title: Spaghetti aglio e olio

text: The dish is made by first lightly sautéing thinly sliced garlic in olive oil, sometimes with the addition of red pepper flakes (dried chilli – in which case its name is ). The oil and garlic are then tossed with spaghetti cooked in salted water. Finely chopped Italian parsley is then commonly added as a garnish. Although cheese is not included in most traditional recipes, grated parmesan or pecorino cheese can be added, similarly to pasta allo scarpariello. Some recipes recommend to add some of the water from cooking pasta to the olive oil to create a sauce, but other recipes recommend simply pouring the oil onto the drained pasta, which doesn't create a sauce.


title: Paul Felder

text: Paul Felder (born April 25, 1984) is an American retired professional mixed martial artist and color commentator for UFC. He competed in the Lightweight division in the Ultimate Fighting Championship (UFC). A professional since 2011, Felder also fought for the Cage Fury Fighting Championships.


title: Paul Felder

text: He is of Irish and German descent. He began training in martial arts at age 12, starting with Tae Kwon Do and Karate at Zhang Sah. Felder competed in the AAU Junior Olympic Games for Tae Kwon Do with his cousin Niko Portillo, who was the main inspiration for Felder's fighting career. Felder attended Ridley High School in Folsom, Pennsylvania and later the University of the Arts in Philadelphia, for acting, graduating in 2008.


title: Paul Felder

text: During college, Felder began training in Muay Thai before later transitioning to mixed martial arts. Due to his karate background, he was given the nickname "The Irish Dragon", a reference to his Irish heritage and fellow karate practitioner Lyoto "The Dragon" Machida. Felder initially pushed back against the nickname, but it caught on and he stuck with it. After fellow UFC lightweight fighter Conor McGregor commented that Felder's surname was of German origin, Felder joked in January 2021 that he would use the nickname "The German Dragon" if he ever fought McGregor.


title: Paul Felder

text: Felder compiled an amateur MMA record of 3–1 and began his professional mixed martial arts career in 2011. Felder competed entirely in his native Mid-Atlantic states, with most fights for the regional promotion Cage Fury Fighting Championships.


title: Paul Felder

text: Felder ultimately became Lightweight Champion for the promotion, earning the title with a second-round knockout of Marc Stevens. Felder then defended his title once, with a second-round knockout of Craig Johnson, before signing with the UFC in August 2014.


title: Paul Felder

text: Felder made his promotional debut on October 4, 2014 at UFC Fight Night 54 where he faced Jason Saggo. Felder won the fight by split decision.


title: Paul Felder

text: Felder was briefly scheduled to face Johnny Case on January 18, 2015 at UFC Fight Night 59. However, Felder was tabbed as a replacement against Danny Castillo on January 3, 2015 at UFC 182, replacing Rustam Khabilov. Felder defeated Castillo via second-round knockout, which earned Felder a "Performance of the Night" award.


title: Paul Felder

text: Felder was expected to face Jim Miller on April 18, 2015 at UFC on Fox 15. However, Felder pulled out of the fight citing a knee injury and was replaced by Beneil Dariush.


title: Paul Felder

text: Felder faced Edson Barboza on July 25, 2015 at UFC on Fox 16, replacing an injured Myles Jury. He lost the fight by unanimous decision. Both participants earned "Fight of the Night" honors. UFC President Dana White said afterwards that the fight "takes Felder to another level".


title: Paul Felder

text: Felder faced Ross Pearson on September 5, 2015 at UFC 191. He lost the back-and-forth fight by a controversial split decision.


title: Paul Felder

text: Felder faced Daron Cruickshank on January 17, 2016 at UFC Fight Night 81. He won the fight via submission in the third round.


title: Paul Felder

text: Felder next faced Josh Burkman on May 29, 2016 at UFC Fight Night 88. He won the fight via unanimous decision.


title: Paul Felder

text: Felder faced Francisco Trinaldo on September 24, 2016 at UFC Fight Night 95. During the fight, repeated elbows from Trinaldo opened up a large, bloody cut on Felder's face. With a huge cut and blood streaming down Felder's face, the ringside physician waved the fight off at 2:25 of the third round, resulting in a TKO (doctor's stoppage) loss for Felder.


title: Paul Felder

text: Felder faced Alessandro Ricci on February 19, 2017 at UFC Fight Night 105. He won the fight via TKO in the first round due to a combination of an elbow and punches. The win also earned Felder his second "Performance of the Night" bonus award.


title: Paul Felder

text: Felder faced Stevie Ray on July 16, 2017 at UFC Fight Night 113. He won the fight by knockout in the first round after dropping Ray with a knee strike and subsequently finishing him off with a barrage of ground and pound. The win also earned Felder his third "Performance of the Night" bonus award.


title: Paul Felder

text: Felder was expected to face Al Iaquinta on December 2, 2017 at UFC 218. However, Iaquinta pulled out of the fight on October 31 citing an injury and was replaced by Charles Oliveira. Felder won the fight in the second round, finishing Oliveira via TKO with a series of elbows. The bout with Iaquinta was rescheduled for UFC 223. However on the day of the weigh-ins, Max Holloway was declared unfit to fight Khabib Nurmagomedov, so Iaquinta replaced him.


title: Paul Felder

text: Felder was scheduled to face James Vick on July 14, 2018 at UFC Fight Night 133. However, on June 27, Vick was pulled from that fight in favor of a matchup against Justin Gaethje the following month at UFC Fight Night 135. On June 28, it was announced that Felder would replace Yancy Medeiros in a Welterweight bout against Mike Perry at UFC 226 on July 7. He lost the fight via split decision.


title: Paul Felder

text: Felder faced Edson Barboza in a rematch on September 7, 2019 at UFC 242. Felder won by controversial split decision. 13 out of 16 MMA media outlets scored the bout in favor of Barboza.


title: Paul Felder

text: As the first bout of his new, multi-fight deal Felder faced Dan Hooker on February 23, 2020 at . He lost the fight via a controversial split decision. 12 out of 17 media journalists scored the fight for Felder. This fight earned him a "Fight of the Night" award. After the fight Felder mentioned in his post-fight speech it may have been his last fight, however he confirmed in an interview with Ariel Helwani that he was not retiring, but only wants to take on fights which entice him.


title: Paul Felder

text: In a quick turnaround, it was announced that Felder stepped in on five days notice to replace Islam Makhachev and face former UFC Lightweight Champion Rafael dos Anjos on November 14, 2020, while headlining . Felder was originally scheduled to work the event as a color-commentator. He lost the bout by split decision. This fight earned him the "Fight of the Night" award. Subsequently, Felder signed a new, multi-fight contract with the UFC.


title: Paul Felder

text: On May 22, 2021, while working as a commentator for the broadcast of , Felder announced his retirement from mixed martial arts competition.


title: Tickle torture

text: Tickle torture is the use of tickling to abuse, dominate, harass, humiliate, or interrogate an individual. While laughter is popularly thought of as a pleasure response, in tickle torture, the one being tickled may laugh whether or not they find the experience pleasant. In a tickling situation, laughter can indicate a panic reflex rather than a pleasure response. Tickle torture may be a consensual activity or one that is forced, depending on the circumstances. In a consensual form, tickle torture may be part of a mutually fulfilling, physically intimate act between partners. However, forced tickle torture can cause real physical and mental distress in a victim, which is why it has been used as an interrogation method or to simply show dominance over another person. Usually tickling is done on feet and armpits after tying the person's ankles and wrists. The recipient is also often stripped to their underwear.


title: Tickle torture

text: An article in the "British Medical Journal" about European tortures describes a method of tickle torture in which a goat was compelled to lick the victim's feet because they had been dipped in salt water. Once the goat had licked the salt off, the victim's feet would be dipped in the salt water again and the process would be repeated. However, it remains unclear if this method was ever used in practice as it is only described in the 1502 "Tractatus de indiciis et tortura" by the Italian jurist and monk Franciscus Brunus de San Severino – a treatise that actually cautioned against torture in general – and while it seems clear that Franciscus Brunus had not made up this practice, the issue is left open whether the inclusion in the treatise is based on hearsay, (reliable) eye-witness accounts, or personal experience. This uncertainty does not preclude this anecdote from being repeated in popular culture, for instance during a 2013 episode of the British satirical quiz show QI.


title: Tickle torture

text: In ancient Japan, those in positions of authority could administer punishments to those convicted of crimes that were beyond the criminal code. This was called shikei, which translates as ‘private punishment.’ One such torture was kusuguri-zeme: "merciless tickling."


title: Tickle torture

text: In Vernon Wiehe's book "Sibling Abuse", he published his research findings regarding 150 adults who were abused by their siblings during childhood. Several reported tickling as a type of physical abuse they experienced, and based on these reports it was revealed that abusive tickling is capable of provoking extreme physiological reactions in the victim, such as vomiting, urinary incontinence, and losing consciousness due to inability to breathe. There is currently no evidence that tickle torture was ever widespread or was practiced by governments. The very small amount of related documentation discovered thus far originates from England and the United States.


title: Tickle torture

text: A 1903 article described an immobilized suicidal patient at the Hudson River State Hospital who was tied to a bed for his own safety. While he lay helpless, the patient's feet were tickled by one of the hospital attendants, Frank A. Sanders. "Sanders is said to have confessed that while intoxicated he amused himself by tickling the feet and ribs of Hayes and pulling his nose." Sanders also gave his restrained victim a black eye. Another hospital employee came upon Sanders while he was entertaining himself at his patient's expense, and the criminal was brought before a grand jury.


title: Tickle torture

text: An 1887 article entitled "England in Old Times" states, "Gone, too, are the parish stocks, in which male offenders against public morality formerly sat imprisoned, with their legs held fast beneath a heavy wooden yoke, while sundry small but fiendish boys improved the occasion by deliberately pulling off their shoes and tickling the soles of the men’s defenseless feet."


title: Tickle torture

text: The term "tickle torture" can apply to many different situations that do not include the aforementioned acts of either sexual gratification or malicious torture.


title: Tickle torture

text: A common form of tickle torture is tickling being used by siblings as an alternative of using outright violence to attempt to dominate each other or settle disputes.


title: Tickle torture

text: "Tickle torture" can be an extended act of tickling where the recipient of the tickling would view it as a long time or tickling of an intense nature. This can be due to the length of time they are tickled, the intensity of the tickling or the areas that are being tickled. This can simply be a 30-second tickle applied to the victim's bare feet, which can seem like a much longer time if the victim's feet are very ticklish. While the palm of the hand is far more sensitive to touch, other commonly ticklish areas include the armpits, sides of the torso, neck, knee, midriff, thighs, navel, and the ribs. Many people consider the soles of their feet the most ticklish, due to the many nerve endings located there: this explains why tickling one's feet against their will is the most common example of "tickle torture".


