Business School. In November 2018, he was invited to speak at TEDx.


title: Vijay Kedia

text: Kedia strictly adheres to SMILE as a principle in investing; which translates into Small in size, Medium in experience, Large in aspiration and Extra-large in market potential. On his investment strategy, Kedia said: "One should scout for companies which have good management... Find a very good management, a very honest management and see the product in which the management is going to grow, going to outperform its peers and the economy... invest in those companies for the next 10–15 years, and you cannot go wrong." Bet big and ride through tough times is his advice While luck plays a big part in stock market investments, knowledge, courage and patience are the cornerstones according to him. He has been 100 percent invested for the past 30 years of his investing career.


title: XCOM: Chimera Squad

text: XCOM: Chimera Squad is a turn-based tactical video game developed by Firaxis Games and published by 2K as part of the "XCOM" series. It is set as a sequel to "", after a tenuous peace accord between warring human and alien forces has been achieved. The player controls a mixed squad of human and alien special forces soldiers that help maintain the fragile peace of City 31, an experimental city where humans and aliens are attempting cohabitation. While "Chimera Squad" follows similar tactical elements of the "XCOM" series, it introduces new gameplay concepts to accelerate the pace of gameplay.


title: XCOM: Chimera Squad

text: The player takes control of a squad of eleven characters, both human and alien, that form Chimera Squad. Each character has unique abilities, replacing character classes from previous installments in the franchise. The game is divided between turn-based tactical combat and management of the squad's non-combat activities. These non-combat activities take place in the game's strategy layer, which allows players to modify or upgrade squad members' equipment and assign squad members to investigations. The strategy layer shows the level of unrest in each district, and failing to address that unrest leads to the city breaking out into violence.


title: XCOM: Chimera Squad

text: Once players initiate a combat mission, they choose which of the playable characters will participate. Each mission may have multiple separate combat segments. Missions start in a planning phase called "breach mode", which allows players to position their units at designated points, from which they will enter the combat area. Different entry points present different bonuses and challenges for players, and players can split their units across multiple entry points.


title: XCOM: Chimera Squad

text: Once combat starts, player-controlled units and computer-controlled enemies take turns based on their position through a mixed player-enemy turn order, a system which the game calls "interleaved turns". Some agents have abilities that enable them to modify the turn order, and once per mission the player can force one of their units to act next regardless of the turn order. This is a divergence from previous entries in the "XCOM" franchise, which had all player-controlled units act then all computer-controlled enemies act. Units have similar options as they did in previous "XCOM" games, including moving, attacking, taking defensive cover, or using special abilities. Some of these abilities synergize with other character's abilities.


title: XCOM: Chimera Squad

text: Characters can be downed during combat, requiring another character to stabilize them, but if any character is not revived in time and dies, the mission fails and has to be restarted. As with previous games in the franchise, players will have the option of enabling "ironman mode", which limits them to a single save slot and imposes permadeath. A playthrough of the game's campaign is expected to take around 20 hours.


title: XCOM: Chimera Squad

text: Like its predecessor, "Chimera Squad" has extensive support for mods, which allows players to add new characters, missions, and equipment to the game.


title: XCOM: Chimera Squad

text: "Chimera Squad" is set in City 31, a model city with humans and aliens living alongside one another. It takes place five years after the events of "", in which the titular organization defeated ADVENT, the alien-led puppet government that ruled Earth for 20 years following an invasion. The game puts players in control of the eponymous squad, an elite peacekeeper force pitted against unknown elements that seek to destabilize City 31.


title: XCOM: Chimera Squad

text: City 31's Mayor Nightingale is killed in a terrorist attack and Chimera Squad is tasked to find the culprit. During their investigation, Chimera Squad confronts three criminal factions, one at a time; The Progeny, a doomsday cult composed of individuals with psionic powers, Gray Phoenix, a street gang composed of aliens who see themselves unfit for Earth society, and Sacred Coil, a religious cult preaching salvation for those who opposed XCOM composed of former ADVENT soldiers and aliens. They eventually discover that these groups are backed by a fourth, mysterious faction, which they codename as "Atlas."


title: XCOM: Chimera Squad

text: Once all the three criminal groups are defeated, Atlas launch an attack on City 31's Town Hall and Chimera Squad rescues Deputy Mayor Parata while fending off the attackers. Soon after, they learn that Atlas was responsible for Mayor Nightingale's assassination and supported the other factions to destabilize City 31 and take it over. In response, Chimera Squad storms Atlas' hideout and defeat their leader, bringing down the organization. One month later, as Chimera Squad celebrates their victory, two individuals watching their headquarters from a monitor note that by the time XCOM realizes that they are in a new war with the mysterious new threat they represent, it will be too late to stop them.


