title: New York-class battleship

text: As built, both ships also carried 21 /51 caliber guns arrayed ten to a side with one in the stern, primarily for defense against destroyers and torpedo boats. Many of the 5-inch guns were poor in accuracy in rough seas due to being mounted near the ends of the ship and below the main deck. The ships were not designed with anti-aircraft (AA) defense in mind, and with the development of naval aviation, this was seen as a serious drawback to the class. The "New York" class was the first US battleship to mount anti-aircraft guns, with two /50 caliber guns mounted on platforms on top of the boat cranes of "Texas" in 1916. In 1918, the secondary armament was reduced to 16 5-inch/51 caliber guns, eight to a side, as the guns near the ends of the ship were difficult to work in any kind of sea. When both ships were refitted 1925–26, AA defense was increased with eight 3-inch/50 caliber guns arrayed four to a side. Six of the sixteen remaining 5-inch guns were relocated higher in the ship to new casemates on the main deck. The "New York" class also initially featured four torpedo tubes, 1 each on the port side bow and stern and starboard bow and stern, for the Bliss-Leavitt Mark 3 torpedo, instead of the previous two, because of advances in torpedo performance increasing the prominence of the weapon. The torpedo rooms held 12 torpedoes total, plus 12 naval defense mines. However, the torpedo tubes were removed in the 1925-26 refit.


title: New York-class battleship

text: Magazine and machinery spaces were enclosed in the protected hull. Magazine volume was reduced for increased machinery, with each magazine accommodating 75 to 80 shells and charges, while more shells were carried in their turrets and handling rooms.


title: New York-class battleship

text: In 1937 eight /75 caliber AA guns in two quadruple mounts were added to improve the light AA armament. The ships were more extensively refitted with large amounts of light AA guns at the expense of the 5-inch/51 caliber guns in 1942, as the attack on Pearl Harbor had shown pre-war light AA armament to be inadequate. The 1.1 inch quad mounts were removed and 24 Bofors 40 mm guns were added in six quadruple mounts (later increased to 40 guns), while 42 Oerlikon 20 mm guns in single mounts were also added. The 3-inch AA gun armament was increased to 10 guns, while the 5-inch gun armament was reduced to 6 guns.


title: New York-class battleship

text: The ships continued the armor suite of the "Wyoming" class with minor improvements. The deck armor scheme would continue to remain distinctly inferior to the succeeding "Nevada" class with their all or nothing armor scheme. However the leap forward in range provided by improved fire control was not yet envisioned and had it been there would not have been time to include it within the current design. The ship provided a belt tapering to and casemate armor with internal partitioning. The "New York" class was the first to incorporate an armored central plotting room below decks, but atop the protective deck, and enclosed in a thin box of splinter armor.


title: New York-class battleship

text: Armor on the "New York" class consisted of belt armor from 10 to 12 inches thick. Their lower casemates had between and of armor, and their upper casemate had of armor. Deck armor was thick, and turret armor was 14 inches on the face, on the top, 2 inches on the sides, and on the rear. Armor on her barbettes was between 10 and 12 inches. Conning towers were protected by 12 inches of armor, with 4 inches of armor on the tops. In all, the armor totaled on the upper casemate, on the lower casemate, along the belt, on the bulkheads, on the splinter deck, on the barbettes, and on the conning tower for a total protection of .


title: New York-class battleship

text: The ships were powered by 14 Babcock & Wilcox coal-fired boilers driving two dual-acting triple expansion reciprocating steam engines, with producing a maximum speed of . They had a range of at . Initially, designs called for a 14 percent increase in power to over the of the preceding class. However, it was discovered that greater propulsive efficiency of the reciprocating engine allowed a reduction in installed power, needing only 28,100 shp to make 21 knots.


title: New York-class battleship

text: The "New York" class was the final class of US battleship to be powered by coal. The class was designed to carry of coal, the most of any battleship class. In 1910, the succeeding battleships of the "Nevada" class were designed with fuel oil in mind. Both ships were converted to carry fuel oil in 1926, and had a capacity of of oil. Six new Bureau Express oil-fired boilers replaced the fourteen older design coal-fired boilers at that time with no loss of power.


title: New York-class battleship

text: Funding for the battleships was authorized by a 24 June 1910 act, which called for the ships to cost no more than $6,000,000. The act also specified new labor policies for their construction which put strict limits on labor hours and working conditions for shipyard employees. Bids were solicited only for Battleship No. 35, "Texas", on 27 September 1910, while Battleship No. 34, "New York", was to be built by New York Navy Yard. Bids opened for No. 35 on 1 December. Ultimately Newport News Shipbuilding Company won the contract with a bid of $5,830,000. Battleship No. 35 began construction first, on 17 April 1911, launched 18 May 1912, and completed on 12 March 1914. Battleship No. 34 was laid down on 11 September 1911, launched on 30 October 1912, and completed on 15 April 1914.


title: New York-class battleship

text: By 1926, the "New York" class was considered obsolete compared with other battleships in service, so both ships received a complete refit. While several other battleships in service, including and , were converted to training ships or scrapped, "New York" and "Texas" were chosen to be overhauled to increase their speed, armor, and armament, in accordance with the Washington Naval Treaty of 1922. An additional were added for defense against aerial targets and submarines. Her fourteen coal-fired boilers were replaced by six Bureau Express oil-fired boilers and the twin funnels were trunked into one, aft of the forward superstructure. Tripods were fitted in place of the lattice masts, and atop the forward tripod a control tower was installed. A tower was built amidships that contained additional fire control to backup the system on the foremast. A new aircraft catapult was installed atop turret Number 3, and cranes were installed on either side of the funnel for boat and aircraft handling. Additional deck protection was added, and each ship's beam was widened. The ships were fitted with anti-torpedo bulges, though these made maneuvering harder at low speeds and both rolled badly, and gunfire accuracy was reduced in rough seas.


title: New York-class battleship

text: Shortly after commissioning, "New York" became flagship for the United States occupation of Veracruz in 1914. During World War I, she became flagship of Battleship Division 9, commanded by Rear Admiral Hugh Rodman. Sent to reinforce the British Grand Fleet in the North Sea, she conducted blockade and escort duties. She twice came into contact with German U-boats, and is believed to have accidentally sunk one. She returned to the United States at the end of the war, and began taking on patrol and training duties. "New York" was fitted with XAF RADAR in February 1938, including the first United States duplexer so a single antenna could both send and receive.


title: New York-class battleship

text: She was a part of the Neutrality Patrol following the outbreak of World War II in September 1939, and spent the beginning of the war escorting convoys between New York and Iceland. She saw action supporting Operation Torch, the Allied invasion of North Africa, where she targeted shore batteries threatening the landings in November 1942. She remained in convoy patrol and training for several years, until she was moved to the Pacific Fleet late in the war and supported landings on Iwo Jima in February 1945, and later the invasion of Okinawa in April 1945. She was lightly damaged by a "kamikaze" attack in this battle. Following the war, she was used as a target ship during the two atomic bomb tests of Operation Crossroads, and was subsequently studied for its effects, before being sunk as a target off Hawaii in 1948.


title: New York-class battleship

text: "Texas" also participated in the occupation of Veracruz for several months in 1914, before conducting training and upgrades to become the first ship of the US Navy to mount anti-aircraft weapons. She conducted convoy patrols early in World War I and was the first US ship to fire on a German one during a convoy mission in 1917. She joined other US battleships in reinforcing the British fleet near the end of the war and was present for the German surrender. In the inter-war period she became one of the first battleships to launch and operate aircraft, and frequently alternated her time between the Atlantic and Pacific waters on training exercises.


title: New York-class battleship

text: She was part of the Neutrality Patrol at the beginning of World War II and supported Allied landings at North Africa, and then conducted convoy patrol duty to North African and European ports throughout 1943. On 6 June 1944, she supported Operation Overlord, covering Allied landings on the beaches of Normandy, France, in particular the battle at Pointe du Hoc. Later that month on 25 June, she supported the bombardment of Cherbourg and there was damaged when she was hit with a German artillery shell. In July she moved to support Operation Dragoon, the Allied invasion of southern France. Following extensive repairs and training, she moved to the Pacific and supported the invasion of Iwo Jima in February 1945. She then moved to support landings on Okinawa in April. Following the end of the war, "Texas" was decommissioned, and in 1948 she was moved to San Jacinto State Park and converted into a museum ship, where she remained till August 31, 2022. She was floated to a drydock in Galveston, Texas for $35,000,000 restoration project estimated to last for 12-18 months. Her new home in Texas is still undetermined as of the date of the move.


title: Blacktip reef shark

text: The blacktip reef shark (Carcharhinus melanopterus) is a species of requiem shark, in the family Carcharhinidae, which can be easily identified by the prominent black tips on its fins (especially on the first dorsal fin and its caudal fin). Among the most abundant sharks inhabiting the tropical coral reefs of the Indian and Pacific Oceans, this species prefers shallow, inshore waters. Its exposed first dorsal fin is a common sight in the region. The blacktip reef shark is usually found over reef ledges and sandy flats, though it has also been known to enter brackish and freshwater environments. It typically attains a length of .


title: Blacktip reef shark

text: The blacktip reef shark has extremely small home ranges and exhibits strong site fidelity, remaining within the same local area for up to several years at a time. It is an active predator of small bony fishes, cephalopods, and crustaceans, and has also been known to feed on sea snakes and seabirds. Accounts of the blacktip reef shark's life history have been variable and sometimes contradictory, in part reflecting geographical differences within the species. Like other members of its family, this shark is viviparous, with females giving birth to two to five young on a biennial, annual, or possibly biannual cycle. Reports of the gestation period range from 7–9, through 10–11, to possibly 16 months. Mating is preceded by the male following closely behind the female, likely attracted by her chemical signals. Newborn sharks are found further inshore and in shallower water than adults, frequently roaming in large groups over areas flooded by high tide.


title: Blacktip reef shark

text: Timid and skittish, the blacktip reef shark is difficult to approach and seldom poses a danger to humans unless roused by food. However, people wading through shallow water are at risk of having their legs mistakenly bitten. This shark is used for its meat, fins, and liver oil, but is not considered to be a commercially significant species. The International Union for Conservation of Nature has assessed the blacktip reef shark as Vulnerable. Although the species as a whole remains widespread and relatively common, overfishing of this slow-reproducing shark has led to its decline at a number of locales.


