title: Ernesto Miranda

text: Despite the printed statement on top of the sheets that Miranda used to write his confession on, "with full knowledge of my legal rights," he was not informed of his right to have an attorney present or of his right to remain silent when he was arrested or before his interrogation. 73-year-old Alvin Moore was assigned to represent him at his trial. The trial was conducted in mid-June 1963 before Maricopa County Superior Court Judge Yale McFate.


title: Ernesto Miranda

text: Moore objected to entering the confession by Miranda as evidence during the trial but was overruled. Mostly because of the confession, Miranda was convicted of rape and kidnapping and sentenced to 20 to 30 years in prison on both charges. Moore appealed to the Arizona Supreme Court, but the conviction was upheld there.


title: Ernesto Miranda

text: Filing as a pauper, Miranda submitted his plea for a writ of certiorari, or request for review of his case to the U.S. Supreme Court in June 1965. After Alvin Moore was unable to continue representing Miranda because of health reasons, the American Civil Liberties Union (ACLU) attorney Robert J. Corcoran asked John J. Flynn, a criminal defense attorney, to serve pro bono, along with his partner, John P. Frank, and associates Paul G. Ulrich and Robert A. Jensen of the law firm Lewis & Roca in Phoenix to represent Miranda. They wrote a 2500-word petition for certiorari arguing that Miranda's Fifth Amendment rights had been violated, and they submitted it to the United States Supreme Court.


title: Ernesto Miranda

text: In November 1965, the Supreme Court agreed to hear Miranda's case, "Miranda v. Arizona", along with three other similar cases to clear all confusion created by the decision in "Escobedo v. Illinois". That previous case had ruled that:


title: Ernesto Miranda

text: Under the circumstances of this case, where a police investigation is no longer a general inquiry into an unsolved crime but has begun to focus on a particular suspect in police custody who has been refused an opportunity to consult with his counsel and who has not been warned of his constitutional right to keep silent, the accused has been denied the assistance of counsel in violation of the Sixth and Fourteenth Amendments, and no statement extracted by the police during the interrogation may be used against him at a trial. "Crooker v. California", 357 U.S. 433, and "Cicenia v. Lagay", 357 U.S. 504, distinguished, and, to the extent that they may be inconsistent with the instant case, they are not controlling. 479–492.


title: Ernesto Miranda

text: In January 1966, Flynn and Frank submitted their argument stating that Miranda's Sixth Amendment right to counsel had been violated by the Phoenix Police Department. Two weeks later the State of Arizona responded by asserting that Miranda's rights had not been violated. The first day of the case was on the last day of February 1966. Because of the three companion cases and other information the case had a second day of oral arguments on March 1, 1966.


title: Ernesto Miranda

text: John Flynn for Miranda outlined the case and then stated that Miranda had not been advised of his right to remain silent when he had been arrested and questioned, adding the Fifth Amendment argument to his case. Flynn contended that an emotionally disturbed man like Miranda, who had a limited education, should not be expected to know his Fifth Amendment right not to incriminate himself.


title: Ernesto Miranda

text: Gary Nelson spoke for the people of Arizona, arguing that this was not a Fifth Amendment issue but just an attempt to expand the Sixth Amendment "Escobedo" decision. He urged the justices to clarify their position, but not to push the limits of "Escobedo" too far. He then told the court that forcing police to advise suspects of their rights would seriously obstruct public safety.


title: Ernesto Miranda

text: The second day concerned arguments from related cases. Thurgood Marshall, the former NAACP attorney, was the last to argue. In his capacity as the Solicitor General, he presented the Johnson administration's view of the case: that the government did not have the resources to appoint a lawyer for every indigent person who was accused of a crime.


title: Ernesto Miranda

text: Chief Justice Earl Warren wrote the opinion in "Miranda v. Arizona". The decision was in favor of Miranda. It stated that:


title: Ernesto Miranda

text: The person in custody must, prior to interrogation, be clearly informed that he has the right to remain silent, and that anything he says will be used against him in court; he must be clearly informed that he has the right to consult with a lawyer and to have the lawyer with him during interrogation, and that, if he is indigent, a lawyer will be appointed to represent him.