title: Tickle torture

text: "Tickle torture" may also have other uses, including the act of tickling a person as a means of humiliating someone, or even an interrogation method. This may not be extreme tickling, but could include prolonged tickling upon a sensitive area until the victim has released the required information. In the former case, it could be used as a way of humiliating a person, as the act of being tickled can produce many sounds and sensations that could be viewed as being embarrassing to the victim. In this way, the tickling can continue to the point where a certain reaction is revealed.


title: Tickle torture

text: This method of "humiliating" could also incorporate the use of physical restraint or restraint using materials. This would be done to leave a desired area of the body bare and vulnerable to the tickling, in a way that the victim would not be able to remove this area from the tickling, and would have to simply endure. This can also be seen as "punishment" or "payback" as the tickler could be using the tickling as retribution from a previous tickling experience or "humiliating event".


title: Tickle torture

text: In sexual fetishism, tickle torture is an activity between consenting partners. A torture session usually begins with one partner allowing the other to tie them up in a position that exposes bare parts of the body, particularly those that are sensitive to tickling. Though many parts of the human body are deemed ticklish, tickle torture is commonly associated with the tickling of the bare feet or armpits.


title: Tickle torture

text: The bondage methods of the tickling usually follows the same basic methods. The object of the bondage is to render the victim unable to remove themselves from the tickling, as well as rendering the ticklish areas of the victim vulnerable. The victim is usually bound in a sitting or lying position rather than a standing one as to expose the soles of the feet which are often among the areas upon which tickling is inflicted. The restraint of the arms above the head leaves the upper body and underarms susceptible to the tickling. This enables the torturer to use whatever they want, e.g. fingers, tongue, beard, feathers, brush, pine cones, salt sticks, electric toothbrush or a hairbrush.


title: Limited liability partnership

text: A limited liability partnership (LLP) is a partnership in which some or all partners (depending on the jurisdiction) have limited liabilities. It therefore can exhibit elements of partnerships and corporations. In an LLP, each partner is not responsible or liable for another partner's misconduct or negligence. This distinguishes an LLP from a traditional partnership under the UK Partnership Act 1890, in which each partner has joint (but not several) liability. In an LLP, some or all partners have a form of limited liability similar to that of the shareholders of a corporation. Unlike corporate shareholders, the partners have the power to manage the business directly. In contrast, corporate shareholders must elect a board of directors under the laws of various state charters. The board organizes itself (also under the laws of the various state charters) and hires corporate officers who then have as "corporate" individuals the legal responsibility to manage the corporation in the corporation's best interest. An LLP also contains a different level of tax liability from that of a corporation.


title: Limited liability partnership

text: Limited Liability Partnerships, as well as all forms of limited liability companies, offer alternatives to traditional company and corporate structures. Limited liability can enable opportunities for new business growth that were formerly accessible only to those who had access to large amounts of capital or other resources.


title: Limited liability partnership

text: Depending on jurisdiction and industry, there can be negative consequences for stakeholders associated with limited liability. For some large accountancy firms in the UK, reorganizing as LLPs and LLCs has relieved them of owing the "duty of care" to individuals and clients who are adversely affected by audit failures.


title: Limited liability partnership

text: Accountancy firm partners share the profits, but don’t have to suffer the consequences of negligence by firm or fellow partners. Not content with lobbying and financing political parties to get their way, accountancy firms have hired entire governments to advance their interests. PricewaterhouseCoopers and Ernst &Young hired the legislature of Jersey to enact an LLP Bill, which they themselves had drafted. They awarded themselves protection from lawsuits, with little public accountability... Accounting is central to all calculations about institutionalised abuses, tax and responsibility avoidance.


title: Limited liability partnership

text: In the U.S., the Delaware Supreme Court Chief Justice Myron Steele suggested that limited liability entities should not be held to common law standards of fiduciary principles (as applied to all other company and corporate structures). Instead, he argued that courts should use contractual analysis of the partnership agreement when assessing cases of improper corporate governance. This directly led to elimination of the "independent fiduciary duty of good faith" in Delaware corporate law in 2006.


title: Limited liability partnership

text: Limited liability partnerships are distinct from limited partnerships in some countries, which may allow all LLP partners to have limited liability, while a limited partnership may require at least one unlimited partner and allow others to assume the role of a passive and limited liability investor. As a result, in these countries, the LLP is more suited for businesses in which all investors wish to take an active role in management.


title: Limited liability partnership

text: In some countries, an LLP must have at least one person known as a "general partner", who has unlimited liability for the company.


title: Limited liability partnership

text: There is considerable difference between LLPs as constituted in the U.S. and those introduced in the UK under the Limited Liability Partnerships Act 2000 and adopted elsewhere. The UK LLP is, despite its name, specifically legislated as a corporate body rather than as a partnership.


title: Limited liability partnership

text: Partnerships are governed on a state-by-state basis in Australia. In Queensland, a limited liability partnership is composed of at least one general partner and one limited partner. It is thus similar to what is called a limited partnership in many countries.


title: Limited liability partnership

text: All provinces and territories—except Yukon, Prince Edward Island, and Nunavut—permit LLPs for lawyers and accountants. In British Columbia, the Partnership Amendment Act, 2004 (Bill 35) permits LLPs for lawyers, accountants, and other professionals, as well as businesses.


title: Limited liability partnership

text: In China, the LLP is known as a special general partnership (特殊普通合伙). The organizational form is restricted to knowledge-based professions and technical service industries. The structure shields co-partners from liabilities due to the willful misconduct or gross negligence of one partner or a group of partners.


title: Limited liability partnership

text: There is no exact equivalent of a Limited Liability Partnership in France. A limited partnership is equivalent to the French law vehicle known as a . A partnership company can be an equity partnership, known as a (SEP), of a general partnership known as a (SNC).


title: Limited liability partnership

text: The German "Partnerschaftsgesellschaft" or PartG is an association of non-commercial professionals, working together. Though not a corporate entity, it can sue and be sued, own property and act under the partnership's name. The partners, however, are jointly and severally liable for all the partnership's debts, except when only some partners' misconduct caused damages to another party — and then only if professional liability insurance is mandatory. Another exception, possible since 2012, is a Partnerschaftsgesellschaft mbB (mit beschränkter Berufshaftung) where all liabilities from professional misconduct are limited by the partnership's capital.


title: Limited liability partnership

text: The "Partnerschaftsgesellschaft" is not subject to corporate or business tax, only its partners' respective income is taxed.


title: Limited liability partnership

text: An LLP is an approximate equivalent to the Greek ΕΠΕ (Εταιρεία Περιορισμένης Ευθύνης "Etería Periorizménis Evthínis") meaning Company of Limited Liability. In an ΕΠΕ the partners own personal shares that can be sold by a partner only when all other partners agree. The business management can be exercised either directly by the board of partners or by a General Manager. In the aspect of liability, an ΕΠΕ is identical to an LLP.


title: Limited liability partnership

text: The Limited Liability Partnership Act 2008 was published in the official "Gazette of India" on 9 January 2009 and has been in effect since 31 March 2009. However, only limited sections of the Act have been ratified. Rules of the Act were published in the official Gazette on 1 April 2009 and amended in 2017. The first Limited liability partnership (LLP) was incorporated on 2 April 2009.


title: Limited liability partnership

text: In India as in many other jurisdictions, an Limited liability partnership (LLP) is different from a Limited Partnership. A limited liability partnership (LLP) operates like a limited partnership, but in an Limited liability partnership (LLP), each member is protected from personal liability, except to the extent of their capital contribution in the LLP.


title: Limited liability partnership

text: Limited liability partnerships are permitted in Ireland under the Legal Services Regulation Act, 2015.


title: Limited liability partnership

text: were introduced to Japan in 2006 during a large-scale revamp of the country's laws governing business organizations. Japanese LLPs may be formed for any purpose (although the purpose must be clearly stated in the partnership agreement and cannot be general), have full limited liability and are treated as pass-through entities for tax purposes. However, each partner in an Limited liability partnership (LLP) must take an active role in the business, so the model is more suitable for joint ventures and small businesses than for companies in which investors plan to take passive roles.


title: Limited liability partnership

text: Japanese LLPs may "not" be used by lawyers or accountants, as these professions are required to do business through an unlimited liability entity.


title: Limited liability partnership

text: A Japanese Limited liability partnership (LLP) is not a corporation, (i.e. a separate legal entity from partners within the meaning of Anglo-American Law) but rather, exists as a contractual relationship between the partners, similar to an American Limited liability partnership (LLP). Japan also has a type of corporation with a partnership-styled internal structure, called a godo kaisha, which is closer in form to a British Limited liability partnership (LLP) or American limited liability company.


title: Limited liability partnership

text: The concept of LLP exists in Kazakhstan law. All partners in a Kazakhstan LLP have limited liability, and they are liable for the debts of the partnership to the extent of the value of their corresponding participatory interests in the partnership. The names for LLP in Kazakhstan are "ЖШС" (which stands for Жауапкершілігі шектеулі серіктестік "Zhawapkershiligi shektewli seriktestik") in Kazakh and "ТОО" (which stands for Товарищество с ограниченной ответственностью "Tovarishchestvo s ogranichennoy otvyetstvyennostʼyu") in Russian. This is the most popular business form in Kazakhstan. Almost any private business may be incorporated as an LLP (notable exceptions are banks, airlines, insurance companies, and mortgage companies, which must be incorporated in the form of a joint stock company).


title: Limited liability partnership

text: An LLP in Kazakhstan is a corporate body, and in fact, is a Limited Liability Corporation (LLC). Partners cannot conduct business on their own, and it is the corporate body that conducts the business.


title: Limited liability partnership

text: There is also a concept of "simple partnership" in Kazakhstan law, which corresponds more closely to the general concept of partnership, but it is not widely used and is not well developed in Kazakhstan.


title: Limited liability partnership

text: In Kenya, limited liability partnerships have a legal personality distinct from its member partners. The liability of the partners is limited to any amount that may remain unpaid over the capital of the partnership. However, partners may be deemed liable for omissions or actions done by themselves if they lacked the relevant authority from the partnership or the affected party knew that such partner lacked authority or had no reason to believe that such person was a partner in the partnership. Registration is what vests such legal personality upon the entity. Registration is done by the registrar of companies after meeting. The requirements are set out in the Limited Liability Partnership Act of 2011.