title: XCOM: Chimera Squad

text: "Chimera Squad"'s lead designer is Mark Nauta, who was a designer on "XCOM 2". According to "XCOM 2" lead developer Jake Solomon, the development team for "Chimera Squad" includes many people from the "XCOM 2" team, though he himself was not part of the project. Work on "Chimera Squad" began after completion of the "XCOM 2: War of the Chosen" expansion.


title: XCOM: Chimera Squad

text: Firaxis, "Chimera Squad"'s developer, called the game "neither a sequel or expansion to XCOM 2". Nauta stated that their intention was to explore different gameplay and storytelling mechanics of the "XCOM" games without having to re-balance the elements within "XCOM 2" or "War of the Chosen". Nauta said that with "Chimera Squad", they felt the changes were large enough to be challenging to experienced players, but the game's smaller scale would help draw newer players into the "XCOM" universe. 2K Games, the game's publisher, stated that the game's price – with a 50% discount for the first week after launch – was intended to draw new players into the series.


title: XCOM: Chimera Squad

text: The decision to pivot to a character-centered game where each unit had unique abilities was a result of the developers experiences with the "XCOM 2: War of the Chosen" expansion, which had several unique enemies and recruitable soldiers. Because they opted for designing characters, rather than using randomly generated ones as typical with "XCOM" games, they avoided the normal permadeath rules, while also ensuring that there are still consequences from having characters bleed out in battle.


title: XCOM: Chimera Squad

text: The "interleaved turns" mechanic was a result of complaints from players of past games about the normal "XCOM" turn order, where all units on one side move followed by movement of the opposing side. Players found they could not easily implement long-term strategies in combat due to mass enemy movement, while the new interleaved turns allowed for players to maintain this strategy but react as needed to individual enemy movement. Firaxis founder Sid Meier was an early advocate for the mechanic, and developed a prototype in an engine that he had been building for around twenty years. This helped Nauta and others see how it would work and make small refinements to improve the idea for "XCOM"-style gameplay.


title: XCOM: Chimera Squad

text: The Breach system is based on the past "XCOM" games' Ambush system, but gave players multiple encounters per mission to set up breaches which is meant to improve the pacing of the game.


title: XCOM: Chimera Squad

text: There are no plans for console versions of the title, nor for any downloadable content or expansions.


title: XCOM: Chimera Squad

text: One of the core changes between "Chimera Squad" and "XCOM 2" – the replacement of randomly generated soldiers with the cast of eleven unique ones – was the subject of both praise and disappointment by critics. Ben Reeves, writing for "Game Informer", praised the decision to have the characters be voiced and enjoyed the interactions that they had with one another, though Destructoid's Chris Carter found the voice acting poor and the contrast between bloody combat and lighthearted banter jarring. The characters' unique abilities and their ability to combine with other characters' powers were widely praised.


title: XCOM: Chimera Squad

text: "The Guardian"'s Lewis Packwood found it "wonderfully cathartic" to now wield the same abilities that had been used against players in previous games in the franchise. PC Gamer's Tom Senior, however, felt that - with each combat scenario being short - players did not have enough time to use some of these power combinations, and expressed a desire for more of the characters' abilities to be unlocked at the start of the game.


title: XCOM: Chimera Squad

text: Several other reviews were less enthusiastic, mainly noting the discrepancy in tone and story quality compared to previous entries in the franchise. Strategy Gamer's Richard Scott-Jones lamented the game's lack of polish and relatively low difficulty level, while IGN's Tom Marks said the game had some interesting ideas, but did not "bring them together into a particularly graceful whole."


title: XCOM: Chimera Squad

text: Reviewers also noted the game was significantly easier than prior entries in the franchise. Kirk McKeand of VG247 noted that the player-controlled characters become vastly more powerful than the enemies by the middle of the game and posited that the unlimited ability to restart missions and the lack of permanent character death "strips combat of tension". The same sentiment was echoed by "Game Informer"'s Reeves, who noted that losing a unit went from being a "powerful gut punch" in previous entries to a "frustration" in this one.


title: XCOM: Chimera Squad

text: At the time of the game's release, software bugs that caused the game to crash were an issue. Destructoid's Carter experienced two crashes while preparing his review, though he noted that the game's autosave system meant that less than a minute of play was lost each time. Nauta, the game's lead designer, tweeted an apology for the issues two days after launch.