title: Blacktip reef shark

text: French naturalists Jean René Constant Quoy and Joseph Paul Gaimard originally described the blacktip reef shark during the 1817–1820 exploratory voyage of the corvette "Uranie". In 1824, their account was published as part of "Voyage autour du monde...sur les corvettes de S.M. l'Uranie et la Physicienne", Louis de Freycinet's 13-volume report on the voyage. The type specimen was a -long juvenile male caught off the island of Waigeo, west of New Guinea. Quoy and Gaimard chose the name "Carcharias melanopterus", from the Greek "melas" meaning "black" and "pteron" meaning "fin" or "wing", in reference to this shark's prominent fin markings.


title: Blacktip reef shark

text: Subsequent authors moved the blacktip reef shark to the genus "Carcharhinus"; in 1965 the International Commission on Zoological Nomenclature designated it as the type species for the genus. In some earlier literature, the scientific name of this shark was mistakenly given as "C. spallanzani", now recognized as a synonym of the spottail shark ("C. sorrah"). Other common names for this species include blackfin reef shark, black-finned shark, blacktip shark, reef blacktip shark, and guliman.


title: Blacktip reef shark

text: Like most other members of its genus, the phylogenetic position of the blacktip reef shark remains indeterminate. Based on morphology, Jack Garrick proposed in 1982 that the closest relative of the blacktip reef shark was the nervous shark ("C. cautus"). Leonard Compagno's 1988 morphological analysis suggested affinity not only between this species and the nervous shark, but also four other species, and could not resolve their relationships further. A 1998 allozyme analysis by Gavin Naylor again yielded ambiguous results, finding that the blacktip reef shark forms a polytomy (irresolvable group) with 10 other "Carcharhinus" species.


title: Blacktip reef shark

text: The blacktip reef shark is found throughout nearshore waters of the tropical and subtropical Indo-Pacific. In the Indian Ocean, it occurs from South Africa to the Red Sea, including Madagascar, Mauritius, and the Seychelles, and from there eastward along the coast of the Indian Subcontinent to Southeast Asia, including Sri Lanka, the Andaman Islands, and the Maldives. In the Pacific Ocean, it is found from southern China and the Philippines to Indonesia, northern Australia and New Caledonia, and also inhabits numerous oceanic islands, including the Marshall, Gilbert, Society, and Hawaiian Islands and Tuamotu. Contrary to what most sources state, there is a report suggesting that the specimens of this species from Japanese waters might be from Taiwan, however a number of sightings and captures of this species have been reported from the inshore waters of Ishigaki Island of Okinawa Prefecture in southern Japan. A Lessepsian migrant, this shark has colonized the eastern Mediterranean Sea by way of the Suez Canal.


title: Blacktip reef shark

text: Although it has been reported from a depth of , the blacktip reef shark is usually found in water only a few meters deep, and can often be seen swimming close to shore with its dorsal fin exposed. Younger sharks prefer shallow, sandy flats, while older sharks are most common around reef ledges and can also be found near reef drop-offs. This species has also been reported from brackish estuaries and lakes in Madagascar, and freshwater environments in Malaysia, though it is not able to tolerate low salinity to the same degree as the bull shark ("C. leucas"). At Aldabra in the Indian Ocean, blacktip reef sharks congregate in the channels between reef flats during low tide and travel to the mangroves when the water rises. There is equivocal evidence that sharks from the northern and southern extremes of its distribution are migratory.


title: Blacktip reef shark

text: A robustly built species with a streamlined "typical shark" form, the blacktip reef shark has a short, wide, rounded snout and moderately large, oval eyes. Each nostril has a flap of skin in front that is expanded into a nipple-shaped lobe. Not counting small symphysial (central) teeth, the tooth rows number 11–13 (usually 12) on either side of the upper jaw and 10–12 (usually 11) on either side of the lower jaw. The upper teeth are upright to angled and narrowly triangular in shape, bearing serrations that are more coarse on the bases; the lower teeth are similar, but more finely serrated. The teeth of adult males are more abruptly curved than those of females.


title: Blacktip reef shark

text: The pectoral fins are large and narrowly falcate (sickle-shaped), tapering to points. The sizable first dorsal fin is high with a curving "S"-shaped rear margin, and originates over the free rear tips of the pectoral fins. The second dorsal fin is relatively large with a short rear margin, and is placed opposite the anal fin. There is no ridge between the dorsal fins. This shark is a pale grayish-brown above and white below, with an obvious white band on the sides extending forward from above the anal fin. All the fins have black tips highlighted by lighter-colored borders, which are especially striking on the first dorsal fin and lower caudal fin lobe. Most blacktip reef sharks are no more than long, though rarely individuals may reach or possibly . The maximum weight on record with the International Game Fish Association is .


title: Blacktip reef shark

text: Along with the grey reef shark ("C. amblyrhinchos") and the whitetip reef shark ("Triaenodon obesus"), the blacktip reef shark is one of the three most common sharks inhabiting coral reefs in the Indo-Pacific. This species predominates in shallow habitats, while the other two are mostly found deeper. Fast-swimming and active, the blacktip reef shark may be encountered alone or in small groups; large "social" aggregations have also been observed. For the most part, juvenile and adult sharks are not segregated by sex, save for the movements of pregnant females to give birth. Individuals exhibit strong fidelity to particular areas, where they may remain for several years.


title: Blacktip reef shark

text: A tracking study off Palmyra Atoll in the central Pacific has found the blacktip reef shark has a home range of around , among the smallest of any shark species. The size and location of the range does not change with time of day. Within this range, 3–17% of the area constitute favored hunting patches that are disproportionately occupied by the resident shark. The sharks spend most of their time swimming back and forth along reef ledges, making occasional short forays onto sandy flats. Their average swimming speed decreases when the tide rises at night, possibly because the influx of cooler water reduces their metabolism, or the accompanying movement of prey fishes makes foraging easier. Blacktip reef sharks at Aldabra tend to be more mobile than those at Palmyra, with recorded individual movements of up to over 7 hours.


title: Blacktip reef shark

text: Blacktip reef sharks, particularly small individuals, fall prey to larger fishes, including groupers, grey reef sharks, tiger sharks ("Galeocerdo cuvier"), and members of their own species. At Palmyra Atoll, adults avoid patrolling tiger sharks by staying out of the central, deeper lagoon. Their known parasites include the tapeworms "Anthobothrium lesteri", "Nybelinia queenslandensis", "Otobothrium alexanderi", and "Platybothrium jondoeorum", a myxosporidian in the genus "Unicapsula", and the monogenean "Dermophthirius melanopteri". One of the few documented examples of infectious disease in a shark was a fatal case of hemorrhagic septicemia in a blacktip reef shark, caused by the bacterium "Aeromonas salmonicida" subsp. "salmonicida".


title: Blacktip reef shark

text: As often the most abundant apex predator within its ecosystem, the blacktip reef shark plays a major role in structuring inshore ecological communities. Its diet is composed primarily of small teleost fishes, including mullet, groupers, grunters, jacks, mojarras, wrasses, surgeonfish, and smelt-whitings. Groups of blacktip reef sharks in the Indian Ocean have been observed herding schools of mullet against the shore for easier feeding. Squid, octopus, cuttlefish, shrimp, and mantis shrimp are also taken, as well as carrion and smaller sharks and rays, though this is rare. Off northern Australia, this species is known to consume sea snakes, including "Acrochordus granulatus", "Hydrelaps darwiniensis", "Hydrophis" spp. and "Lapemis hardwickii". Sharks off Palmyra Atoll have been documented preying on seabird chicks that have fallen out of their nests into the water. Miscellaneous items that have been found inside the stomachs of this species include algae, turtle grass, coral, hydrozoa, bryozoa, rats, and stones.


title: Blacktip reef shark

text: Researchers working at Enewetak Atoll in the Marshall Islands have found the blacktip reef shark can be readily attracted by splashing or striking metal tools against hard objects underwater, as well as by the scent of both healthy and injured fish. As with most sharks, the blacktip reef shark does not have any cone cells in its retina, limiting its ability to discriminate colors and fine details. Instead, its vision is adapted for sensitivity to movement or contrast under low light conditions, which is further enhanced by the presence of a reflective tapetum lucidum. Experiments have shown that this shark is capable of detecting small objects up to away, but is unable to clearly discern the shape of the object. Electroreception is another means by which this shark can locate prey; its ampullae of Lorenzini have a sensitivity of approximately 4 nV/cm and an effective range of . Similar to the grey reef shark, this species becomes more excited and "confident" in the presence of other individuals of its species, and in extreme situations can be roused into a feeding frenzy. Feeding activity may be greater at night than during the day.


title: Blacktip reef shark

text: Like the other members of its family, the blacktip reef shark is viviparous, though the details of its life history vary across its range. Its reproductive cycle is annual off northern Australia, with mating taking place from January to February, as well as off Moorea in French Polynesia, where mating occurs from November to March. The cycle is biennial off Aldabra, where intense competition within and between species for food may constrain females to only bearing young every other year. Earlier accounts from the Indian Ocean by Johnson (1978), Madagascar by Fourmanoir (1961), and the Red Sea by Gohar and Mazhar (1964), indicated a biannual cycle in these regions with two breeding seasons per year from June to July and December to January. If accurate, the shorter reproductive cycles of these subpopulations may be a consequence of warmer water.


title: Blacktip reef shark

text: When receptive to mating, a female blacktip reef shark swims slowly in a sinusoidal pattern near the bottom with her head pointed down; observations in the wild suggest female sharks release chemical signals that allow males to track them. Once the male finds her, he closes to around and follows her with his snout oriented towards her vent. A courting male may also bite the female behind her gills or on her pectoral fins; these mating wounds heal completely after 4–6 weeks. After a period of synchronous swimming, the male pushes the female on her side and positions her so her head is against the bottom and her tail is raised. Once the female is in position, the male inserts one of his claspers into her cloaca. Copulation lasts for several minutes, after which the sharks separate and resume their regular behavior. Off Moorea, individual older females mate and give birth at a consistent time every year, often to within a week's precision, whereas younger females exhibit more variability in their timing. Younger females are also more likely to fail to become pregnant after mating.