title: Limited liability partnership

text: In Nigeria, limited liability partnerships (LLP) have legal personality. However, one must register a partnership first before it can gain the status of limited liability partnerships. Either way the liability of the partners are limited.


title: Limited liability partnership

text: A close equivalent to limited liability partnerships under Polish law is the "spółka partnerska", where all partners are jointly and severally liable for the partnership's debts apart from those arising from another partner's misconduct or negligence. This partnership type is only addressed to representatives of some "high risk" occupations, such as lawyers, medicine doctors, tax advisers, accountants, brokers, sworn translators etc.


title: Limited liability partnership

text: An Limited liability partnership (LLP) is equivalent to the Romanian law vehicle known as a Societate civilă profesională cu răspundere limitată.


title: Limited liability partnership

text: LLPs are formed under the Limited Liability Partnerships Act 2005. This legislation draws on both the US and UK models of LLP, and like the latter establishes the Limited liability partnership (LLP) as a body corporate. However, for tax purposes it is treated like a general partnership, so that the partners rather than the partnership are subject to tax (tax transparency).


title: Limited liability partnership

text: In the United Kingdom LLPs are governed by the Limited Liability Partnerships Act 2000 (in Great Britain) and the Limited Liability Partnerships Act (Northern Ireland) 2002 in Northern Ireland, with the rules governing this scheme consolidated across the UK with the Companies Act 2006, the latter coming into effect in 2009. It was lobbied for by the Big Four auditing firms, all of which had converted by January 2003, limiting their liability for their audits. A UK limited liability partnership is a corporate body - that is to say, it has a continuing legal existence independent of its members, as compared to a partnership which may (in England and Wales, does not) have a legal existence dependent upon its membership.


title: Limited liability partnership

text: A UK LLP's members have a collective ("joint") responsibility, to the extent that they may agree in an "LLP agreement", but no individual ("several") responsibility for each other's actions. As with a limited company or a corporation, members in an LLP cannot, in the absence of fraud or wrongful trading, lose more than they invest.


title: Limited liability partnership

text: In relation to tax, however, a UK LLP is similar to a partnership, namely, it is tax-transparent. That is to say it pays no UK corporation tax or capital gains tax. Instead, LLP income and/or gains are distributed gross to partners as self-employed persons, rather than as PAYE employees. Partners receiving income and/or gains from an LLP are liable for their own taxation.


title: Limited liability partnership

text: There is no requirement for the LLP agreement even to be in writing because simple partnership-based regulations apply by way of default provisions. It has been closely replicated by Japan, Dubai, and Qatar. It is perhaps closest in nature to a limited liability company in the United States of America although it may be distinguished from that entity by the fact that the LLC, while having a legal existence independent of its members, is not technically a corporate body because its legal existence is time limited and therefore not "continuing."


title: Limited liability partnership

text: The LLP structure is commonly used by accountants to retain the tax structure of traditional partnerships whilst adding some limited liability protection. LLPs are also becoming more common among firms in the legal profession such as solicitors although they are permitted to use a limited company structure.


title: Limited liability partnership

text: In the United States, each individual state has its own law governing their formation. Limited liability partnerships emerged in the early 1990s: while only two states allowed LLPs in 1992, over forty had adopted LLP statutes by the time LLPs were added to the Uniform Partnership Act in 1996.


title: Limited liability partnership

text: The limited liability partnership was formed in the aftermath of the collapse of real estate and energy prices in Texas in the 1980s. This collapse led to a large wave of bank and savings and loan failures. Because the amounts recoverable from the banks were small, efforts were made to recover assets from the lawyers and accountants that had advised the banks in the early 1980s. The reason was that partners in law and accounting firms were subject to the possibility of huge claims which would bankrupt them personally, and the first LLP laws were passed to shield innocent members of these partnerships from liability.


title: Limited liability partnership

text: Although found in many business fields, the LLP is an especially popular form of organization among professionals, particularly lawyers, accountants, and architects. In some U.S. states, namely California, New York, Oregon, and Nevada, LLPs can only be formed for such professional uses. Formation of an LLP typically requires filing certificates with the county and state offices. Although specific rules vary from state to state, all states have passed variations of the Revised Uniform Partnership Act.


title: Limited liability partnership

text: The liability of the partners varies from state to state. Section 306(c) of the Revised Uniform Partnership Act (1997) (RUPA), a standard statute adopted by a majority of the states, grants LLPs a form of limited liability similar to that of a corporation:


title: Limited liability partnership

text: An obligation of a partnership incurred while the partnership is a limited liability partnership, whether arising in contract, tort, or otherwise, is solely the obligation of the partnership. A partner is not personally liable, directly or indirectly, by way of contribution or otherwise, for such an obligation solely by reason of being or so acting as a partner.


title: Limited liability partnership

text: However, a sizable minority of states only extend such protection against negligence claims, meaning that partners in an LLP can be personally liable for contract and intentional tort claims brought against the LLP. While Tennessee and West Virginia have otherwise adopted RUPA, their respective adoptions of Section 306 depart from the uniform language, and only a partial liability shield is provided.


title: Limited liability partnership

text: As in a partnership or Limited liability company (LLC), the profits of and Limited liability partnership (LLP) are allocated among the partners for tax purposes, avoiding the problem of "double taxation" often found in corporations.


title: British Airways Flight 009

text: British Airways Flight 009, sometimes referred to by its callsign Speedbird 9 or as the Jakarta incident, was a scheduled British Airways flight from London Heathrow to Auckland, with stops in Bombay, Kuala Lumpur, Perth, and Melbourne.


title: British Airways Flight 009

text: On 24 June 1982, the route was flown by the "City of Edinburgh", a Boeing 747-200 registered as G-BDXH. The aircraft flew into a cloud of volcanic ash thrown up by the eruption of Mount Galunggung around south-east of Jakarta, Indonesia, resulting in the failure of all four engines. Partly because the event occurred at night, obscuring the cloud, the reason for the failure was not immediately apparent to the crew or air traffic control. The aircraft was diverted to Jakarta in the hope that enough engines could be restarted to allow it to land there. The aircraft glided out of the ash cloud, and all engines were restarted (although one failed again soon after), allowing the aircraft to land safely at the Halim Perdanakusuma Airport in Jakarta.


title: British Airways Flight 009

text: The crew members of the accident segment had boarded the aircraft in Kuala Lumpur, while many of the passengers had been aboard since the flight began in London.


title: British Airways Flight 009

text: At the time of the incident, the flight crew of BA009 consisted of 32-year-old Senior First Officer Roger Greaves, 40-year-old Senior Engineer Officer Barry Townley-Freeman, and 41-year-old Captain Eric Henry Moody. The flight crew members had boarded the aircraft at Sultan Abdul Aziz Shah Airport in Kuala Lumpur and were due to pilot the 747 from the Malaysia to Perth Airport leg.


title: British Airways Flight 009

text: Shortly after 13:40 UTC (20:40 Jakarta time) above the Indian Ocean, south of Java, the crew first noticed an unusual effect on the windscreen similar to St. Elmo's fire, while Moody was heading to the lavatory. Despite the weather radar showing clear skies, the crew switched on engine anti-ice and the passenger seat belt signs as a precaution.


title: British Airways Flight 009

text: As the flight progressed, smoke began to accumulate in the passenger cabin of the aircraft; it was first assumed to be cigarette smoke. However, it soon began to grow thicker and had an odour of sulphur. Passengers who had a view of the aircraft's engines through the window noted that they were unusually bright blue, with light shining forward through the fan blades and producing a stroboscopic effect.


title: British Airways Flight 009

text: Around 13:42 UTC (20:42 Jakarta time), the number-four Rolls-Royce RB211 engine began surging and soon flamed out. The flight crew immediately performed the engine shutdown drill, quickly cutting off fuel supply and arming the fire extinguishers. Less than a minute later, at 13:43 UTC (20:43 Jakarta time), engine two surged and flamed out. Within seconds, and almost simultaneously, engines one and three flamed out, prompting the flight engineer to exclaim, "I don't believe it—all four engines have failed!"


title: British Airways Flight 009

text: Without engine thrust, a 747-200 has a glide ratio of roughly 15:1, meaning it can glide forward 15 kilometres for every kilometre it drops. The flight crew quickly determined that the aircraft was capable of gliding for 23 minutes and covering from its flight level of . At 13:44 UTC (20:44 Jakarta time), Greaves declared an emergency to the local air traffic control authority, stating that all four engines had failed. However, Jakarta Area Control misunderstood the message, interpreting the call as meaning that only engine number four had shut down. After a nearby Garuda Indonesia flight relayed the message to them, air traffic control correctly understood the urgent message. Despite the crew "squawking" the emergency transponder setting of 7700, air traffic control could not locate the 747 on their radar screens.


title: British Airways Flight 009

text: Owing to the high Indonesian mountains on the south coast of the island of Java, an altitude of at least was required to cross the coast safely. The crew decided that if the aircraft was unable to maintain altitude by the time they reached , they would turn back out to sea and attempt to ditch into the Indian Ocean. The crew began engine restart drills, despite being well outside the recommended maximum engine in-flight start envelope altitude of . The restart attempts failed.


title: British Airways Flight 009

text: Despite the lack of time, Moody made an announcement to the passengers that has been described as "a masterpiece of understatement":


title: British Airways Flight 009

text: As pressure within the cabin fell, oxygen masks dropped from the ceiling – an automatic emergency measure to make up for the lack of air. On the flight deck, however, Greaves's mask was broken; the delivery tube had detached from the rest of the mask. Moody swiftly decided to descend at 1,800 m per minute to an altitude where there was enough pressure in the outside atmosphere to breathe almost normally.


title: British Airways Flight 009

text: At , the crew was approaching the altitude at which they would have to turn over the ocean and attempt a risky ditching. Although the crew had guidelines for the water landing procedure, no one had ever tried it in a Boeing 747. As they performed the engine restart procedure, engine number four finally started, and at 13:56 UTC (20:56 Jakarta time), Moody used its power to reduce the rate of descent. Shortly thereafter, engine three restarted, allowing him to climb slowly. Shortly after that, engines one and two successfully restarted, as well. The crew subsequently requested and expedited an increase in altitude to clear the high mountains of Indonesia.


title: British Airways Flight 009

text: As the aircraft approached its target altitude, the St. Elmo's fire effect on the windscreen returned. Moody throttled back, but engine number two surged again and was shut down. The crew immediately descended and held .