title: IIHF World Ranking

text: The IIHF World Ranking is a ranking of the performance of the national ice hockey teams of member countries of the International Ice Hockey Federation (IIHF). It is based on a formula giving points for each team's placings at IIHF-sanctioned tournaments over the previous four years. The ranking is used to determine seedings and qualification requirements for future IIHF tournaments. The current leader in rankings is Finland in men's play and Canada in women's play.


title: IIHF World Ranking

text: The system was approved at the IIHF congress of September 2003. According to former IIHF President René Fasel, the system was designed to be simple to understand and "reflect the long-term quality of all national hockey programs and their commitment to international hockey".


title: IIHF World Ranking

text: The ranking is used to determine the seeding of the teams for the next World Championship and to select the teams which can participate in Winter Olympics without playing in the qualifying round. For example, for the 2022 Winter Olympics, the first eight teams of the Men's World Ranking and the first six of the Women's World Ranking were pre-qualified. Qualification for the men's tournament at the 2022 Winter Olympics was structured around the 2019 ranking. Twelve spots were made available for teams. The top eight teams in the World Ranking after the 2019 Men's World Ice Hockey Championships received automatic berths into the Ice Hockey event. All IIHF teams had an opportunity to qualify for the event. Teams that wished to participate ranked below 36th played in two preliminary qualifications in November 2019. The two winners of the first preliminaries and teams ranked 27–36th were divided in three groups to play in the second pre-qualification round in December 2019. The three winners of those preliminaries joined teams ranked 18–26th for the third pre-qualification round of three groups in February 2020. The winner of each of these pre-qualification groups and teams ranked 9–17 were divided in three groups to play in the final qualification in August 2021. The winner of each group then joined the eight top-ranked teams plus the host in the Olympics in 2022.


title: IIHF World Ranking

text: The women's tournament uses a similar qualification format. The top six teams in the IIHF Women's World Ranking after the 2020 IIHF Women's World Championship received automatic berths into the ice hockey event. Lower ranked teams had an opportunity to qualify for the event. Teams ranked 16th and below were divided into three groups where they played in a preliminary qualification round in the October 2021. The three group winners from the round advanced to the final qualification round, where the teams ranked seventh through fifteenth joined them.


title: IIHF World Ranking

text: The world ranking is based on the final positions of the last four Men's or Women's IIHF World Championships and last Olympic ice hockey tournament. Points are assigned according to a team's final placement in the World Championship or the Olympic tournament. The world champion receives 1200 points and then a 20-point interval is used between teams. However, a 40-point interval is used between gold and silver, silver and bronze, fourth and fifth, and eighth and ninth. This is used as a bonus for the teams who reach the quarter-finals, the semi-finals, the final and for winning the gold medal.


title: IIHF World Ranking

text: Points awarded in the current year are valued at the full amount. Points award in the prior years decline linearly by 25% until the fifth year when they are dropped from the calculation. Under this formula, any year with a World Championship and an Olympics will be counted twice in the tables, for a maximum ranking (gold medal in all five events) of: 4200 points at the completion of an Olympic year, 3900 points at the completion of the following year, 3600 points the next year, and 3300 points in the year before the next Olympics. For example, if after the 2020 Championship a team had won the gold medal in the last four championships and the last Olympic tournament, their score would be 3600:


title: IIHF World Ranking

text: The Men's 2022 ranking is based on the performance at the World Championships of 2022, 2021, 2020, and 2019, and at the 2022 Olympic Ice Hockey Tournament in Beijing, China.


title: IIHF World Ranking

text: For the 2018 Winter Olympics, Russia's Olympic Committee and many of its athletes were banned for illegal doping. The IIHF opposed an outright ban on all Russian players, concerned that the KHL would disallow its players from participating in the tournament, as the NHL had done. The ice hockey team from the Russian hockey federation played under the banner of the International Olympic Committee as "Olympic Athletes from Russia", along with other Russian athletes not banned for doping.


title: IIHF World Ranking

text: All tournaments in 2020 were cancelled due to the COVID-19 pandemic. As a result, teams were awarded points based on their seeding for their respective tournaments. The Championship division received points based on the 2019 World Ranking, while the remaining divisions received points based on the previous year's results. For a fairer ranking and point distribution, the IIHF Council decided that the points for 2021 in case of tournament cancellations are given according to the ranking position of each team in the 2021 Pre-Championship Report – taking into consideration the results in 2018, 2019 and 2020 – rather than by seeding as in the past.