title: Blacktip reef shark

text: The gestation period has been reported as 10–11 months long in the Indian Ocean and Pacific islands, and 7–9 months long off northern Australia. Earlier authors, such as Melouk (1957), have estimated a gestation period as long as 16 months, though the validity of this figure has subsequently been challenged. The female has a single functional ovary (on the right) and two functional uteruses, divided into separate compartments for each embryo. Newly ovulated egg cases measure by ; after hatching the embryos are sustained by a yolk sac during the first stage of development. After two months, the embryo measures long and has well-developed external gills. After four months, the yolk sac has begun to be converted into a placental connection that attaches to the uterine wall; at this time, the embryo's dark fin markings develop. By five months, the embryo measures and has resorbed its external gills; the placenta is fully formed, though some yolk remains until seven months into gestation.


title: Blacktip reef shark

text: Parturition occurs from September to November, with females making use of shallow nursery areas interior of the reef. Newborn pups measure long in the Indian Ocean and off northern Australia, while free-swimming pups as small as long have been observed in the Pacific islands. The litter size is 2–5 (typically 4), and is not correlated with female size. Young blacktip reef sharks commonly form large groups in water barely deep enough to cover their bodies, over sand flats or in mangrove swamps close to shore. During high tide, they also move onto flooded coral platforms or seaweed beds. Growth is initially rapid; one documented captive shark grew an average of per year in its first two years of life. The growth rate slows to around per year in juveniles and adults. Males and females mature sexually at lengths of and respectively off northern Australia, and and , respectively, off Aldabra. Males mature at long off Palmyra Atoll.


title: Blacktip reef shark

text: Under most circumstances, the blacktip reef shark has a timid demeanor and is easily frightened away by swimmers. However, its inshore habitat preferences bring it into frequent contact with humans, and thus it is regarded as potentially dangerous. As of early 2009, 11 unprovoked attacks and 21 attacks total (none fatal) were listed on the International Shark Attack File that are attributable to the blacktip reef shark. Most attacks involve sharks biting the legs or feet of waders, apparently mistaking them for their natural prey, and do not result in serious injury. In the Marshall Islands, native islanders avoid blacktip reef shark attacks by swimming rather than wading through shallow water, as a way of discouraging these sharks is to submerge one's body. The blacktip reef shark has also been known to become aggressive in the presence of bait, and may pose a threat while attempting to steal the catches of spear fishers.


title: Blacktip reef shark

text: The blacktip reef shark is a normal catch of coastal fisheries, such as those operating off Thailand and India, but is not targeted or considered commercially important. The meat (sold fresh, frozen, dried and salted, or smoked for human consumption), liver oil, and fins are used. The International Union for Conservation of Nature has assessed the blacktip reef shark as Vulnerable and declining. Though it remains widespread and common overall, substantial local declines due to overfishing have now been documented in many areas. This species has a low reproductive rate, limiting its capacity for recovering from depletion. Blacktip reef sharks are popular subjects of public aquarium exhibits, because of their stereotypically "shark-like" appearance, ability to breed in captivity and modest size, and are also attractions for ecotourism divers.


title: Lal Bagh

text: Lalbagh Botanical Garden or simply Lalbagh (), is an botanical garden in Bangalore, India, with an over 200-year history. First planned and laid out during the dalavaiship of Hyder Ali and later managed under numerous British Superintendents before Indian Independence. It was responsible for the introduction and propagation of numerous ornamental plants as well as those of economic value. It also served a social function as a park and recreational space, with a central glass house dating from 1890 which was used for flower shows. In modern times it hosts two flower shows coinciding with the week of Republic Day (26 January) and Independence Day (15 August). As an urban green space along with Cubbon Park, it is also home to numerous wild species of birds and other wildlife. The garden also has a lake adjoining a large rock on which a watchtower had been constructed during the reign of Kempegowda II.


title: Lal Bagh

text: Hyder Ali commissioned the building of this garden in 1760 but his son, Tipu Sultan, completed it. A "Bagh" is Hindustani for garden while the reference of the prefix "Lal" is debated and could refer to the colour red due to its original floral composition but "Lal" also means "beloved". Hyder Ali decided to create this garden on the lines of the Mughal Gardens that were gaining popularity during his time. Hyder Ali laid out these famous botanical gardens and his son Tipu Sultan added horticultural wealth to them by importing trees and plants from several countries. Hyder and Tipu's Lalbagh gardens were managed by Mohammed Ali and his son Abdul Khader and were based on design of the Mughal Gardens that once stood at Sira, at a distance of 120 km from Bangalore. At that time, Sira was the headquarters of the strategically important southernmost Mughal "suba" (province) of the Deccan before the British Raj.


title: Lal Bagh

text: The Lalbagh gardens were commissioned by the 18th century and over the years it acquired India's first lawn-clock and the subcontinent's largest collection of rare plants. After the British conquest of Kingdom of Mysore in 1799, the garden was under the charge of Major Gilbert Waugh, Company paymaster and in 1814 its control was transferred to the Government of Mysore with an appeal by Waugh to the Marquis of Hastings that it should be under the botanical garden at Fort William, Calcutta. This was accepted and the charge for supervision was given to Nathaniel Wallich on 24 April 1819. This continued until 1831 when charge moved to the Mysore Commissioner. An Agricultural and Horticultural Society had been formed with William Munro, an army officer and amateur botanist in charge of the Bangalore chapter. The Society wrote to the Mysore Commissioner, Sir Mark Cubbon, requesting charge of the Lalbagh garden. Cubbon granted control and during this period it was used for horticultural training. The Bangalore chapter of the Society was dissolved in 1842, leaving the gardens unmanaged.


title: Lal Bagh

text: In 1855, Hugh Cleghorn, was appointed as a botanical advisor to the Commissioner of Mysore. Cleghorn and Jaffrey, superintendent of the Madras Agri-Horticultural Society looked at various sites for a horticultural garden and found that Lalbagh suited their purpose despite being located at a distance from the Cantonment, the British centre of the city. He suggested that a European Superintendent be appointed with control under the Chief Commissioner. Cleghorn was against the use of Lalbagh for commercial enterprise and instead suggested that it should aim to improve the use of indigenous plants, aid in introducing useful exotic species and help in the exchange of plant and seed materials with other gardens at Madras, Calcutta and Ooty. Under Cubbon's orders, Lalbagh was made into the Government Botanical Garden in August 1856 and a professional horticulturist was sought from Kew. William New was recommended and he arrived at Bangalore on 10 April 1858. New's contract ended in 1863-64 and he was replaced by Allan Adamson Black who worked at the Kew Herbarium.


title: Lal Bagh

text: Black however suffered from poor health and resigned in 1865 and died after visiting his brother in Rangoon aboard HMS Dalhousie, off the Coco Islands on 4 December 1865. New was then re-appointed. In his 1861 catalogue of the plants of Lalbagh, there were numerous economic and ornamental plants including Cinchona, coffee, tea, macadamia nuts, hickory, pecan, rhododendrons, camellias, and bougainvilleas. New died in 1873 and was followed by John Cameron, also from Kew. Cameron had the additional support of the Maharaja of Mysore who was appointed in 1881 and introductions included Araucarias ("A. cookii" and "A. bidwilli"), cypresses ("Cupressus sempervirens"), topiaries made from "Hamelia patens".


title: Lal Bagh

text: In 1890-91, a central bandstand and the glasshouse (for flowershows) made with iron pillars cast by Walter Macfarlane and Company of Glasgow were added. Cameron also helped introduce commercial crops like cabbage, cauliflower, turnip, radish, rhubarb, celery, and kohlrabi. Trees introduced included the baobab from Africa, "Brownea rosea" from the Caribbean, and "Catha edulis" from Yemen. Cameron retired in 1908 and was followed by Gustav Herman Krumbiegel. A menagerie and an aviary had been established in the 1860s. A pigeon house or dovecot for 100 birds was built. Following the plague the maintenance deteriorated and there was a proposal to close the menagerie and aviary in the 1900s. in 1914. Captain S.S.Flower reported that it included a court built between 1850 and 1860 having tigers and rhinoceros; an aviary; a monkey house with an orangutan; a paddock with blackbuck, chital, Sambar deer, barking deer, and a pair of emus; a bear house and a peacock enclosure.


title: Lal Bagh

text: In 1874, Lalbagh had an area of . In 1889, 30 acres were added to the eastern side, followed by 13 acres in 1891 including the rock with Kempegowda tower and 94 acres more in 1894 on the eastern side just below the rock bringing it to a total of . The foundation stone for the Glass House, modeled on London's Crystal Palace was laid on 30 November 1889 by Prince Albert Victor and was built during the time of John Cameron. It was built with cast iron from the Saracen Foundry in Glasgow UK. This structure was extended in 1935, this time with steel from the Mysore Iron and Steel Company at Bhadravathi.


title: Lal Bagh

text: The Horticultural Department decided to close Lalbagh Botanical Garden on Saturday 21 March 2020, in order to avoid public gatherings in the wake of the COVID-19 pandemic. In the third week of May the government allowed parks to be open only from 7 a.m. to 9 a.m. and 4 p.m. to 7 p.m.


title: Lal Bagh

text: The COVID-19 pandemic forced the cancellation of the Lalbagh flower show on Independence Day in 2020. Due to the pandemic, mango and jackfruit melas were also not conducted at Lalbagh in 2020.


title: Lal Bagh

text: Lalbagh is a garden and is located in south Bangalore. It holds two flower shows and has over 1,000 species of plants with many trees that are more than a hundred years old.


title: Lal Bagh

text: The garden adjoins one of the towers erected by the founder of Bangalore, Kempe Gowda. The park has some rare species of plants brought from Persia, Afghanistan and France. With an intricate watering system for irrigation, this garden is aesthetically designed, with lawns, flowerbeds, lotus pools and fountains. Most of the centuries-old trees are labelled for easy identification. "The Lalbagh Rock", one of the most ancient rock formations on earth, dating back to 3,000 million years, is another attraction that attracts the crowds.