title: British Airways Flight 009

text: As Flight 009 approached Jakarta's Halim Perdanakusuma International Airport, the crew found seeing anything through the windscreen difficult, and made the approach almost entirely on instruments, despite reports of good visibility. The crew decided to fly the instrument landing system, but the vertical guidance system was inoperative, so they were forced to fly with only the lateral guidance as the first officer monitored the airport's distance-measuring equipment (DME). He then called out how high they should be at each DME step along the final approach to the runway, creating a virtual glide slope for them to follow. Moody described it as "a bit like negotiating one's way up a badger's arse." Although the runway lights could be made out through a small strip of the windscreen, the landing lights on the aircraft seemed to be inoperable. After landing, the flight crew found taxiing impossible, due to glare from apron floodlights, which made the already sandblasted windscreen opaque.


title: British Airways Flight 009

text: Postflight investigation revealed that "City of Edinburgh"s problems had been caused by flying through a cloud of volcanic ash from the eruption of Mount Galunggung. Because the ash cloud was dry, it did not appear on the weather radar, which was designed to detect the moisture in clouds. The dust in the cloud deprived the engines of sufficient oxygen from the atmosphere to maintain combustion, sandblasted the windscreen and landing-light covers, and clogged the engines. As the ash entered the engines, it melted in the combustion chambers and adhered to the inside of the power plant. As the engine cooled from inactivity, and as the aircraft descended out of the ash cloud, the molten ash solidified and enough of it broke off for air to again flow smoothly through the engine, allowing a successful restart. The engines had enough electrical power to restart because one generator and the on-board batteries were still operating; electrical power was required for cranking and ignition of the engines.


title: British Airways Flight 009

text: Engines one, two, and three were replaced at Jakarta, as was the windscreen, and the fuel tanks were cleared of the ash that had entered them through the pressurization ducts, contaminating the fuel and requiring that it be discarded. After the aircraft was ferried back to London, engine number four was replaced and major work was undertaken to return the 747 to service.


title: British Airways Flight 009

text: Although the airspace around Mount Galunggung was closed temporarily after the accident, it was reopened days later. Only after a Singapore Airlines 747 was forced to shut down three of its engines while flying through the same area 19 days later (13 July) did Indonesian authorities close the airspace permanently and reroute airways to avoid the area; a watch was set up to monitor clouds of ash. Flight 009 was not the first encounter with this eruption; a Garuda DC-9 had encountered ash on 5 April 1982.


title: British Airways Flight 009

text: The crew received various awards, including the Queen's Commendation for Valuable Service in the Air for Moody, and medals from the British Airline Pilots' Association. G-BDXH's engineless flight entered the "Guinness Book of Records" as the longest glide in a non-purpose-built aircraft (this record was later broken by Air Canada Flight 143 in 1983 and Air Transat Flight 236 in 2001).


title: British Airways Flight 009

text: One of the passengers, Betty Tootell, wrote a book about the accident, "All Four Engines Have Failed", having managed to trace some 200 of the 247 passengers on the flight. In 1993, Tootell married fellow passenger James Ferguson, who had been seated in the row in front of her. She later noted: "The 28th December 2006 marks the start of our 14th year of honeymoon, and on the 24th June 2007, many passengers and crew will no doubt gather to celebrate the 25th anniversary of our mid-air adventure."


title: British Airways Flight 009

text: British Airways continued to operate the Flight 009 route from London Heathrow to Sydney, but in March 2012, the route was curtailed to Bangkok, and the aircraft operating this route is now a Boeing 777-200ER. "City of Edinburgh", later renamed "City of Elgin", continued to fly for British Airways after the accident, before being sold to European Aviation Air Charter. The aircraft was taken out of service in February 2004, and in July 2009, the then-30-year-old aircraft was broken up at a breaking facility at Bournemouth International Airport.


title: British Airways Flight 009

text: The Discovery Channel Canada / National Geographic TV series "Mayday" featured Flight 009 in a 2007 episode titled "Falling From the Sky" which featured interviews with the flight crew and passengers, and a dramatization of the flight.


title: British Airways Flight 009

text: A similar situation also appeared in the first episode of The Centimeter of Love, a Chinese drama, produced in 2020.


title: Tezcatlipoca

text: Tezcatlipoca (; ) was a central deity in Aztec religion, and his main festival was the Toxcatl ceremony celebrated in the month of May. One of the four sons of Ometecuhtli and Omecihuatl, the God of providence, he is associated with a wide range of concepts, including the night sky, the night winds, hurricanes, the north, the earth, obsidian, hostility, discord, rulership, divination, temptation, jaguars, sorcery, beauty, war, and conflict. His name in the Nahuatl language is often translated as "Smoking Mirror" and alludes to his connection to obsidian, the material from which mirrors were made in Mesoamerica and which were used for shamanic rituals and prophecy. Another talisman related to Tezcatlipoca was a disc worn as a chest pectoral. This talisman was carved out of abalone shell and depicted on the chest of both Huitzilopochtli and Tezcatlipoca in codex illustrations.


title: Tezcatlipoca

text: He had many epithets which alluded to different aspects of his deity: Titlacauan ("We Are His Slaves"), Ipalnemoani ("He by Whom We Live"), Necoc Yaotl ("Enemy of Both Sides"), Tloque Nahuaque ("Lord of the Near and the Nigh") and Yohualli Èhecatl ("Night, Wind"), Ome Acatl ("Two Reed"), Ilhuicahua Tlalticpaque ("Possessor of the Sky and Earth").


title: Tezcatlipoca

text: When depicted he was usually drawn with a black and a yellow stripe painted across his face. He is often shown with his right foot replaced with an obsidian mirror, bone, or a snake—an allusion to the creation myth in which he loses his foot battling with the Earth Monster. Sometimes the mirror was shown on his chest, and sometimes smoke would emanate from the mirror. Tezcatlipoca's nagual, his animal counterpart, was the jaguar and his jaguar aspect was the deity Tepeyollotl ("Mountainheart"). In the Aztec ritual calendar the Tonalpohualli Tezcatlipoca ruled the trecena "1 Ocelotl" ("1 Jaguar")—he was also patron of the days with the name "Acatl" ("reed").


title: Tezcatlipoca

text: The Tezcatlipoca figure goes back to earlier Mesoamerican deities worshipped by the Olmec and Maya. Similarities exist with the patron deity of the K'iche' Maya as described in the Popol Vuh. A central figure of the Popol Vuh was the god Tohil whose name means "obsidian" and who was associated with sacrifice. Also the Classic Maya god of rulership and thunder known to modern Mayanists as "God K", or the "Manikin Scepter" and to the classic Maya as "K'awil" was depicted with a smoking obsidian knife in his forehead and one leg replaced with a snake. Although there are striking similarities between possible earlier imagery of Tezcatlipoca, archaeologists are split in the debate. It is possible that he is either the same god that the Olmec and Maya reference with their "jaguar deity" or that Tezcatlipoca is a latter, more expanded version of the foundations the Olmec and Maya set, as the Aztecs often took inspiration from earlier cultures.


title: Tezcatlipoca

text: There are few surviving representations of Tezcatlipoca into the present day, expedited by a significant portion of Codexes being destroyed by Catholic priests. Due to the lack of surviving images, some have chosen to describe Tezcatlipoca as the 'invisible god'. However, the fact that many images are difficult to identify as one god or another does not mean that no generalizations can be made about Tezcatlipoca's appearance. The color black is strongly associated with Tezcatlipoca and he is often portrayed as having horizontal bands across his face especially in black and yellow, but the many different codices vary on which two colors from site to site. There are also portrayals of his body also being black in certain places. Depending on the site half of his leg, the full length of his arms, the majority of his legs, or any combination thereof can be depicted. Most commonly he is shown with horizontal face bands, wearing a heron feather headdress, a loincloth, and knotted sandals with an armband, and tinker bells either around his neck or ankles. Tezcatlipoca is often shown carrying a shield with balls of either feathers or cotton and holding arrows or a spear in his right hand with a fan of feathers surrounding a mirror.


title: Tezcatlipoca

text: Many of the temples now associated with Tezcatlipoca are built facing east–west, as Olivier quotes Felipe Solis: "the sacred building of the war god [Tezcatlipoca] was in direct relation with the movement of the sun, in the same manner of the Great Temple was, their façades being towards the West". There are also several references to momoztli. Although the exact definition of the momoztli is unknown, with definitions varying from "mound", "stone seat" and "temple", there is an overall consensus that it is a general holy place to worship the gods, specifically mentioned as "his [Tezcatlipoca's] viewing place".


title: Tezcatlipoca

text: The priests of Tezcatlipoca often wore the ornaments of the god and wore specific garments for different rituals. Common ornaments were white turkey feather headdresses, a paper loincloth, and a tzanatl stick with similar feathers and paper decorations. Another common practice was to cover themselves in black soot or ground charcoal while they were involved in priestly activities at the temple or during rituals. They would also cover the sick and newly appointed king in a similar manner with a black ointment to encourage an association with the god. When the ritual called for it, priests would also dress up as Tezcatlipoca himself and accompany other similarly outfitted gods or goddesses. More on the exact rituals, such as the Feast of Toxcatl will be mentioned later.


title: Tezcatlipoca

text: Tezcatlipoca was often described as a rival of another important god of the Aztecs, the culture hero, Quetzalcoatl. In one version of the Aztec creation account the myth of the Five Suns, the first creation, "The Sun of the Earth" was ruled by Tezcatlipoca but destroyed by Quetzalcoatl when he struck down Tezcatlipoca who then transformed into a jaguar. Quetzalcoatl became the ruler of the subsequent creation "Sun of Water", and Tezcatlipoca destroyed the third creation "The Sun of Wind" by striking down Quetzalcoatl.


title: Tezcatlipoca

text: In later myths, the four gods who created the world, Tezcatlipoca, Quetzalcoatl, Huitzilopochtli and Xipe Totec were referred to respectively as the Black, the White, the Blue and the Red Tezcatlipoca. The four Tezcatlipocas were the sons of Ometecuhtli and Omecihuatl, lady and lord of the duality, and were the creators of all the other gods, as well as the world and all humanity.


title: Tezcatlipoca

text: The rivalry between Quetzalcoatl and Tezcatlipoca is also recounted in the legends of Tollan where Tezcatlipoca deceives Quetzalcoatl who was the ruler of the legendary city and forces him into exile. Quetzalcoatl and Tezcatlipoca both collaborated in the different creations and that both were seen as instrumental in the creation of life. Karl Taube and Mary Miller, specialists in Mesoamerican Studies, write that, "More than anything Tezcatlipoca appears to be the embodiment of change through conflict." Tezcatlipoca appears on the first page of the Codex Borgia carrying the 20 day signs of the calendar; in the Codex Cospi he is shown as a spirit of darkness, as well as in the Codex Laud and the Dresden Codex. His cult was associated with royalty, and was the subject of the most lengthy and reverent prayers in the rites of kingship, as well as being mentioned frequently in coronation speeches. The temple of Tezcatlipoca was in the Great Precinct of Tenochtitlan.