title: IIHF World Ranking

text: Russia and Belarus were expelled from competing in the 2022 World Championships because of their invasion of Ukraine. They were, however, granted the points of the positions they would have been seeded based on their 2021 ranking: Russia in third place received 1120 points, and Belarus in 14th place received 860 points. Several nations withdrew from the 2022 World Championships over COVID-19 concerns. These nations similarly received the points of the positions they would have been seeded within their respective tournaments: Australia as second place in IIA received 560 points, New Zealand as third place in IIB received 440 points, North Korea as first place in IIIA received 360 points, Hong Kong as second place in IIIB received 220 points, and the Philippines as fourth place in IV received 100 points.


title: IIHF World Ranking

text: The following table lists the full breakdown of ranking following the 2021 Men's Ice Hockey World Championships, and the calculations of the rankings following the 2022 Men's Olympic Ice Hockey Tournament and the 2022 Men's Ice Hockey World Championships. Scores in "italics" represent minimum possible scores for unfinished tournaments. All tournament's points have their full value displayed, while the ranking is calculated by adding the current year's tournament points to the depreciated previous three years' tournament points as explained above. The depreciated percentages are shown in the column headings, first for the current total, then for the new total. The "Total" columns are the sums of the current tournament points and the depreciated values for past tournaments. The "+/–" columns indicate the increase or decrease in ranking since the last tournament. A dash in a tournament column indicates that the country did not participate.


title: IIHF World Ranking

text: The Women's 2022 ranking is based on the performance at the World Championships of 2022, 2021, 2020, and 2019, and at the 2022 Olympic Ice Hockey Tournament in Beijing, China.


title: IIHF World Ranking

text: For the 2018 Winter Olympics, Russia's Olympic Committee and many of its athletes were banned due to systemic illegal doping. The IIHF opposed an outright ban on all Russian players and the ice hockey team from the Russian hockey federation played under the banner of the International Olympic Committee as "Olympic Athletes from Russia", along with other Russian athletes not banned for doping.


title: IIHF World Ranking

text: Most of the tournaments in 2020 were cancelled due to the COVID-19 pandemic. As a result, teams were awarded points based on their seeding for their respective tournaments. The Championship division received points based on the 2019 World Ranking, while Divisions IA, IB, and IIA received points based on the previous year's results. Divisions IIB and III were completed and scored as scheduled.


title: IIHF World Ranking

text: The following table lists the ranking following the 2021 Women's Ice Hockey World Championships, and the calculations of the rankings following the 2022 Women's Olympic Ice Hockey Tournament and 2022 Women's Ice Hockey World Championships. Scores in "italics" represent minimum possible scores for unfinished tournaments. All tournament's points have their full value displayed, while the ranking is calculated by adding the current year's tournament points to the depreciated previous three years' tournament points as explained above. The depreciated percentages are shown in the column headings, first for the current total, then for the new total. The "Total" columns are the sums of the current tournament points and the depreciated values for past tournaments. The "+/–" columns indicate the increase or decrease in ranking since the last tournament. A dash in a tournament column indicates that the country did not participate.


title: HowToBasic

text: Christopher Smith, better known as HowToBasic, is an Australian YouTube comedy channel with over 17 million subscribers. The creator of the videos does not speak or show his face, and remains anonymous. The channel primarily features bizarre and destructive visual gags disguised as how-to tutorials. The channel first gained popularity in 2013.


title: HowToBasic

text: , HowToBasic is the 5th biggest Australian YouTube channel. The channel's estimated net worth is US$2 million .


title: HowToBasic

text: The channel was briefly suspended on two occasions: once in 2014 and again in late 2015 on presumed violations of YouTube's policy on misleading content. Soon after each time, the channel was restored, and suspension lifted.


title: HowToBasic

text: The channel intentionally clickbaits first-time viewers to believe it is a how-to channel, with video titles, thumbnails, descriptions, as well as the channel's general description, claiming its videos to be tutorials on different subjects, with a particular emphasis on cooking. The actual content of the videos, instead, shows the unidentified man interacting in point of view with food and objects in many ways, mostly by throwing, destroying, and creating a large mess out of them. Some videos have employed additional gags, with guest actors and related footage appearing. Originally, the videos were genuine tutorials of very simple actions, such as "How to pick up an umbrella" (his first video) or "How to pour Drinks".