title: Lal Bagh

text: Lalbagh has four gates The western gate is situated near Siddapura Circle and one can enter this gate and enjoy the sylvan atmosphere of the garden. The north western wall adjoins Krumbiegal Road named after G.H. Krumbiegal, the last pre-Independence Superintendent.


title: Lal Bagh

text: The eastern gate has a wide road with Jayanagar, Bangalore close by. The southern gate is often referred to as a small gate and opens near Ashoka pillar. The northern gate is a fairly wide and big road leading to the Glass House and serves as the primary entrance.


title: Lal Bagh

text: Flower shows are conducted every year during the week of Republic day and Independence day, to educate people about the variety of flora and develop public interest in plant conservation and cultivation. In August 2022, on the occasion of 75th Independence Day, flower show was conducted in the honour of Rajkumar and Puneeth Rajkumar depicting their life journey. It was attended by 8.34 lakh people.


title: Lal Bagh

text: A bonsai garden has been added in 2002. Apart from this, there is a Topiary Garden, Rose Garden and Lotus Garden inside Lalbagh.


title: Lal Bagh

text: Lalbagh also has a "Garden centre" where citizens can buy ornamental plants. This is managed by Nursery Men's Cooperative society.


title: Lal Bagh

text: A geological monument for the peninsular gneiss formation is also a tourist attraction at the gardens. This monument has been designated by the Geological Survey of India on the Lalbagh hill which is made up of 3,000 million-year-old peninsular gneissic rocks. One of the four cardinal towers erected by Kempegowda II, also a major tourist attraction, is seen above this hillock. This tower gives a view of Bangalore from the top.


title: Lal Bagh

text: The Lalbagh botanical gardens is managed by the Department of Horticulture and is no longer maintained as a botanical garden and is not a member of the Botanic Gardens Conservation International. With an increasing pressure to serve as a park and social space, much of the garden has been converted into walking paths and lawns. Morning walkers throng Lalbagh every morning. Many tree have been trimmed or cut down to make way for public amenities or due to perceptions that falling branches may threaten visitors. A part of the garden was taken over and many trees cut down amid protests for construction of the Lalbagh Metro Station as part of the Bangalore Metro Rail Corporation Ltd. Entry fees of INR 25 with a camera fee of INR 60 have also been a point of contention. There have been repeated proposals to build various recreational amenities such as rock gardens, fountains and boating facilities. Some of these proposals of the management have been halted in the past due protests from enlightened public who have pointed out the impacts these have on the environment.<refMaking Lalbagh see green. 21 July 2014. Times of India.</ref>


title: Lal Bagh

text: Lalbagh is also connected by Bangalore Metropolitan Transport Corporation buses from Kempegowda Bus Station/Shivaji Nagar. All buses towards Jayanagar/Banashankari areas pass through one of the four gates of Lalbagh.


title: Lal Bagh

text: The Preservation Act, 1979 passed by the Government of Karnataka to preserve the uniqueness of the park is under the provision of Karnataka Government Park (Preservation) Act, 1975, which states:"Accordingly, it is directed that neither any land should be granted to nor any further constructions be permitted whether temporary or permanent by any organization or individuals in the Cubbon Park and Lalbagh areas except the constructions taken up by the Horticulture Department in furtherance of the objectives of the department."


title: Princess Ludovika of Bavaria

text: Princess Ludovika of Bavaria (Marie Ludovika Wilhelmine; "Mary Louise Wilhelmina"; 30 August 1808 – 25 January 1892) was the sixth child of King Maximilian I Joseph of Bavaria and his second wife, Karoline of Baden, and the mother of Empress Elisabeth of Austria. She was born and died in Munich.


title: Princess Ludovika of Bavaria

text: Marie Ludovika Wilhelmine was born to King Maximilian I Joseph of Bavaria and his second wife Caroline of Baden as their fifth child, The birth of Ludovika was known to be difficult. Ludovika was christened one day after her birth as Ludovika Wilhelmine.


title: Princess Ludovika of Bavaria

text: Ludovika and her sisters received many lessons in literature as well as geography and history. They both spoke German and French.


title: Princess Ludovika of Bavaria

text: Ludovika married Maximilian Joseph, Duke in Bavaria, whose father Duke Pius August in Bavaria was her cousin, on 9 September 1828 in Tegernsee. Ludovika was always frustrated that, unlike her elder sisters who married kings and Austrian archdukes, she would not be marrying someone with a grand title, but rather a peculiar and childish duke who had a fondness for circuses. However, Ludovika was determined to create dynastic marriages for her daughters. She and her husband had ten children, including Empress Elisabeth of Austria and Queen Maria Sofia of the Two Sicilies.


title: Princess Ludovika of Bavaria

text: Maximilian was mostly away from home; due to this, Ludovika wrote that she spent their first wedding anniversary alone and wept. Though, in 1830, Ludovika found herself pregnant with their first child. She gave birth 21 June 1831 to a son who they named Ludwig Wilhelm.


title: Badou Jack

text: Badou Johannes Gabriel Jack (born 31 October 1983) is a Swedish professional boxer. He is a former world champion in two weight classes, having held the WBC super-middleweight title from 2014 to 2017 and the WBA light-heavyweight title in 2017. As an amateur he represented The Gambia at the 2008 Olympics, reaching the first round of the middleweight bracket.


title: Badou Jack

text: Jack began his amateur boxing career in 2001 at the age of 18. He held a record of 150 wins and 25 losses. He won Sweden's national championship five years in a row, 2004–2008, 4 times at middleweight and once at light heavyweight. In 2007, Jack was named the boxer of the year by the Swedish Boxing Federation. In his last national championship in 2008 he defeated fellow rising star Erik Skoglund in the finals. He represented Sweden at light-heavyweight before changing to Gambia, where he qualified for the 2008 Games.


title: Badou Jack

text: At the 2nd AIBA African 2008 Olympic Qualifying Tournament he breezed through the competition to win; the final was a shutout win over DR Congo's Herry Saliku Biembe.


title: Badou Jack

text: Jack qualified for the 2008 Olympics for Gambia in the middleweight division, and was the nation's flag bearer at the Opening Ceremonies. He lost in the first round to India's Vijender Singh.


title: Badou Jack

text: Jack started his professional career in his native Sweden where he won his debut fight by unanimous decision on 6 June 2009. His next four fights were contested in Sweden and Finland, with Jack winning each by KO/TKO, two in the first round.


title: Badou Jack

text: After meeting former heavyweight champion Shannon Briggs at a Swedish boxing event, held in honor of the Swedish boxing legend Ingemar Johansson in 2009, where Jack was fighting and Briggs was brought in as a guest, Jack would move to the United States in 2010 to train with Briggs and eventually sign with Lou DiBella and the Warrior Boxing Promotions in 2011, bringing his 5–0 record over to the states.


title: Badou Jack

text: In 2011 and 2012 Jack would fight and win 6 times. 4 by TKO and 2 by decision. Including defeating Adam Collins by TKO on 16 December 2011 and a unanimous decision over 6 rounds (60–54, 59–55 and 58–56) over Grover Young on 7 March 2012.


title: Badou Jack

text: The biggest win came against fellow undefeated, 17–0, prospect Alexander Brand on 11 May 2012 by and eight-round split decision 77–75, 77–75, and 75–77.


title: Badou Jack

text: Following his success extending his record to 11–0, Jack was spotted by Floyd Mayweather in a sparring session opposite Andre Dirrell. Mayweather was impressed and quickly signed Jack to Mayweather Promotions and to his team. On 2 February 2013 he defeated Jonel Tapia by knockout in the first round. Three weeks later he fought Don Mouton 23 February 2013 and won by unanimous decision (78–74 on all scorecards). On 4 May 2013 Jack took on Michael Gbenga and won by TKO from a body shot in round 3. Jack fought Farah Ennis on 19 July 2013. Jack won the fight by unanimous decision 100–90, 98–92, and 98–92.


title: Badou Jack

text: In his first title fight, Jack challenged Marco Antonio Periban for the NABF super middleweight championship on 12 September 2013. After 10 rounds the fight was scored as a majority draw. In his next fight he took on Rogelio Medina on 6 December 2013. He won the fight by TKO after scoring 3 knockdowns in round 6.


title: Badou Jack

text: On 28 February 2014 Jack fought Derek Edwards and lost for the first time after being stopped by TKO in the first round. Edwards knocked down Jack twice in first round after catching him with an overhand right counter. Prior to the loss, Jack had been in line for an elimination bout against James DeGale. The upset result was also a candidate for Upset of the Year in 2014.


title: Badou Jack

text: Jack got back into the win column on 30 August 2014 when he fought Jason Escalera at the Palms Casino and Resort, Pearl Theater in Las Vegas, Nevada, and won by unanimous decision 100–90, 100–90, and 99–91.


title: Badou Jack

text: Jack's next fight was due to take place on 12 December 2014 against Mexican boxer Francisco Sierra at the Alamodome in San Antonio, Texas on the undercard of Erislandy Lara vs. Ishe Smith. Sierra gained 20 pounds between the weigh in and the opening bell, coming into the ring at 192 pounds. Jack dominated the fight from the start. The end came in round 6. Jack landed some combinations, which went unanswered by Sierra. The referee stopped the fight at 1:58 giving Jack the TKO win.


title: Badou Jack

text: On 17 February 2015 it was announced that Jack would be challenging undefeated Anthony Dirrell (27–0–1, 22 KOs) for his WBC super middleweight championship. As a voluntary defence, Jack was given little chance, most thinking that he would be knocked out. Prior to the fight, Dirrell spoke to PBC about Jack being his next opponent, "[Jack is] nothing spectacular. He’s just a fighter. I’m going to go in there and stick to my game plan, not rush anything and take it however it comes." The fight took place on 24 April at the UIC Pavilion in Chicago, Illinois. Jack upset the boxing world by defeating Dirrell via majority decision 116–112, 115–113, and 114–114, taking more and more control of the fight as it went on and exposing the champions inability to fight on the inside. After the fight, Jack said, "I was in great shape and I believed in myself. All that talk don't matter. I knew they couldn't rob me. I thought I clearly won. It was a tough start to my career, but now, I'm a world champ."