title: Tezcatlipoca

text: The Main temple of Tezcatlipoca in Tenochtitlan was located south of the Great Temple. According to Fray Diego Durán it was "lofty and magnificently built. Eighty steps led to a landing twelve or fourteen feet wide. Beyond it stood a wide, long chamber the size of a great hall...". There were several smaller temples dedicated to Tezcatlipoca in the city, among them the ones called "Tlacochcalco" and "Huitznahuatl". Tezcatlipoca was also worshipped in many other Nahua cities such as Texcoco, Tlaxcala and Chalco. Each temple had a statue of the god for which copal incense was burned four times a day. There were several priests dedicated to the service of Tezcatlipoca, one of them was probably the one Sahagún calls ""huitznahuac teohua omacatl"", others were the "calmeca teteuctin" who were allowed to eat the ritual food offered to Tezcatlipoca, others accompanied the Ixiptlatli impersonator of Tezcatlipoca in the year prior to his execution. Honoring Tezcatlipoca was fundamental to both the priesthood and the nobility. "On his installation," the new king fasted and meditated, "which included prayers in honor of Tezcatlipoca, the patron deity of the royal house". Tezcatlipoca priests were offered into his service by their parents as children, often because they were sick. These children would then have their skin painted black and be adorned with quail feathers in the image of the god. Sacred hymns were also chanted at ceremonies to honor the gods. Most were sung to praise the highest deities, including Tezcatlipoca, who was often addressed as the "Giver of Life." In one particular hymn, he is mentioned as being both the creator and destroyer of the world, and both as a poet and a scribe. Everyone, including commoners, high priests, and the king, were involved in some aspect of the Toxcatl ceremonies.


title: Tezcatlipoca

text: Tezcatlipoca's main feast was during Toxcatl, the fifth month of the Aztec calendar. The preparations began a year earlier, when a young man was chosen by the priests to be the likeness of Tezcatlipoca. This individual was called the ixiptla or "deity impersonator" and was chosen to ceremonially represent the god to the Aztec people. Sometimes, slaves were purchased for the ceremony, and in this case, were bathed carefully to erase impurities. Women were sometimes sacrificed as ixiptla to honor female deities. However, ixiptla were usually selected from among captive warriors, and the chosen individual was bathed and ceremoniously cleansed for the role that he was to undertake. For the next year he lived like a god, wearing expensive jewelry and having eight attendants. The young man also was dressed in the likeness of the god and people on the streets would worship him as such when encountered. "For one year he lived a life of honor," the handsome young man "worshipped literally as the embodiment of the deity". During the last 20 days before being sacrificed, the ixiptla had their appearance transformed back to that of a warrior. "He had been a warrior who was captured, and he ended his life as a warrior." He would then be wed to four young women, also chosen in advance and isolated for a full year and treated as goddesses. This marriage, occurring after a full year of abstinence, symbolized a period of fertility which followed the drought. The young man would spend his last week singing, feasting and dancing. During the feast where he was worshipped as the deity he personified, he climbed the stairs to the top of the temple on his own where the priests seized him, a time in which he proceeded to symbolically crush "one by one the clay flutes on which he had played in his brief moment of glory," and then was sacrificed, his body being eaten later. The young man would approach this sacrifice willingly, as being sacrificed in this manner was a great honor. "Sacrificial victims mounted the bloody steps of the pyramid with dignity and pride. "The sacrifice itself marked the end of the drought. Immediately after he died a new victim for the next year's ceremony was chosen. Tezcatlipoca was also honoured during the ceremony of the 9th month, when the "Miccailhuitontli" "Little Feast of the Dead" was celebrated to honour the dead, as well as during the "Panquetzaliztli" "Raising of Banners" ceremony in the 15th month.


title: Tezcatlipoca

text: In one of the Aztec accounts of creation, Quetzalcoatl and Tezcatlipoca joined forces to create the world. Before their act there was only the sea and the crocodilian earthmonster called Cipactli. To attract her, Tezcatlipoca used his foot as bait, and Cipactli ate it. The two gods then captured her, and distorted her to make the land from her body. After that, they created the people, and people had to offer sacrifices to comfort Cipactli for her sufferings. Because of this, Tezcatlipoca is depicted with a missing foot.


title: Tezcatlipoca

text: Another story of creation goes that Tezcatlipoca turned himself into the sun, but Quetzalcoatl was furious possibly because they were enemies, he is a night god or due to his missing foot, so he knocked Tezcatlipoca out of the sky with a stone club. Angered, Tezcatlipoca turned into a jaguar and destroyed the world. Quetzalcoatl replaced him and started the second age of the world and it became populated again. Tezcatlipoca overthrew Quetzalcoatl, forcing him to send a great wind that devastated the world, and the people who survived were turned into monkeys. Tlaloc, the god of rain, then became the sun. But he had his wife taken away by Tezcatlipoca. Angered in turn, he would not make it rain for several years until, in a fit of rage, he made it rain fire with the few people who survived the assault turning into the birds. Chalchihuitlicue the Water Goddess then became the sun. However, she was crushed by Tezcatlipoca's accusation that she only pretended to be kind. She cried for many years and the world was destroyed by the resulting floods. Those people who survived the deluge were turned into fish.


title: Tezcatlipoca

text: As discussed above, Aztec folklore is rife with parallels, much of the time depicted in deities such as Tezcatlipoca. For Aztec nobility, this "patron deity" is fundamental in the social and natural phenomena justified by religion during this time. Extreme reverence and respect, characterized by ceremonial proceedings in which priests were "to pay homage" to Tezcatlipoca, or where "citizens waited expectantly" for ceremonial proceedings to start under the low hum of "shell trumpets," were commonplace, especially for this deity. Utter respect from the highest position of Aztec nobility, the king, shown through the figurative and literal nakedness of his presence in front of Tezcatlipoca. The king would stand "naked, emphasizing his utter unworthiness," speaking as nothing but a vessel for the god's will. The new king would claim his spiritual nakedness symbolically through words and physical vulnerability, praising Tezcatlipoca with lines such as:


title: Tezcatlipoca

text: In what manner shall I act for thy city? In what manner shall I act for the governed, for the vassals (macehualtin)?


title: Tezcatlipoca

text: For kings, lords, priests, and citizens alike, the cyclical nature they observed every day and every year was portrayed not through science or philosophical debate, but utter reverence and respect for the spiritual beings they believed were the cause of these events. It was gods like Tezcatlipoca that solidified this notion, representing both the silent wind, and thunderous war.


title: Iceberg Slim

text: Robert Beck (born Robert Lee Maupin or Robert Moppins Jr.; August 4, 1918 – April 30, 1992), better known as Iceberg Slim, was a former American pimp who later became a writer. Beck's novels were adapted into films.


title: Iceberg Slim

text: Robert Maupin was born in Chicago, Illinois. He spent his childhood in Milwaukee, Wisconsin, and Rockford, Illinois, until he returned to Chicago. When his mother was abandoned by his father, she established a beauty shop and worked as a domestic to support both of them in Milwaukee. In his autobiography, Maupin expressed gratitude to his mother for not also abandoning him. She earned enough money working in her salon to give her son the privileges of a middle-class life such as a college education, which at that time was difficult for the average person.


title: Iceberg Slim

text: Slim attended Tuskegee University in Tuskegee, Alabama, but having spent time in the "street culture", he soon began bootlegging and was expelled as a result. After his expulsion, his mother encouraged him to become a criminal lawyer so that he could make a legitimate living while continuing to work with the street people he was so fond of, but Maupin, seeing the pimps bringing women into his mother's beauty salon, was far more attracted to the lifestyle of money and control over women that pimping provided.


title: Iceberg Slim

text: According to his memoir, "Pimp", Slim started pimping at 18 and continued until age 42. The book claims that during his career he had over 400 women, both black and white, working for him. He said he was known for his frosty temperament and for staying calm in emergencies, which, combined with his slim build, earned him the street name Iceberg Slim. When verbal instruction and psychological manipulation failed to keep the women compliant, he beat them with wire hangers; in his autobiography he concedes he was a ruthless, vicious man.


title: Iceberg Slim

text: Slim had been connected with several other well-known pimps, one of them Albert "Baby" Bell, a man born in 1899 who had been pimping for decades and had a Duesenberg and a bejeweled pet ocelot. Another pimp, who had gotten Slim hooked on cocaine, went by the name of "Satin" and was a major drug figure in the eastern part of the country.


title: Iceberg Slim

text: Throughout his pimping career, Slim, who was known as Cavanaugh Slim, was noted for being able to effectively conceal his emotions, something he said he learned from Baby Bell: "A pimp has gotta know his whores, but not let them know him; he's gotta be god all the way."


title: Iceberg Slim

text: In 1961, after serving 10 months of solitary confinement in a Cook County jail, Maupin decided he was too old for a life of pimping (he was 42) and was unable to compete with younger, more ruthless pimps.


title: Iceberg Slim

text: In 1961, Maupin moved to Los Angeles and changed his name to Robert Beck, taking the last name of the man his mother was married to at the time. He met Betty Shue, who became his common-law wife and the mother of his three daughters, while he was working as an insecticide salesman. Betty encouraged Beck to write the story of his life as a novel, and they began sporadically writing some draft chapters. According to her, a white writer, whom Beck would later only refer to as "the Professor", became interested in writing Beck's life story; Beck became convinced that the man was trying to steal their idea for himself, so they cut him out of the deal and finished it without him. Bentley Morris of Holloway House recognized the merit of "Pimp", and it was published in 1967.


title: Iceberg Slim

text: The hip-hop writer Mark Skillz wrote that when Beck began work on "Pimp", "he made two promises to himself: no glamorizing his former life and no snitching." Hip hop artist Fab 5 Freddy, a friend of Beck's, claimed that "Many of Bob's friends were still alive when he wrote that book. So he changed all of their names and descriptions. 'Baby' Bell became 'Sweet' Jones, his best friend 'Satin' became 'Glass Top', and he created composite characters of some of his former 'employees.


title: Iceberg Slim

text: Reviews of "Pimp" were mixed. Although "he found his book being shelved next to other black authors of the angry '60s like Eldridge Cleaver's "Soul on Ice" and Malcolm X's "The Autobiography of Malcolm X"", Beck's vision was considerably bleaker than most other black writers of the time. His work tended to be based on his personal experiences in the criminal underworld and revealed a world of seemingly bottomless brutality and viciousness. His was the first insider look into the world of black pimps, to be followed by a half-dozen pimp memoirs by other writers.