title: HowToBasic

text: A common theme in the videos is that a large assortment of chicken eggs are thrown and destroyed. Many of the videos include a running gag in which the man gives a thumbs-up (or sometimes the finger gun or the middle finger) in front of the camera while pointing the camera at the mess created, often grunting affirmatively. This is typically just before the scene ends.


title: HowToBasic

text: On 24 March 2018, HowToBasic released what appeared to be a face reveal video. However, the video turned out to be a parody and a compilation of popular YouTubers claiming themselves to be the creator of the channel, ultimately continuing the legitimate creator's anonymity. Over 80 individuals had a cameo in the video, including Michael Stevens of "Vsauce", Markiplier, Casey Neistat, Daym Drops, h3h3productions, jacksfilms, Andy Milonakis, iDubbbz, Boogie2988, JonTron, Maxmoefoe, Jacksepticeye, RoomieOfficial, Aunty Donna, and Post Malone.


title: HowToBasic

text: On April Fools Day 2018, the channel posted a genuine how-to cookery video, where the subject attempts to make a vegan curry while resisting his temptation for eggs and meat products. In following years, the channel has continued the trend by posting a cookery video on April Fools Day with the food and cooking process filmed in real-time (with a clock visible in shot), before being destroyed. This started in 2019 with "How To Make The Perfect Roast", where he prepares and cooks a roast joint for an hour before throwing it on the floor. This was repeated in 2020 with the three-hour long "How To Make Pulled Pork", and in 2021 with "How To Make a Slow Cooked Beef Stew", which ran for over eight hours. A 2022 iteration of this was never posted to the channel.


title: HowToBasic

text: In June 2013, the man behind HowToBasic was interviewed as part of a 6:00 PM Australian News Bulletin by Nine News Perth, broadcast on STW. The station preserved his anonymity upon his request.


title: Prince Paul of Yugoslavia

text: Prince Paul of Yugoslavia, also known as Paul Karađorđević (, English transliteration: "Paul Karageorgevich"; 27 April 1893 – 14 September 1976), was prince regent of the Kingdom of Yugoslavia during the minority of King Peter II. Paul was a first cousin of Peter's father, Alexander I.


title: Prince Paul of Yugoslavia

text: Prince Paul of Yugoslavia was the only son of Prince Arsen of Serbia, younger brother of King Peter I, and of Princess and Countess Aurora Pavlovna Demidova, a granddaughter on one side of the Finnish philanthropist Aurora Karamzin and her Russian husband Prince and Count Pavel Nikolaievich Demidov and on the other of the Russian Prince Peter Troubetzkoy and his wife, Elisabeth Esperovna, by birth a Princess Belosselsky-Belozersky. The House of Karađorđević was in exile with Serbia being ruled by their archenemies, the House of Obrenović. Paul grew up in Geneva and was raised as a lonely and abandoned child in the household of his uncle, Petar Karađorđević. The long and bloody vendetta between the Houses of Obrenović and Karađorđević that started in 1817 ended in 1903 when a military coup d'etat saw the last Obrenović king, Alexander overthrown and hacked to death in his bedchamber. Petar Karađorđević returned to Serbia to become King Petar I. Paul followed his uncle and arrived in Serbia for the first time in 1903. In 1912, he made the decision to attend the University of Oxford, which was most unusual as the Serbian elite preferred to be educated in either Paris or St. Petersburg.


title: Prince Paul of Yugoslavia

text: Paul was educated at Christ Church, Oxford, where he was a member of the exclusive Bullingdon Club – a dining club notorious for its wealthy members, grand banquets and boisterous rituals. Cultivated like his closest friends Prince George, Duke of Kent, and Sir Henry Channon, his outlook on life was said to be British. Paul often said that he "felt like an Englishman". Channon called Paul "the person I have loved most". For a time, Paul and Channon lived together in a house in London together with another of Channon's lovers Lord Gage. A cultured and easy-going bon vivant who inspired much affection from his friends, Paul when not associating with the British aristocracy collected paintings by Monet, Titian and van Gogh.


title: Prince Paul of Yugoslavia

text: Despite the fact that it was the Austrian empire that declared war on Serbia on 28 July 1914, Paul only joined the Royal Serbian Army in November 1914, serving for six months before returning to Britain in May 1915. Paul returned to service with the Royal Serbian Army, which was now in exile in Greece in January-April 1917 before again returning to Britain. His military record during both of his tours of duty was described as "undistinguished" as Paul found he was not cut out to be a soldier. Paul argued that he could be at most service to Serbia by being in London, where he served as a lobbyist for Serbia.