title: Badou Jack

text: On 17 June 2015 it was announced that Jack would make his first defence against mandatory challenger George Groves (21–2, 16 KOs) on 22 August in Las Vegas. A venue hadn't been confirmed. This fight was Groves' third world title challenge, having lost back to back challenges against then world champion Carl Froch in 2013 and 2014 respectively. On 21 July, the fight was pushed back to instead take place on the undercard of Floyd Mayweather Jr. vs. Andre Berto on 12 September at the MGM Grand Garden Arena. There was no injuries as Showtime gave no reason as to why the fight was postponed. Jack was once again the underdog. Jack upset the odds again, defeating Groves. He dropped Groves in the first round and remained in control of the fight as it went on, making effective use of his body punches especially. He was victorious via split decision 115–112, 116–111, and 113–114. Groves felt as though he did enough to win and said, "Losing a world title fight is the worst feeling in the world." In October 2016, Jack admitted that Groves was the toughest opponent he had faced in his career so far.


title: Badou Jack

text: Jack was set to defend his title next against Julio Cesar Chavez Jr. on 30 April 2016. However, Chavez Jr. would later withdraw from the bout due to an injury. He was replaced by Lucian Bute. Where the winner would go on to fight the winner of DeGale & Medina in the fall in a super middleweight unification bout. The fight was declared a majority draw 117–111, 114–114, and 114–114 and, as such, Jack retained the title. The draw was controversial since it appeared as Jack had done enough to be handed the victory by all of the judges. Most of the media scorecards also had Jack as the winner by 3-4 rounds. However, on 26 May 2016 it was revealed that Bute had tested positive for a banned substance in the post-fight drug test. The substance found in Bute's test was ostarine (also called enobosarm), which is a performance-enhancing drug, not an anabolic steroid but is still said to increase stamina and recovery ability and produce similar results that steroids would. It has been on the World Anti-Doping Agency banned list since 2008. On 24 April 2017, the DC commission changed the outcome of the fight to a DQ win in favor of Jack.


title: Badou Jack

text: Showtime Boxing confirmed that a unification fight between Jack and IBF world champion James DeGale (23–1, 14 KOs) was set for 14 January 2017. The fight was supposed to be announced for the fall of 2016, however it had taken a little longer for the negotiations to complete. The vacant "Ring" magazine title would also be at stake as well as the WBC and IBF titles. On 15 November, it was officially confirmed that the fight will take place at the Barclays Center in Brooklyn, New York. The first time both fighters would be fighting at the arena.


title: Badou Jack

text: Jack retained his title after his fight was declared a majority draw when judge Glenn Feldman scored it 114–112 for DeGale and judges Julie Lederman and Steve Weisfeld both scored it 113–113 draw. Both fighters were knocked down during the bout, Jack hitting the canvas in the first round while DeGale was dropped in the twelfth, post-fight Jack's promoter Floyd Mayweather Jr, complained about the result saying his fighter had done enough to win and calling the decision "bad for boxing." When DeGale said he wanted a rematch possibly in London, Jack stated he would do it light heavyweight, with Mayweather also saying Jack had become too big for super-middleweight. Jack's purse for the fight was $700,000, while DeGale made $750,000. According to CompuBox, Jack landed 231 of 745 punches thrown, a connect rate of 31%, more than DeGale, who landed 172 of 617, connect rate of 28%.


title: Badou Jack

text: On 16 January 2017, the WBC ordered negotiations to begin for Jack to make a mandatory defence against British boxer Callum Smith (22–0, 17 KOs). The deadline was set for 17 February, or it would go to purse bid. On 18 January, Jack officially vacated his WBC belt in order to move up to light heavyweight.


title: Badou Jack

text: On 19 June, Jack revealed that his team were working towards a deal for him to fight WBA (Regular) champion Nathan Cleverly. He expected when the fight gets announced, it would be on the undercard of Floyd Mayweather Jr. vs. Conor McGregor in Las Vegas on 26 August 2017. Jack's light heavyweight goal was to challenge WBC champion Adonis Stevenson, after Cleverly. On 19 July, according to sources, a deal was being close to being agreed from sides. On 27 July, the WBA ordered Cleverly to fight undefeated WBA interim champion Dmitry Bivol (11–0, 9 KOs), which would eventually establish a mandatory challenger for WBA (Super) champion Andre Ward.


title: Badou Jack

text: On 9 August, however, Eddie Hearn confirmed that terms had been agreed for a fight between Jack and Cleverly. It was also reported that whether the WBA (Regular) title would be at state at this point was uncertain, as mandatory challenger Bivol was yet to agree a step aside fee. On 12 August, the WBA's Championships Committee granted special permission for the fight to be contested for their light heavyweight title. They also made it clear that the winner would need to negotiate a deal to fight Bivol by 11 September 2017. Jack won the WBA title on his light heavyweight debut via stoppage victory in round five. Cleverly had some success in round two, throwing and landing continuously without hurting Jack. In round four, Jack piled the pressure on Cleverly, who left himself open and ended up with a bloodied nose. The end came with Cleverly against the ropes and Jack pounding him with combinations. Referee stepped in and called an end to the fight at 2 minutes and 47 seconds of round five. At the time of stoppage, Jack had landed 172 punches of 442 thrown (39%), while Cleverly, who threw 409, only landed 82 punches (20%). In the post-fight, Jack said, "I wanted to box him and feel him out while establishing my jab. Then the plan was to break him down from there. The plan was to finish him." Cleverly stated that he suffered a broken nose in the third round. Jack also told Jim Gray of Showtime, "You can’t leave it in the hands of the judges. You have to go for the kill", referring to his previous fight decisions. Jack received a base purse of $750,000 and Cleverly earned $100,000. The next day, Cleverly announced his retirement from boxing at the age of 30.


title: Badou Jack

text: Jack was set to enter a purse bid with Bivol per the WBA agreement on 25 September, but this was cancelled when Jack instead vacated the title on 23 September.


title: Badou Jack

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


title: Badou Jack

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


title: Badou Jack

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


title: Badou Jack

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


title: Badou Jack

text: In November 2018, speaking to Swedish news agency TT, Jack revealed he would not fight again in the year and would likely return in early January 2019. Light heavyweight upcomer Marcus Browne (22–0, 16 KOs) called out Jack to fight him in what was an 'open division' as both traded words on Instagram. Both boxers claimed they were available to take the fight next, A few days later, Jack stated he was open to fighting WBA champion Dmitry Bivol, after Bivol's successful defence against veteran boxer Jean Pascal. Jack also went on to explain that he did not turn down a fight against Bivol in 2018. According to RingTV.com on 26 November, a deal was close to being reached for Jack and Browne to fight on the Manny Pacquiao vs. Adrien Broner Showtime PPV undercard on 19 January 2019. On 17 December, the fight was announced to take place on the PPV undercard, taking place at the MGM Grand Garden Arena in Paradise, Nevada. Although both were ranked highly with the WBC, the fight would be contested for the WBA interim light heavyweight title. Browne was ranked #1 by the WBA and WBC and #7 by the WBO, while Jack was ranked #2 by the WBA, WBC and the WBO. Browne was 'honored and a privileged' to be able to fight on a big PPV undercard. He was also excited with the opportunity of fighting his first big name on his way to becoming a household name.


title: Badou Jack

text: Browne used his youth, speed and power advantage to pound out a one-sided twelve round unanimous decision win over Jack, who suffered a horrendous cut on his forehead in round seven. The judges’ scores were 117–110, 116–111 and 119–108 in Browne's favor. Both boxers started fight off slow, but it was Browne who managed to do more to win the early rounds. In round seven, following an accidental clash of heads, a vertical cut appeared on Jack's forehead, with blood streaming down. The head clash seemed to be initiated by Jack, who according to Browne, was coming forward with his head all fight. Jack had his best round in round twelve, as he attacked Browne hard in landing some nice shots. At this point, Jack needed a knockout, but was not able to hurt Browne. He lacked the power, and had taken so much punishment. After the fight, Browne said, "He was a real tough competitor. He thought he would take me deep in the rounds and drown me but I came in shape. I used my athletic ability. I did what I do best -- box the crap out of people. I was too slick, too sharp." Jack did not stay long after the bout and was taken to a hospital. After being stitched up, Jack congratulated Browne, "I would like to thank all of the fans for your support! The cut was a nasty one, but I’m fine now, Alhamdulillah. Congrats to Marcus Browne who fought a great fight. Regardless of the cut he was the better man tonight. I am a warrior and will never quit. I dedicated this fight to the refugee children across the world who fight a much tougher fight than I did tonight. I will continue to fight for them until the end." Browne landed 145 of 515 punches thrown (28%) and Jack landed 66 of his 303 thrown (22%). Jack received $500,000 and Browne was guaranteed a $250,000 purse.


title: Badou Jack

text: Next Jack would be booked for another world title fight, set for 28 December 2019 against the champion Jean Pascal (34–6–1, 20 KO's) for the WBA (Regular) light-heavyweight title and WBC Silver light heavyweight titles.


title: Badou Jack

text: Pascal was ranked #3 by the WBC at light heavyweight. It was a close hard fought fight, where Pascal had the better start, winning the majority of the opening rounds and scoring a knockdown at the end of a right hook in round 4. However, Jack found his way back into the fight, using his jab and body punches to render damage to his opponent and win rounds. In the 12th and final round Jack returned the knockdown favor and dropped Pascal to the canvas with a overhand right and a flurry of right hooks. Even despite his success in the middle- and later rounds, and the big knockdown in the 12th, Jack once again found himself on the losing end of a close fight, losing by a somewhat controversial split decision (114–112, 112–114, 112–114).


title: Badou Jack

text: According to CompuBox Fight Stats, Pascal landed 155 of 556 punches thrown (28%) while Jack had a bigger output, landing 244 of 632 punches thrown (39%).


title: Badou Jack

text: Due to the controversial result, talks of an immediate rematch started right away, with both parties interested in making it happen during 2020.