title: Iceberg Slim

text: In 1973, Hollie West questioned in "The Washington Post" whether societal changes and the women's movement would soon render the outlook expressed in "Pimp" obsolete: "The Iceberg Slim of yesteryear is considered an anachronism to the young dudes now out there on the block trying to hustle. They say he is crude and violent, overlooking his tremendous gift of the gab. Iceberg acknowledges that pimping has changed because 'women have changed.' The advent of women's lib, changing sexual mores, general affluence in this society and widespread use of drugs by pimps to control prostitutes have made an impact."


title: Iceberg Slim

text: "Pimp" sold very well, mainly among black audiences. By 1973, it had been reprinted 19 times and had sold nearly 2 million copies. "Pimp" was eventually translated into German, French, Italian, Portuguese, Spanish, Dutch, Swedish, Finnish, and Greek.


title: Iceberg Slim

text: Following "Pimp", Beck wrote several more novels, an autobiography, and a story collection. He sold over six million books before his death in 1992, making him one of the best-selling African-American writers.


title: Iceberg Slim

text: In 1976, Iceberg Slim released the album "Reflections", in which he recited passages from his autobiography over a funky musical backing supplied by the Red Holloway Quartet. The album, produced by David Drozen, was initially released on ALA records. It was reissued by Infinite Zero in 1994, then by Uproar Entertainment in 2008. Reviewing the album for AllMusic, Victor W. Valdivia wrote "For those who aren't easily offended, this album will be spellbinding. Slim's skills as a storyteller cannot be overstated; even at his crudest, he still spins riveting yarns." Valdivia praised the record for "the mixture of street smarts and the intellectual and emotional depth shown here", which, he said, was often lacking in Iceberg Slim's followers.


title: Iceberg Slim

text: A popular Audiobook adaption of his autobiography “Pimp, The Story of My Life” narrated by Cary Hite, was released by Urban Audiobooks in 2011, and has become very popular due to the realistic portrayal talents of the voice actor. Cary later went on to voice other works of Iceberg Slim, including Long White Con, Trick Baby, and Airtight Willie and Me.


title: Iceberg Slim

text: Slim's first novel, "Trick Baby", was adapted as an eponymous 1972 movie directed by Larry Yust and produced independently for $600,000, with a cast of unknowns. Universal Pictures acquired the film for $1,000,000 and released it in 1973 to a considerable amount of Iceberg Slim fanfare; the movie grossed $11,000,000 at the US box office. "The New York Times" praised the film for its depiction of race relations and the friendship between two con men, set "in the grimier reaches of Philadelphia".


title: Iceberg Slim

text: In 2006, independent film producers Dave Mortell and David Harb acquired the film rights to produce "Mama Black Widow".


title: Iceberg Slim

text: In 2009, television executive producer Rob Weiss, of the HBO show "Entourage", and Mitch Davis purchased the film rights to produce "Pimp".


title: Iceberg Slim

text: After his release from prison in 1961, Beck met Betty Shue, who became his common-law wife and the mother of his three daughters (Melody, Misty and Camille) and one son (Leon) while he was working as an insecticide salesman. Shue encouraged Beck to write his life story and helped him write drafts.


title: Iceberg Slim

text: According to Beck's widow, Diane Millman Beck, Beck's final years were plagued by financial worries and deteriorating health. Beck suffered from diabetes and became increasingly reclusive. He died from liver failure on April 30, 1992, aged 73. In 2005, Diane Millman Beck and Beck's three daughters from his previous relationship, Melody, Misty and Camille, filed suit against Holloway House for back payment of royalties. They claimed in their suit that Robert Beck died penniless.


title: Iceberg Slim

text: Scottish author Irvine Welsh said: "Iceberg Slim did for the pimp what Jean Genet did for the homosexual and thief and William Burroughs did for the junkie: he articulated the thoughts and feelings of someone who had been there."


title: 1: Nenokkadine

text: 1: Nenokkadine () is a 2014 Indian Telugu-language psychological action thriller film directed by Sukumar. The film was produced by Ram Achanta, Gopichand Achanta, and Anil Sunkara on 14 Reels Entertainment banner and was distributed by Eros International. The film stars Mahesh Babu and Kriti Sanon who makes her acting debut through this film. Nassar, Pradeep Rawat and Kelly Dorji appear in supporting roles. Mahesh Babu's son, Gautham Krishna, made his debut in the film as a younger version of the protagonist. "1: Nenokkadine" revolves around the search by Gautham, a rock musician with schizophrenia, missing 25 percent of his brain's grey matter, for his parents with the help of Sameera, a journalist.


title: 1: Nenokkadine

text: Sukumar began working on "1: Nenokkadine" script after completing "100% Love" (2011), making a bus driver's tale about a boy who claimed that his parents were murdered on his bus the film's base. R. Rathnavelu was the film's director of photography, and Karthika Srinivas, its editor. Devi Sri Prasad composed the soundtrack and background score. "1: Nenokkadine" was introduced on 12 February 2012, and principal photography, which began on 23 April 2012, was completed in late October 2013. It was filmed in London, Belfast, Bangkok and Indian cities including Hyderabad, Mumbai, Goa, Chennai and Bangalore. Produced on a budget of 6070 crores, it was the most expensive Telugu film at the time of its release.


title: 1: Nenokkadine

text: "1: Nenokkadine" was released on 10 January 2014 on about 1,500 screens during the Sankranti festival season while the Tamil dubbed version titled as "Number 1" was released in 2015. Grossing over $1.327 million, "1: Nenokkadine" became the fourth-highest-grossing Telugu film at the United States box office at the time. The film was commercially unsuccessful at the box office but has gained a cult following over the years. The film won three awards from eight nominations at the 4th South Indian International Movie Awards, and two awards at the 11th CineMAA Awards. The film is considered one of the "25 Greatest Telugu Films Of The Decade" by "Film Companion".


title: 1: Nenokkadine

text: Gautham is a schizophrenic rock musician who is missing 25% of his grey matter. He hallucinates a mysterious person he believes is one of the three murderers of his parents. As a child, Gautham was convinced that he was an orphan and assumes that his parents are dead; he does not remember their names or what they looked like. At one of his concerts, Gautham sees one of the three men and chases him. Sameera, a journalist at the concert, films Gautham fighting his imaginary opponent. Gautham surrenders to the police after "killing" the man, confessing that he killed three men: one in Belfast, one in Pune and one just now in Hyderabad. He is released from custody after Sameera broadcasts the video on television.


title: 1: Nenokkadine

text: According to the psychiatrist, if Gautham can hallucinate a person other than the three men, he can be treated. Gautham goes to Goa on vacation. Sameera stalks him, convincing him that two people are stalking him: a journalist who wants to interview him (imaginary), and a person claiming to be his fan (real). Gautham begins to fall in love with Sameera. He saves her from a group of people trying to murder her; on an isolated island together, Gautham learns the truth behind the fourth imaginary person and writes Sameera off as a disturbed journalist. By the time he learns about Sameera's intentions, she has left for Hyderabad; Gautham pursues her. In Hyderabad, Gautham accidentally spoils Sameera's birthday plans, infuriating her.


title: 1: Nenokkadine

text: Although he is convinced that he has made up an enemy to cope with being an orphan, mysterious persons tries to kill Sameera but Gautham saves her. Sameera learns that the mysterious person is Antonio Rosarios (one of the peesons behind Gautham's parents' death), a Goa-based crime boss who wants to kill her because she tried to expose the presence of hydrogen cyanide in seeds sold by Rosarios' company, AG1. Gautham meets Rosarios in the lobby of Sameera's office building. Assuming that he is an illusion, he shoots Rosarios dead. By the time Gautham realizes Rosarios is really dead and learns that his parents were really murdered. He catches an aged taxi driver who was stalking him (another of the three men he imagined), and learns that Rosarios, along with an NRI in London killed his parents; his father gave a bag to the taxi driver to deliver to Gautham


title: 1: Nenokkadine

text: In the bag is an old Rubik's Cube, a key and a British coin. Gautham and Sameera leave for London, where they and their driver Gulaab Singh escape from a murder attempt; Gautham's manager, Michael, is killed. The Rubik's Cube, when solved a certain way, reveals a safe deposit-box number in which Gautham finds a preserved rice sample. After escaping another murder attempt in a parking lot, he eludes the police and the two men with Sameera and Singh's help. One of the men—a fan—seeks revenge for his father (one of the other murderers, according to the aged taxi driver), who was killed by Gautham in Belfast when he performed there. Gautham learns that the aged taxi driver he met previously is a businessman and the murderer; the person hit by the businessman's car in Gautham's presence was the actual, innocent taxi driver.


title: 1: Nenokkadine

text: Gautham and the businessman confront each other. The businessman reveals that he and Gautham's father were best friends and worked in the same company. They worked on cultivating Golden rice, a variety that could grow in any weather. When Gautham's father refused to sell it in favor of distributing it globally for free, the businessman and Rosarios killed his parents. When he refuses to tell Gautham about his parents, Gautham kills him. On his way to the airport, Gautham passes the school he had attended in his childhood and hears children singing a rhyme. It reminds him of a similar rhyme he learnt from his mother, and he remembers his way back to his house. At his house (a dilapidated villa), Gautham finds a photo of his parents, Chandrasekhar and Kalyani. He later introduces the rice variety at a global convention as "the second green revolution", and film ends with Gautham standing in his field of golden rice.


title: 1: Nenokkadine

text: After completing "100% Love" (2011), Sukumar began working on a psychological thriller with Mahesh Babu in mind as the protagonist because he felt that Babu had universal appeal. An incident in which a bus driver talked about a young boy who said that his parents were murdered on his bus became the story's base. Babu met Sukumar on the set of "Businessman" (2012) in Goa, and listened to the script for 25 minutes. Although Sukumar could not describe the story well in the noisy restaurant, Babu agreed to appear in the film within half an hour. Sukumar worked on "1: Nenokkadine" script for two months, and considered it his dream project.


title: 1: Nenokkadine

text: Ram Achanta, Gopichand Achanta and Anil Sunkara of 14 Reels Entertainment, who produced Babu's "Dookudu" (2011) and "Aagadu" (2014), agreed to produce "1: Nenokkadine" after hearing the script. Asked about his frequent collaboration with them, Babu said that Sukumar clearly indicated the risk of budget escalation and longer production and said that he and Sukumar could be viewed as criminals if it was produced by someone else. Sunil Lulla and Andrew Hefferman were credited as co-producers, and Koti Paruchuri was its executive producer. The film, introduced on 12 February 2012 in Hyderabad, received its title in May 2013.


title: 1: Nenokkadine

text: Babu agreed to be fit and healthy, since the film emphasised action scenes. He followed a 12-week Dynamic Transformation Plan (DTP) supervised by Kris Gethin, developing his abdominal muscles and losing weight. Babu then followed a Yoda Three Training regime (Y3T), supervised by Neil Hill, further developing his muscles. His stylist, Ashwin Malwe, said that his appearance and style would be "sophisticated and classy" in the film. Sukumar had Babu wear eyeglasses, since the director felt that audiences tended to consider a bespectacled character to be perfectionistic and positive, and the actor's hairstyle was changed.


title: 1: Nenokkadine

text: Tamannaah was considered for the female lead, since the producers were impressed with her performance in "100% Love". She declined the offer, citing scheduling conflicts, and the Producer's Council told her not to sign for any new films until she completed her current assignments. After auditioning two actresses, Sukumar chose Kajal Aggarwal in March 2012 as the female lead. She was replaced by Kriti Sanon in October 2012, due to scheduling conflicts. Sanon was signed for "Heropanti" (2014) after completing one shooting schedule for "1: Nenokkadine", and divided her time between the films. Sanon, who was involved in several action scenes filmed on the sea, was apprehensive about a scene in which Babu took her from a yacht since she did not know how to swim.


title: 1: Nenokkadine

text: Babu's seven-year-old son, Gautham Krishna, was chosen to play the younger version of the protagonist in his Telugu cinema debut. According to Sukumar, Gautham looked like the actor did as a child. When the director approached Babu and his wife, Namrata Shirodkar, Gautham Krishna was only six and they were apprehensive. His introduction scene was filmed silently by Peter Hein, since the boy was afraid of gunfire. Naveen Polishetty played a supporting role as Babu's friend in the film, and Vikram Singh was signed as an antagonist. Nassar, Pradeep Rawat, Kelly Dorji, Sayaji Shinde and Anu Hasan were cast in other supporting roles.


title: 1: Nenokkadine

text: Jacqueline Fernandez was approached to perform an item number in the film, but the producers failed to make a deal and instead signed Sophie Choudry after seeing her performance in "Aala Re Aala" from "Shootout at Wadala" (2013). For her first Telugu song, Choudry joined the film's set in September 2013. Sukumar said about the item number, "It's a superstar's film and it should reach all. Item numbers are common these days, and people expect to see them. The situation was that Babu had to go to a pub to get information about the person he was looking for. So there was an occasion to put in an item number".


title: 1: Nenokkadine

text: R. Rathnavelu, who collaborated with Sukumar on "Arya" (2004) and "Jagadam" (2007), was the film's director of photography in his return to Telugu cinema after seven years. Rathnavelu called the film "more challenging aesthetically" and compared it to "Enthiran" (2010), which he considered his technically-toughest film. He created the film's visual style in a week with a variety of cameras, such as Red Epic, Body Rigs, Doggies and an underwater scuba camera. For the climaxes, Rathnavelu shifted from chrome to black-and-white to full colour in synchronisation with the story's mood.


title: 1: Nenokkadine

text: Rathnavelu had to address the protagonist's mood swings and hallucinations, replicating scenes with minor differences. The film was shot in locations with a variety of climates, and new technical crews were hired in those places. Sukumar said, "We looked at world technicians and saw their work and can use whatever we learnt" and called it a "new yet learning experience" .


title: 1: Nenokkadine

text: Sukumar's usual composer, Devi Sri Prasad, was chosen for the film's soundtrack and score in Prasad's first Babu film. He went through the script and discussed it with Sukumar, who felt that Prasad translated his vision in the background score. Prasad finished re-recording the film's second half in four days. Eleven-year-old journalist Smrithika Thuhina's father was an associate director of the film, and Prasad emailed him the rhyme's tune with several stills from the scene; his daughter wrote the lyrics for the rhyme. P. Madhusudhan Reddy was the film's audiographer.


title: 1: Nenokkadine

text: Peter Hein choreographed "1: Nenokkadine" action sequences, and Prem Rakshith choreographed its songs. Jakka Hari Prasad and Palnati Surya Pratap worked on the film's story, and Y. K. Arjun, Thota Srinivas and Potluri Venkateswara Rao developed the script. Jeremy Zimmerman was credited with the screenplay, assisted by Sunil Madhav. V. Srinivas Mohan was "1: Nenokkadine" visual-effects producer and R. C. Kamalakannan and Adel Adili's visual-effects company, Makuta, worked on the film. Karthika Srinivas was its chief editor, assisted by Siva Saravanan.


title: 1: Nenokkadine

text: Principal photography began on 23 April 2012, with the filming of "Who R U?" featuring Babu and Aggarwal supervised by Prem Rakshith on a set at Annapurna Studios in Hyderabad. Six hundred models performed in the song, and about 2,000 people participated in the shoot. After its completion, an action sequence was filmed. The first shooting schedule wrapped up, and Babu returned to the set of "Seethamma Vakitlo Sirimalle Chettu" (2013). The second schedule began on 31 May 2012 on house and colony sets at Saradhi Studios in Hyderabad, including scenes with Babu and others. Scenes of Babu at the police station were also part of the schedule.


title: 1: Nenokkadine

text: Since the actor had allotted a block of time to "Seethamma Vakitlo Sirimalle Chettu", "1: Nenokkadine" filming was delayed. When the former neared completion, he resumed work on "1: Nenokkadine" in late September 2012 in Hyderabad. Filming continued in Goa in mid-October, after a four-month hiatus, and a song with Babu and others was filmed in late October. The Goa schedule wrapped up on 1 November, with half the filming completed. Babu took a break to promote "Seethamma Vakitlo Sirimalle Chettu", returning to the set on 23 January 2013. The next shooting schedule, which began on 18 March, lasted for three weeks. Night scenes focusing on Babu and others were filmed in Kukatpally in mid-April.


title: 1: Nenokkadine

text: The next schedule, which began on 18 June, filmed in London and Belfast for 60 days. At the Causeway Pictures studio in Northern Ireland, "1: Nenokkadine" was the first Telugu film shot in Belfast. Hollywood stunt co-ordinator Conrad Palmisano supervised stunts by Babu and others. Rathnavelu called the action scene in a London car park "one of the most satisfying" things he had ever done. The scene takes place during a power failure, with the headlights of motorcycles chasing the protagonist the only sources of light. To film the scene, Rathnavelu used LED lamps and three torchlights; smoke was pumped into the air to create a backdrop. When scenes were filmed on one of London's three main bridges, traffic was stopped on both sides of the bridge for more than eight hours.


title: 1: Nenokkadine

text: After London, filming continued in Bangkok in August 2013 and in Hyderabad in September; some scenes were filmed in and near Banjara Hills. The last shooting schedule began in Bangkok in early October 2013, with action scenes supervised by Peter Hein. The remaining dialogue scenes were filmed in Bangalore in mid-October 2013. They were finished by late November, and the last song was filmed in Mumbai. Principal photography wrapped in late December 2013.


title: 1: Nenokkadine

text: The film's five-song soundtrack was composed by Sukumar's usual collaborator Devi Sri Prasad, with lyrics by Chandrabose. Lahari Music acquired its marketing rights for 1 crore, which is a record for a Telugu film. The soundtrack album was released on 21 December 2013 with a promotional event at Shilpakala Vedika in Hyderabad. The event, watched by 14,500 people, was shown live in 24 theatres across Andhra Pradesh and Telangana and was the first Indian soundtrack release event shown live in theatres. The rhyme from the film's climax was released separately on 23 January 2014.


title: 1: Nenokkadine

text: The audio received a positive response from critics. "Cinecorn.com" rated 3 out of 5, stating, the music album as "good". "Indiaglitz" rated 3.25 out of 5, stating "An album with intense as well as playful songs, it is a true Sukumar-DSP product, complete with meaningful lyrics." Karthik Srinivasan of "Milliblog" stated the soundtrack as "ear-friendly", while a review for "The Times of India", described the album as "fair", compared to Prasad's previous works.


title: 1: Nenokkadine

text: "1: Nenokkadine" was released globally on 10 January 2014 on about 1,500 screens, around the same time as "Yevadu" (which was released two days later). The film was Babu's third consecutive release during the Makar Sankranti festival season, following "Businessman" in 2012 and "Seethamma Vakitlo Sirimalle Chettu" in 2013. Eros International acquired its global distribution rights for 72 crore, and it was released and distributed by 14 Reels Entertainment. "1: Nenokkadine" was released on 900 screens across Andhra Pradesh and Telangana. Including multiplexes, 108 screens were booked in Hyderabad and there were 600 screenings on the film's release day. It broke the record held by "Attarintiki Daredi" (2013), which had been released on 100 screens in Hyderabad. 14 Reels Entertainment released the film in Auro 11.1 cinema audio format, supported by Barco.


title: 1: Nenokkadine

text: Karnataka distribution rights were sold to RNR Films, who had distributed "Dookudu" in the state, for 45 crore. "1: Nenokkadine" was released on about 200 screens overseas, a record for a Telugu film. In addition to the United States and the United Kingdom, the film was released in Australia, the Netherlands, Switzerland, Malaysia and Germany; it was the first Telugu film released in Ukraine. When reaction to the film's length was mixed, the producers reduced its running time from 169 to 149 minutes. "1: Nenokkadine" had its global television premiere on 8 June 2014 on Gemini TV, with a TRP rating of 7.32. The film was dubbed in Hindi as "1: Ek Ka Dum".


title: 1: Nenokkadine

text: A mobile app was released on 27 November 2013 on Google Play, and later on iOS; "1: Nenokkadine" first look, posters, video promos and other promotional material were released through the app. On 21 December 2013, users could download the film's soundtrack and purchase bulk pre-release tickets. Its digital-media marketing was handled by Sharath Chandra, Anurag and Rohita of First Show Digital. The digital campaign placed third at the 2014 Indian Digital Media Awards in Mumbai, surpassing that for "Krrish 3". It accounted for 15 percent of total promotional activity, influencing the sale of 7,500 tickets on the film's release day. "1: Nenokkadine" YouTube channel had 12 million views; on Facebook its page received 130 million views, reaching 40 million users and engaging 3.9 million people.


title: 1: Nenokkadine

text: The film's audio teaser was released on 17 December 2013, a few days before the audio launch. The theatrical trailer of the movie was released on 25 December 2013. South Indian actress Samantha Ruth Prabhu found a poster of Sanon crawling behind Babu "regressive", triggering a backlash on Facebook and Twitter from Babu's fans. Actor Siddharth and filmmaker Sekhar Kammula shared her view, receiving a similar response, and filmmaker Pritish Nandy said that the poster was "gross" and "regressive". Sukumar later removed that sequence from the film to avoid further issues, although the Central Board of Film Certification did not object to its inclusion.