title: Badou Jack

text: While a rematch between Jack and Pascal had been discussed for a while, instead Jack would be booked to fight Blake McKernan (13–0, 6 KO's) on 28 November 2020 at the Mike Tyson vs. Roy Jones Jr. card.


title: Badou Jack

text: McKernan would be dropping down from his regular weight at cruiserweight to face Jack at light heavyweight. With this booking, many felt as McKernan would be a fight for Jack to just stay active while waiting on the rematch against Pascal. Jack declared that he would be donating all of his fight proceedings to charity, through the Badou Jack Foundation.


title: Badou Jack

text: Jack had a dominant performance, winning the 8-round bout by a lopsided unanimous decision (80-72 on all scorecards).


title: Badou Jack

text: As of statistics from CompuBox, Jack landed 203 of 520 punches thrown (39%) while McKernan only landed 92 of 471 punches thrown (20%).


title: Badou Jack

text: Jack and Jean Pascal had originally been scheduled to face each other in a rematch of their 2019 fight on the undercard of Floyd Mayweather Jr. vs. Logan Paul on 6 June 2021, but the rematch was canceled when it emerged on 28 May that Pascal had failed random Voluntary Anti-Doping Association-administered tests and had tested positive for three different banned PEDs: drostanolone, drostanolone metabolite and epitrenbolone. Pascal responded to the news, saying that he was "shocked and embarrassed". On 3 June, reports surfaced that Pascal had failed yet another drugs test, testing positive for a fourth banned substance, erythropoietin, also known as EPO. Jack responded to the news by labeling Pascal a "scumbag cheater".


title: Badou Jack

text: On 1 June 2021, unbeaten Dervin Colina (15-0) was announced as Jack's new short-notice opponent, replacing Jean Pascal on the card. The gulf in class was apparent very quickly, with Colina being deducted two points in the second and third round for excessive clinching. Jack dropped his opponent three times in the fourth round, forcing the referee to halt the contest, with Jack being declared the winner by fourth-round technical knockout.


title: Badou Jack

text: Jack faced Samuel Crossed in a stay-busy fight on 26 November 2021, at the Motospace Dubai Investment Park in Dubai. The ten-round bout was broadcast by ESPN on the American continents, and could be seen on IFL TV by the rest of the world. Jack entered the fight as an overwhelming -4000 favorite, while most odds-makers had Crossed as a +1100 underdog. Jack won the second cruiserweight fight of his career by a second-round knockout. Referee called off the fight after the Crossed was knocked down for the third time in the round.


title: Badou Jack

text: Jack was born to a Gambian father and a Swedish mother. He was raised in his father's religion of Islam and still adheres to it to this day. Jack now resides in Las Vegas, Nevada.


title: Badou Jack

text: Jack is a close friend of the Swedish actor Joel Kinnaman. He has helped Kinnaman physically prepare for roles in "Robocop" and "Suicide Squad".


title: Man at the Crossroads

text: Man at the Crossroads (1934) was a fresco by Diego Rivera in New York City's Rockefeller Center. It was originally slated to be installed in the lobby of 30 Rockefeller Plaza, the main building of the center. "Man at the Crossroads" showed the aspects of contemporary social and scientific culture. As originally installed, it was a three-paneled artwork. A central panel depicted a worker controlling machinery. The central panel was flanked by two other panels, The Frontier of Ethical Evolution and The Frontier of Material Development, which respectively represented socialism and capitalism.


title: Man at the Crossroads

text: The Rockefeller family approved of the mural's idea: showing the contrast of capitalism as opposed to communism. However, after the "New York World-Telegram" complained about the piece, calling it "anti-capitalist propaganda", Rivera added images of Vladimir Lenin and a Soviet Russian May Day parade in response. When these were discovered, Nelson Rockefeller – at the time a director of the Rockefeller Center – wanted Rivera to remove the portrait of Lenin, but Rivera was unwilling to do so. In May 1933, Rockefeller ordered the mural to be plastered-over and thereby destroyed before it was finished, resulting in protests and boycotts from other artists. "Man at the Crossroads" was peeled off in 1934 and replaced by a mural from Josep Maria Sert three years later. Only black-and-white photographs exist of the original incomplete mural, taken when Rivera suspected it might be destroyed. Using the photographs, Rivera repainted the composition in Mexico under the variant title Man, Controller of the Universe.


title: Man at the Crossroads

text: The controversy over the mural was significant because Rivera's communist ideals contrasted with the theme of Rockefeller Center, even though the Rockefeller family themselves admired Rivera's work. The creation and destruction of the mural is dramatized in the films "Cradle Will Rock" (1999) and "Frida" (2002). The reactions to the mural's controversy have been dramatized in Archibald MacLeish's 1933 collection "Frescoes for Mr. Rockefeller's City" as well as in E. B. White's 1933 poem "I paint what I see: A ballad of artistic integrity".


title: Man at the Crossroads

text: John D. Rockefeller Jr., a businessman and member of the Rockefeller family, was heavily involved in the 1930s construction of Rockefeller Center. He wanted to have a mural placed on the lobby wall of the RCA Building (now 30 Rockefeller Plaza), the largest structure in Rockefeller Center. Meanwhile, his wife, Abby Aldrich Rockefeller, was a patron of the socialist Mexican artist Diego Rivera. This had been the case since winter 1931–1932, when Abby purchased many of Rivera's pieces at a Museum of Modern Art (MoMA) show. At the time, Rivera was painting a controversial fresco in Detroit titled "Detroit Industry", commissioned by the Rockefellers' friend, Edsel Ford, who later became a MoMA trustee. Rivera had recently been kicked out of Communist Party USA for accepting commissions from wealthy patrons, and his commission for "Detroit Industry" did not help improve the Communist Party's views of him.


title: Man at the Crossroads

text: The writer Daniel Okrent states that a key event in the mural's conception occurred during a luncheon that Abby Rockefeller hosted in January 1932, at which Rivera was a guest. Abby suggested that a mural by Rivera would be a positive addition to Rockefeller Center. The entire Rockefeller family became close friends with Rivera and his wife Frida Kahlo over the next few months, which led to the decision to commission Rivera for the RCA Building's mural. Rivera was given the theme "Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future", since John wanted the painting to make people pause and think. The historian Alan Balfour writes that the Rockefellers had full knowledge of Rivera's communist activities, but hired him anyway.


title: Man at the Crossroads

text: Rivera was officially commissioned by Todd, Robertson & Todd, the development agents for the complex. The full commission had planned for "Man at the Crossroads" to be a three-paneled mural. The two panels to either side, "The Frontier of Ethical Evolution" and "The Frontier of Material Development", would respectively contrast capitalism and socialism. According to Rivera's verbal description of the planned mural, the center panel would depict a person at the literal intersection of these two ideals (namely, the "man at the crossroads").


title: Man at the Crossroads

text: The RCA Building lobby's wall had such a prominent position within Rockefeller Center that John and Abby Rockefeller's son Nelson had originally wanted Henri Matisse and Pablo Picasso to create the paintings on either side of "Man at the Crossroads". Nelson Rockefeller had chosen these artists because he favored their modern style. Rivera's artistic renown made his commission all the more fitting, since it was so prominently located. However, neither of the other two artists were available: Matisse was already completing commissions for Philadelphia's Barnes Foundation at the time, while Picasso never responded to the wire that requested a meeting with "Pierre Picasso". Josep Maria Sert and Frank Brangwyn were later hired to paint other murals in their place. Sert would paint murals on the northern corridor, while Brangwyn would paint murals on the southern corridor.


title: Man at the Crossroads

text: Rivera did not agree with principal Rockefeller Center architect Raymond Hood's suggestion that the mural be commissioned exclusively in grayscale colors. Rivera also declined to take part in an artistic competition prior to the announcement of his commission, and he wanted to withdraw from the project when it was announced that neither Matisse nor Picasso would be painting at the RCA Building. He eventually acquiesced after Nelson convinced Hood to remove his grayscale requirement and allowed Rivera to paint "Man at the Crossroads" in a fresco format. However, Rivera withdrew again after Sert and Brangwyn were announced as the new artists, calling them "two inferior painters". He eventually rejoined the project by fall 1932.


title: Man at the Crossroads

text: As part of the contract, Rivera would be paid $21,000 for the work. This was considerably more than the $10,000 he had been paid for "Detroit Industry", which he continued painting even as he was negotiating for "Man at the Crossroads". According to Daniel Okrent, Rivera did not read the fine print of the contract that he signed, which stipulated that in exchange for the $21,000, Rockefeller Center Inc. would hold full ownership of "Man at the Crossroads"; this would lead to a controversy when the work was later removed from the RCA Building.


title: Man at the Crossroads

text: Rivera showed Abby the sketch of his proposed work in November 1932. Nelson and John also looked at the sketch, and Nelson concluded that there was nothing controversial about the planned mural. Rivera and the Rockefellers signed a contract in which they agreed that the sketch was the final plan for the mural, and that the completed work could not be different from what was on that sketch. In March 1933, Rivera traveled from Detroit to New York so he could work on the RCA Building mural. He employed artists from around the world in his six-person crew, which also included the artists Ben Shahn and Lucienne Bloch. Rivera's assistants converted his small sketch to full-size pieces of tracing paper, which would then be painted onto the wall. Also in March 1933, Webster B. Todd, one of the contractors working on the construction of Rockefeller Center, requested sketches of "Man at the Crossroads" because he was concerned about the mural's potential controversial effect. Even so, Rivera did not express worry about any potential issues, even expressing pride over his work when "The New York Times" wrote a lengthy profile on him on April 2, 1933. The Rockefellers did not show concern either, and the complex's publicist Merle Crowell took credit for the "New York Times" article.


title: Man at the Crossroads

text: Rivera's composition depicted many aspects of contemporary social and scientific culture, and as with his other paintings, contained influences from Communism. In the center, a workman was depicted controlling machinery. Before him, a giant fist emerged holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation. From the central figure four propeller-like shapes stretched to the corner of the composition, depicting arcs of light created by giant lenses anchoring the left and right edges of the space. Rivera described these as "elongated ellipses". Within these, cosmological and biological forces such as exploding suns and cell-forms were depicted. These represented the discoveries made possible by the telescope and the microscope.


title: Man at the Crossroads

text: Between and beyond the arcs were scenes of modern social life. Wealthy society women were seen playing cards and smoking at the left. Opposite, on the right, Lenin was seen holding hands with a multi-racial group of workers. Soldiers and war machinery occupied the top left above the society women, and a Russian May Day rally with red flags was seen at the right, above Lenin. For Rivera, this represented contrasting social visions: the "debauched rich" watched by the unemployed while war raged, and a socialist utopia ushered in by Lenin. Beyond the giant lenses to left and right were depicted figures contemplating the central scene, behind which were gigantic classical statues. The one on the left depicted an angry Jupiter, whose raised hand holding a thunderbolt had been severed by a lightning strike. This comprised "The Frontier of Ethical Evolution". The one on the right was a headless seated Caesar. This comprised "The Frontier of Material Development". For Rivera these represented the replacement of superstition by scientific mastery of nature, and the overthrow of authoritarian rule by liberated workers.


title: Man at the Crossroads

text: The bottom part of the painting was to depict the controlled growth of natural resources, in the form of a variety of plants emerging from their roots, visible in a cut-away view under the soil. This portion of the original mural was never completed, and it exists only in the later recreation of the composition in Mexico.


title: Man at the Crossroads

text: On April 24, 1933, the "New York World-Telegram" published an article attacking the mural as anti-capitalist propaganda. As a defiant response to the article, Rivera or one of his assistants added a portrait of Lenin to the mural, which had not been apparent in initial sketches. The Rockefellers did not express any visible concern about the mural. On April 28, to ensure that the late addition of Lenin would be undetected, Rivera sent his assistants to make sure that there was no trace of the Lenin portrait in the blueprints and outlines for "Man at the Crossroads". Rivera thought that if anyone were to check the blueprints, they would not be able to discern the hidden portrait of Lenin unless they looked closely. He believed that his close relationship with the Rockefellers would permit the surreptitious addition of the portrait. The Lenin portrait would still have gone unnoticed if not for a mistake made by workmen applying a final coat of paint to the wall above Rivera's mural. Some of the paint dripped onto the mural, and when Raymond Hood went to examine the drip, he found the portrait of Lenin.


title: Man at the Crossroads

text: Following the discovery of Lenin's portrait, Nelson Rockefeller delayed the mural's planned May 1 unveiling. He wrote to Rivera to request that the painter remove the picture of Lenin. The portrait was the only thing about "Man at the Crossroads" that offended the Rockefeller family, despite the presence of other overtly Communist icons such as the hammer and sickle. A letter of reply from Rivera, written on May 6, politely declined the offer to remove Lenin's portrait, but by way of a compromise, offered to add Abraham Lincoln to the work. Rivera also said that he would be amenable to adding portraits of other American icons such as the abolitionists Nat Turner, John Brown, or Harriet Beecher Stowe, but he refused to remove the portrait of Lenin: "Rather than mutilate the conception [of the mural], I shall prefer the physical destruction of the conception in its entirety, but preserving, at least, its integrity." Daniel Okrent states that Rivera did not write the letter himself, instead leaving the task to Ben Shahn, the assistant most strongly opposed to Nelson's request to remove the Lenin portrait.


title: Man at the Crossroads

text: Nelson then left the decision about the future of the mural to Todd, Robertson & Todd. Hugh Robertson, one of the firm's principals, had written a reply to Rivera by May 9. In the letter, Robertson wrote that Rivera had deceived Rockefeller Center Inc. in the contract he made with them, and thus, Rivera was compelled to remove the Lenin portrait immediately. However, it was unclear whether Rivera understood that the painting belonged to Rockefeller Center Inc. After reading the letter, Rivera went back to his painting.


title: Man at the Crossroads

text: On May 10, 1933, as Rivera and his assistants worked on the mural, they were scrutinized throughout the day during what Rivera called "the battle of Rockefeller Center". By the evening, Robertson had ordered that Rivera stop all work on the mural. Rivera was paid in full, but the mural was covered in stretched canvas and left incomplete. He was unsatisfied with the monetary payment, saying that he intended to complete the mural: "I will not change my mural even if I lose in the courts." Rivera's net profit from "Man at the Crossroads" only amounted to US$7,000 (), a third of his total payment, after accounting for all expenses. He promised to reproduce the mural at any building that asked him to do so. On May 12, two days after the stop-work order was announced, Rivera was also dismissed from a commission at Chicago's Century of Progress exhibition, where he had been hired to paint a mural for General Motors' pavilion. An architect for GM cited the controversy surrounding "Man at the Crossroads" as the grounds for Rivera's dismissal.


title: Man at the Crossroads

text: The concealment of "Man at the Crossroads" was itself controversial. The artist John Sloan, the writer Lewis Mumford, and the photographer Alfred Stieglitz all showed support toward Rivera's position, while the Communist Party was stuck between endorsing a former member or his wealthy patron. The painter Edwin Blashfield supported Rivera's dismissal because the premise of "Man at the Crossroads" was contrary to the American government. In May 1933, Rockefeller Center Inc. announced that the mural would "remain hidden for an indefinite time". Within days of the stop-work order, artists' groups had drawn up manifestos to demand that Rivera be able to complete his mural.


title: Man at the Crossroads

text: In December 1933, Rockefeller Center developer John R. Todd proposed that "Man at the Crossroads" be moved to MoMA, and suggested that Rivera could be re-hired to finish the mural. Rockefeller Center Inc. agreed to this proposal, but it was never carried out because the Rockefeller Center's management had not permitted Rivera's team to lay the plaster onto a specially built metal substructure which had been developed by Rivera and his principal assistant Clifford Wight so that Rivera's frescoes could be removed from the buildings they decorated if necessary. The mural remained covered until February 1934, when workmen peeled the mural off the wall. Rivera said that the mural's destruction "will advance the cause of the labor revolution", while Rockefeller Center Inc. simply issued a two-sentence press release saying that the walls had been replastered, resulting in the mural's demolition.


title: Man at the Crossroads

text: The destruction caused widespread controversy, with many artists vowing to boycott any future exhibitions or commissions at Rockefeller Center. Ralph Stackpole and Bernard Zakheim created paintings in which figures held up newspapers with headlines alluding to the "Man at the Crossroads" controversy.


title: Man at the Crossroads

text: The communist New Workers School in Manhattan was one of the entities who protested the destruction of "Man at the Crossroads". Its leader Bertram Wolfe was one of Rivera's associates and would later become his biographer. Rivera painted 21 frescoes and gave them to the school as a gift for their protests.


title: Man at the Crossroads

text: The protests largely stopped when Robertson released Rivera's previous correspondence about preferring the mural's destruction.


title: Man at the Crossroads

text: Despite the disagreement over "Man at the Crossroads", Nelson Rockefeller still admired Rivera's work, and the two had an amicable relationship. Years afterward, he would collect paintings and loan them to Rivera's art shows. However, according to Daniel Okrent, his mother felt "betrayed" by Rivera, and they were not known to see each other again after the dispute had subsided. As a result of the controversy, John Rockefeller saw to it that no artwork would be commissioned for Rockefeller Center without his explicit approval. As for Rivera, Bertram Wolfe wrote that the artist commissioned paintings for movements that opposed the Rockefellers' "continued rule".


title: Man at the Crossroads

text: After "Man at the Crossroads" was demolished, Brangwyn was asked to exclude Jesus Christ from his own mural in the RCA Building's lobby, which depicted the Sermon on the Mount. Todd reportedly made the request because Christ could have been depicted in many different ways, but unlike with "Man at the Crossroads", there was very little controversy. Brangwyn wrote to John Rockefeller to ask for reconsideration of this request. Brangwyn's mural, completed in December 1933, ultimately featured a depiction of Christ with his back turned. At the mural's unveiling, Todd said that Rockefeller Center management had not cajoled Brangwyn in any way.


title: Man at the Crossroads

text: Meanwhile, replacements for "Man at the Crossroads" were being considered, and Rockefeller Center Inc. approached many artists for possible offers. Initially, Picasso showed interest in the commission, but Todd declined the offer because Picasso refused to show a preview of what he was going to paint, and because Picasso would not negotiate from his stated price of $32,000. In 1937, Sert agreed to paint the replacement mural for $27,000. The mural, titled "American Progress", depicts a vast allegorical scene of men constructing modern America, and contains figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson. "American Progress" wraps around the west wall of 30 Rockefeller Plaza's Grand Lobby.


title: Man at the Crossroads

text: According to "American Heritage" magazine, the controversy influenced Franklin D. Roosevelt’s reaction to the idea of a Federal Art Project and similar New Deal-funded public art initiatives: “Commenting on the suggestion that the federal government should undertake a relief program for unemployed artists, Roosevelt expressed some misgiving: he didn't want, he told a friend in 1933, ‘a lot of young enthusiasts painting Lenin's head on the Justice Building.’“ The New Deal art programs were ultimately funded and persisted until the height of World War II, and in the end, “The New Deal administration did its best to give American artists easy rein, recognizing that freedom and originality are inseparable. There were exceptional cases, especially in connection with over a thousand murals executed under Treasury Department auspices for United States post offices across the country; but in general the absence of censorship was remarkable.”


title: Man at the Crossroads

text: Concerned that Nelson Rockefeller would destroy the work, Rivera had asked Lucienne Bloch to take photographs of the mural before it could be destroyed. In late 1933, Rivera went to Mexico City and persuaded the Mexican government to let him repaint the mural on a blank wall at the Palacio de Bellas Artes. In his biography of Rivera, Bertram Wolfe stated that the artist did not care for the location of the mural this time around. Rather, Wolfe wrote, Rivera had been "looking for a public place where he could let men see what kind of painting it was that these 'patrons of the arts' had chosen to destroy".


title: Man at the Crossroads

text: Using the photographs as a reference, Rivera repainted the mural, though at a smaller scale, where it was renamed "Man, Controller of the Universe". The composition was almost identical, but the central figure was moved slightly to be aligned with the supporting mast of the cylindrical telescope above him. The new version includes a portrait of Leon Trotsky alongside Karl Marx and Friedrich Engels at the right. Others appear at the left, including Charles Darwin. Beside Darwin is John Rockefeller, Jr, a lifelong teetotaler, drinking in a nightclub with a woman. Above their heads is a dish of syphilis bacteria.