title: 1: Nenokkadine

text: According to an early report from the "International Business Times, 1: Nenokkadine" received negative reviews from critics. Later reports suggest that the reviews were mixed. According to "The New Indian Express", its audience was "gripped through the whole film, but not for the right reasons": "Ending with a heralding of a second 'Green Revolution' and carrying on a legacy that aims at a food Utopia, you wish the movie continued with the schizophrenia and ended in an asylum". Karthik Pasupulate of "The Times of India" gave the film three out of five stars: "The [Telugu cinema] format of six songs, five fights and loads of entertainment and melodrama makes it impossible to respectably adapt racy Hollywood styled suspense thrillers". Radhika Rajamani of Rediff called the film "inordinately long, with repetitive scenes and slow and sluggish narration", and a "sense of ennui set in after a point"; however, Rajamani praised the lead actors' performances. Sify gave the film 2.75 out of five stars: "In "1 Nenokkadine", individual sequences are cool but the same cannot be said if we see it in totality. Apart from Mahesh Babu's stunning performance, the drive of the film is completely off the track. It disappoints." Suresh Kavirayani of "Deccan Chronicle" gave the film 2.5 out of five stars: "To say it in a line, the film falls short of expectations and disappoints film goers, especially the fans of Mahesh Babu". Kavirayani called Rathnavelu's cinematography its "saving grace", praising the lead pair's performances.


title: 1: Nenokkadine

text: Sangeetha Devi Dundoo of "The Hindu" wrote, "How often do we get to watch a Telugu film where the audience, along with the protagonist and supporting characters, is also required to think and distinguish between events unfolding in real and imaginary spaces?" and called "1 Nenokkadine" a "visually stunning" film. Sridhar Vivan of "Bangalore Mirror" gave the film 3.5 out of five stars: "As the film tries out a refined or reformed revenge saga, it needs to be seen whether "1 Nenokkadine" works at the box office. If it does, it is a good sign for Telugu cinema". A. S. Sashidhar of "The Times of India" wrote, "The first half of "1: Nenokkadine" is good and will keep you wanting for more. The story has a few interesting twists and turns, in the second half too to keep the audience glued to the screen", and Sukumar "should be commended for superb attempt in choosing to make a film that has not been explored in Telugu movies". Shekhar of Oneindia called the film a "brilliant psychological thriller": "The first half of "1: Nenokkadine" is excellent and will impress all classes of audience. A few sentimental scenes slow down the pace of narration in the second half. But the superb climax that lasts for 15 minutes will compensate for it. The viewers will surely walk out of theatre with contented hearts".


title: 1: Nenokkadine

text: "1: Nenokkadine" earned a distributor share of 8.4 crore at the AP-Nizam box office on its first day, and 12.4 crore over its opening weekend. Its United States opening box office total was $947,000 (5.82 crore), which trade analyst Taran Adarsh called a "glorious start" and "one of the best openings ever by an Indian film". "1: Nenokkadine" passed the $1 million mark in three days, the seventh Telugu film (and Babu's third, after "Dookudu" and "Seethamma Vakitlo Sirimalle Chettu") to earn a million dollars. On its fourth and fifth days the film earned a share of 3.25 crore at the AP-Nizam box office, for a five-day total share of about 15 crore.


title: 1: Nenokkadine

text: By the end of "1: Nenokkadine" first week it had earned a distributor share of 18.1 crore at the AP-Nizam box office, 2.1 crore in Karnataka and 90 lakh in the rest of India. The film's first-week global box-office total was 25.2 crore. In ten days "1: Nenokkadine" grossed over $1.27 million in the United States, the fourth-highest-grossing Telugu film in that country. The film earned a distributor share of about 28.9 crore, on a budget of 70 crore.


title: Jesus H. Christ

text: Jesus H. Christ is an expletive interjection that refers to the Christian religious figure of Jesus Christ. It is typically uttered in anger, surprise, or frustration, though sometimes also with humorous intent. The expressions "Christ", "Jesus", and "Jesus Christ" are also used as exclamations or expletives in English-speaking, Christian-influenced societies.


title: Jesus H. Christ

text: This expression is commonplace in Ireland used generally as an exclamation of surprise and is generally good humoured.


title: Jesus H. Christ

text: The earliest use of the phrase is unknown, but in his autobiography, Mark Twain (1835–1910) observed that it was in general use even in his childhood. Twain refers to an episode from 1847, when he was working as a printer's apprentice; Roger Smith (1994) tells the tale thus:


title: Jesus H. Christ

text: [Twain] recounts a practical joke a friend played on a revival preacher when Twain was an apprentice in a printing shop that Alexander Campbell, a famous evangelist then visiting Hannibal, hired to print a pamphlet of his sermon. While checking the galleys, Twain's fellow apprentice, Wales McCormick, found he had to make room for some dropped words, which he managed by shortening Jesus Christ on the same line to J. C. As soon as Campbell had read the proofs, he swept indignantly into the shop and commanded McCormick, "So long as you live, don't you ever diminish the Savior's name again. Put it all in." The puckish McCormick obeyed, and then some: he set Jesus H. Christ and printed up all the pamphlets.


title: Jesus H. Christ

text: Roger Smith suggests that "Jesus H. Christ" is a specifically American profanity, and indicates that at least in his experience it is uttered primarily by men. British author Michael Quinion likewise specifies the phrase as belonging to American English.


title: Jesus H. Christ

text: Multiple authors emphasize the practice of placing a strong stress on the "H", relating it in various ways to expletive infixation. Thus Quinion writes:


title: Jesus H. Christ

text: Its long survival must have a lot to do with its cadence, and the way that an especially strong stress can be placed on the H. You might also think of it as an example of emphatic infixing that loosely fits the models of words like "abso-bloody-lutely" or "tribu-bloody-lation".


title: Jesus H. Christ

text: Similar remarks were made by the linguist Dwight Bolinger, who mentions "Jesus H. Christ" in a discussion of the strategies used by English speakers to add additional stresses to "highly charged words" for purposes of emphasis. Horberry suggests "The strong emphasis on the H somehow improves the rhythm of its host phrase." The "Green's Dictionary of Slang" says "the H is redundant other than for rhythm".


title: Jesus H. Christ

text: Using the name of Jesus Christ as an oath has been common for many centuries, but the precise origins of the letter H in the expression are obscure. While many explanations have been proposed, the most widely accepted derivation is from the divine monogram of Christian symbolism. The symbol, derived from the first three letters of the Greek name of Jesus (), is transliterated iota-eta-sigma, which can look like IHS, (with lunate sigma), JHS or JHC ("J" was historically a mere variant of "I").


title: Jesus H. Christ

text: For how this learned-sounding abbreviation could have served as the basis for vulgar slang, Smith offers the hypothesis that it was noticed by ordinary people when it was worn as a decoration on the vestments of Anglican (i.e., in America, Episcopal) clergy. The "JHC" variant would particularly invite interpretation of the "H" as part of a name.


title: Jesus H. Christ

text: While the above is the most likely origin of the "H", there other popular false etymologies. One commonly held origin is as an initial for the name "Harold", which is mentioned by Smith as the basis of a variant form, "Jesus Harold Christ". The "Harold" may arise from a common misinterpretation (often by children) of the phrase in the Lord's Prayer, "Our Father who art in heaven hallowed be thy name." This phrase can be mistakenly interpreted as specifying the name of the Deity ("thy name is ... "), rather than the true reading, which is "may thy name be hallowed". The confusion would arise from the phonetic similarity of "hallowed" ( [ˈhæloʊd]) to "Harold" (IPA [ˈhærəld]).


title: Jesus H. Christ

text: The number of variant forms, usually with "H" replaced by something longer, is vast. In addition to the folk etymology of Jesus Harold Christ, Smith lists Jesus Holy Christ, Jesus Hecking Christ, and Jesus H. Particular Christ. "Green's Dictionary of Slang" lists Jesus H!, Jesus H. Crow!, Jesus H. Johnson!, Jesus H. Mahogany Christ!, Jesus hopping Christ!, Jesus Johnnycake Christ!, Jeezus K. Reist! Jesus X. Christ! J.H. Christ!, and Judas H. Christ!.


title: Jesus H. Christ

text: For Smith, the very presence of so many spelled-out variants is part of the humor—and blasphemy—inherent in "Jesus H. Christ". He suggests that the H offers "the power of taking the Lord's name in vain by adding something to it that the imagination is invited to complete: What does the H. stand for? — whatever the errant imagination proposes and the imaginer is disposed to enjoy."


title: Catherine Hardwicke

text: Helen Catherine Hardwicke (born October 21, 1955) is an American film director, production designer, and screenwriter. Her directorial work includes "Thirteen" (2003), which she co-wrote with Nikki Reed, the film's co-star, "Lords of Dogtown" (2005), "The Nativity Story" (2006), "Twilight" (2008), "Red Riding Hood" (2011), "Plush" (2013), "Miss You Already" (2015), "Miss Bala" (2019), and "Prisoner's Daughter" (2022).


title: Catherine Hardwicke

text: Hardwicke was born in Harlingen, Texas on October 21, 1955, the daughter of Jamee Elberta ("née" Bennett) and John Benjamin Hardwicke. She has a brother, Jack, and a sister, Irene Hardwicke Olivieri, who became an artist. She grew up in McAllen on the U.S.–Mexico border, where her family owned and operated a farm along the Rio Grande, and was raised as a Presbyterian. Growing up in McAllen, Hardwicke describes it as "wild": in high school, "her principal was stabbed three times. A friend's father was shot in the back, and another friend was murdered. And yet life could be wonderful at the same time. 'It was a Huck Finn life, too,' she said." As a child she did not attend many movies and explains, "I didn’t go to many movies. Let's be honest: It was a cultural wasteland. At the time, you could not go to a significant museum unless you drove three hours to Corpus Christi or four to San Antonio". However, there were other ways to have fun such as sneaking over to the bars and nightclubs of Mexico before she was even a legal adult. Speaking on her early life Hardwicke says, "It was a wonderful childhood. I'm dying to make a movie about it".


title: Catherine Hardwicke

text: She graduated from McAllen High School and went to the University of Texas at Austin, where she earned a degree in architecture. Among her post-graduation projects was designing the solar townhouse complex built around a man-made lake on the 20-acre site, complete with waterfalls and swimming pools. The property was owned by her father.