title: Man at the Crossroads

text: The Rockefeller–Rivera dispute has become an emblem of the relationship of politics, aesthetics, creative freedom and economic power. Some works dramatized the incident, and a few went so far as to lampoon it. The American poet Archibald MacLeish's 1933 collection "Frescoes for Mr. Rockefeller's City" was inspired by the incident. It included six poems about the mural in which both Nelson Rockefeller and Rivera were criticized. "The New Yorker" published E. B. White's poem "I paint what I see: A ballad of artistic integrity", an imaginary debate between Nelson Rockefeller and Rivera, on May 20, 1933. The incident has also been dramatized in the American films "Cradle Will Rock" (1999) and "Frida" (2002), both set in the 1930s.


title: Man at the Crossroads

text: Other works focused specifically on Nelson Rockefeller's and Diego Rivera's conduct during the dispute over "Man at the Crossroads". In her 1983 biography "", Hayden Herrera mentions that Kahlo wrote, "one could fight against [the Rockefellers] without being stabbed in the back". This referred to Rockefeller and Rivera's continued relationship even after the controversy had passed. Cary Reich writes in "The Life of Nelson A. Rockefeller" that the controversy was an instance of Nelson's "princely tendency [...] to have surrogates handle his dirty work".


title: Man at the Crossroads

text: The controversy surrounding the commissioning and destruction was loosely re-told as part of "The Simpsons" TV episode "Now Museum, Now You Don't"


title: 63rd Academy Awards

text: The 63rd Academy Awards ceremony, organized by the Academy of Motion Picture Arts and Sciences (AMPAS), took place on March 25, 1991, at the Shrine Auditorium in Los Angeles beginning at 6:00 p.m. PST / 9:00 p.m. EST. During the ceremony, Academy Awards (commonly referred to as the Oscars) were presented in 22 categories. The ceremony, which was televised in the United States on ABC, was produced by Gil Cates and directed by Jeff Margolis. Actor Billy Crystal hosted for the second consecutive year. Three weeks earlier in a ceremony held at The Beverly Hilton in Beverly Hills, California on March 2, the Academy Awards for Technical Achievement were presented by host Geena Davis.


title: 63rd Academy Awards

text: "Dances with Wolves" won seven awards, including Best Picture. Other winners included "Dick Tracy" with three awards, "Ghost" with two awards, and "American Dream", "Creature Comforts", "Cyrano de Bergerac", "", "Goodfellas", "The Hunt for Red October", "Journey of Hope", "The Lunch Date", "Misery", "Reversal of Fortune", and "Total Recall" with one. The telecast garnered nearly 43 million viewers in the United States.


title: 63rd Academy Awards

text: The nominees for the 63rd Academy Awards were announced on February 13, 1991, at 5:38 a.m. PST (13:38 UTC) at the Samuel Goldwyn Theater in Beverly Hills, California, by Karl Malden, president of the Academy, and actor Denzel Washington. "Dances with Wolves" led the nominations with twelve total; "Dick Tracy" and "The Godfather Part III" tied for second with seven each.


title: 63rd Academy Awards

text: The winners were announced during the awards ceremony on March 25, 1991. Kevin Costner became the fifth person to earn the Best Director Award for his directorial debut and to earn nominations for Best Actor and Best Director for the same film. Best Supporting Actress winner Whoopi Goldberg was the second African American woman to win an award. Hattie McDaniel previously won in the same category for "Gone With the Wind".


title: 63rd Academy Awards

text: The following individuals, listed in order of appearance, presented awards or performed musical numbers.


title: 63rd Academy Awards

text: Riding on the critical praise from last year's ceremony, the Academy rehired former film producer and former Directors Guild of America president Gilbert Cates to oversee production of the Oscar ceremony for the second straight time. Two months before the awards gala, Cates selected actor and comedian Billy Crystal to host the show for the second consecutive year. In a statement released by AMPAS, Crystal joked, "It's a great honor, and I hope to bring the show in under nine hours."


title: 63rd Academy Awards

text: As with the last year's theme of "Around the World in 3 1/2 Hours," Cates centered the show around a theme. He christened the ceremony with the theme "100 Years of Film" in celebration to the centennial of the development of both the kinetoscope by Thomas Edison and celluloid film by Eastman Kodak. In tandem with the theme, the show featured an ambitious opening segment. Actor Michael Caine introduced the segment live via satellite from the Salon Indien du Grand Café in Paris, where the short film "L'Arrivée d'un train en gare de La Ciotat" made its debut in 1895. After a brief clip of the film, the show cut back to the Shrine Auditorium stage where actress Jasmine Guy and other dancers performed whilst a montage of film clips were projected in the background. Filmmaker Chuck Workman filmed a vignettes featuring actors such as Sally Field, Andy García, and Anjelica Huston discussing the first movie he or she watched.


title: 63rd Academy Awards

text: Several other people participated in the production of the ceremony. Film composer and musician Bill Conti served as musical director for the ceremony. Dancer Debbie Allen choreographed a dancer number showcasing the Best Original Score nominees. Despite losing eight members of her band in a plane crash, a visibly emotional Reba McEntire performed the Best Original Song nominee "I'm Checkin' Out" from the film "Postcards from the Edge". At the beginning of the ceremony, wrangler Lisa Brown escorted host Crystal, and Beechnut, a horse that was prominently featured in the upcoming film "City Slickers".


title: 63rd Academy Awards

text: This ceremony was the last year in which there were no official nominees for Academy Award for Best Visual Effects. "Back to the Future Part III", "Dick Tracy", "Ghost" and "Total Recall" advanced to a second stage of voting, but only "Total Recall" received a requisite average and it was given a special achievement Oscar.


title: 63rd Academy Awards

text: At the time of the nominations announcement on February 12, the combined gross of the five Best Picture nominees at the US box office was $458.2 million with an average of $41 million per film. "Ghost" was the highest earner among the Best Picture nominees with $213.5 million in domestic box office receipts. The film was followed by "Dances with Wolves" ($104.3 million), "The Godfather Part III" ($62.5 million), "Goodfellas" ($41 million), and finally "Awakenings" ($36.7 million).


title: 63rd Academy Awards

text: Of the top 50 highest-grossing films of the year, 51 nominations went to 12 films on the list. Only "Ghost" (2nd), "Pretty Woman" (3rd), "Dances with Wolves" (8th), "Dick Tracy" (9th), "The Godfather Part III" (17th), "Goodfellas" (30th), and "Awakenings" (34th) were nominated for Best Picture, directing, acting or screenwriting. The other top 50 box office hits that earned the nominations were "Home Alone" (1st), "The Hunt for Red October" (5th), "Total Recall" (6th), "Days of Thunder" (12th), and "Edward Scissorhands" (22nd).


title: 63rd Academy Awards

text: The show received a mixed reception from media publications. Some media outlets were more critical of the show. Rick DuBrow of the "Los Angeles Times" wrote, "It was a long day's journey into night for Oscar, one of the most effective sleeping pills of the year." He also added that while host Crystal started out strong, his jokes fell flat as the night progressed. "The Washington Post" television critic Tom Shales noted that Crystal, "followed many gags by instantly rating the reaction of the audience, as if it were up to them to please him instead of the other way around." In addition, he commented, "The Oscars seemed more of a fizzle than usual this year." Columnist Dan Craft of "The Pantagraph" remarked, "The Oscar show has become innocuously hip and yuppified. Kitsch and nostalgia have given way to efficiency and upward mobility. Everyone is tiresomely well-behaved and, worse, well-dressed." He also commented that host Crystal's insider showbiz jokes fell flat and were confusing to television audiences.


title: 63rd Academy Awards

text: Other media outlets received the broadcast more positively. Columnist Harold Schindler of "The Salt Lake Tribune" wrote, "Billy Crystal kept things moving Monday night in such a manner that the extra quarter-hour was scarcely noticeable." He also said of the telecast's theme of film history, "The Academy used its film library to excellent advantage." Film critic Leonard Maltin remarked, "Emotions ran high and they gave us all a chance to feel vicariously what it might be like to win this kind of award...good guys finishing first and the part of Hollywood we like best, a happy ending." "Orlando Sentinel" film critic Jay Boyar complimented Crystal for invigorating the gala noting that his "clever remarks at the academy's 63rd annual awards presentation struck an entertaining balance between inside-Hollywood quips and general-audience jests."


title: 63rd Academy Awards

text: The American telecast on ABC drew in an average of 42.7 million people over its length, which was a 6% increase from the previous year's ceremony. An estimated 76 million total viewers watched all or part of the awards. The show also drew higher Nielsen ratings compared to the previous ceremony with 28.4% of households watching over a 48 share. It was the most watched Oscars telecast since the 56th ceremony held in 1984.


title: 63rd Academy Awards

text: In July 1991, the ceremony presentation received nine nominations at the 43rd Primetime Emmys. The following month, the ceremony won three of those nominations for Outstanding Variety, Music, or Comedy Program (Gil Cates), Outstanding Individual Performance in a Variety or Music Program (Billy Crystal), and Outstanding Writing for a Variety or Music Program (Hal Kanter, Buz Kohan, Billy Crystal, David Steinberg, Bruce Vilanch, and Robert Wuhl).


title: Terahertz radiation

text: Terahertz radiation – also known as submillimeter radiation, terahertz waves, tremendously high frequency (THF), T-rays, T-waves, T-light, T-lux or THz – consists of electromagnetic waves within the ITU-designated band of frequencies from 0.3 to 3 terahertz (THz), although the upper boundary is somewhat arbitrary and is considered by some sources as 30 THz. One terahertz is 10 Hz or 1000 GHz. Wavelengths of radiation in the terahertz band correspondingly range from 1 mm to 0.1 mm = 100 µm. Because terahertz radiation begins at a wavelength of around 1 millimeter and proceeds into shorter wavelengths, it is sometimes known as the "submillimeter band", and its radiation as "submillimeter waves", especially in astronomy. This band of electromagnetic radiation lies within the transition region between microwave and far infrared, and can be regarded as either.