title: Ernesto Miranda

text: The opinion was released on June 13, 1966. Because of the decision, police departments throughout the U.S. started to issue "Miranda" warning cards to their officers to recite. They read:


title: Ernesto Miranda

text: You have the right to remain silent. If you give up the right to remain silent, anything you say can and will be used against you in a court of law. You have the right to an attorney and to have an attorney present during questioning. If you cannot afford an attorney, one will be provided to you at no cost. During any questioning, you may decide at any time to exercise these rights, not answer any questions or make any statements. Do you understand these rights as I have read them to you?


title: Ernesto Miranda

text: The Supreme Court invalidated Miranda's conviction, which was tainted by the use of the confession that had been obtained through improper interrogation. The state of Arizona retried him. At the second trial, his confession was not introduced into evidence, but he was convicted again, on March 1, 1967, based on testimony given by his estranged common law wife. He was sentenced to 20 to 30 years in prison.


title: Ernesto Miranda

text: Miranda was paroled in 1972. After his release, he started selling autographed "Miranda" warning cards for $1.50. Over the next few years, Miranda was arrested numerous times for minor driving offenses and eventually lost his license. He was arrested for the possession of a gun but the charges were dropped. However, because this violated his parole, he was sent back to Arizona State Prison for another year.


title: Ernesto Miranda

text: On January 31, 1976, after his release for violating his parole, a fight erupted in a bar in downtown Phoenix in which Miranda was stabbed. He was pronounced dead on arrival at Good Samaritan Hospital. Several Miranda cards were found on his person. Miranda was buried in the City of Mesa Cemetery in Mesa, Arizona. The person suspected of handing the knife to the man who murdered Miranda invoked his Miranda rights and refused to talk to police. He was released and never charged with Miranda's murder. The killer fled and was never found.


title: Curse of Tippecanoe

text: The Curse of Tippecanoe (also known as Tecumseh's Curse, the 20-year Curse or the Zero Curse) is an urban legend about the deaths in office of presidents of the United States who were elected in years that end with the digit 0, which all are divisible by 20.


title: Curse of Tippecanoe

text: The presidents elected on such years from 1840 to 1960 died in office: William Henry Harrison (1840), Abraham Lincoln (1860), James A. Garfield (1880), William McKinley (1900), Warren G. Harding (1920), Franklin D. Roosevelt (1940) and John F. Kennedy (1960). These are seven of the eight total presidents who have died in office. Since 1960, the three presidents who were elected on applicable years have not died in office. Ronald Reagan (1980) and George W. Bush (2000) survived their terms in office. Joe Biden (2020) is the current president and the latest to be elected in a year fitting the pattern.


title: Curse of Tippecanoe

text: The phenomenon's name references Harrison's pre-presidential military expeditions, in which he defeated Native American tribes led by Tecumseh and Tenskwatawa at the Battle of Tippecanoe. Rumor has it that he was cursed by Tenskwatawa. The purported curse has been criticized as a coincidental pattern, and a 2009 survey of professional historians found no interest in or insight into the curse.


title: Curse of Tippecanoe

text: Thomas Jefferson (1800) and James Monroe (1820) preceded the supposed curse and outlived their presidencies by 17 and 6 years, respectively. Neither of them was ever targeted by an assassin. However, there is a curious coincidence that both men died on the Fourth of July.


title: Curse of Tippecanoe

text: William Henry Harrison was elected president in 1840 and died in 1841, just a month after being sworn in. In Tecumseh's War, Shawnee leader Tecumseh and his younger brother Tenskwatawa organized a confederation of Indian tribes to resist the westward expansion of the United States. In the 1811 Battle of Tippecanoe, Harrison defeated Tenskwatawa and his troops, acting as the governor of the Indiana Territory. Harrison thus earned the moniker "Old Tippecanoe".


title: Curse of Tippecanoe

text: In 1931 and 1948, the trivia book series "Ripley's Believe It or Not!" noted the pattern and termed it the "Curse of Tippecanoe". "Strange as It Seems" by John Hix ran a cartoon prior to the election of 1940 titled "Curse over the White House!" and claimed that "In the last 100 years, Every U.S. President Elected at 20-Year Intervals Has Died In Office!" In February 1960, journalist Ed Koterba noted that "The next President of the United States will face an eerie curse that for more than a century has hung over every chief executive elected in a year ending with zero." Both of their hints at the elected president's death came true, with Roosevelt's death in 1945 and Kennedy's assassination in 1963.


title: Curse of Tippecanoe

text: The first written account to refer to the source of the curse was an article by Lloyd Shearer in 1980 in "Parade" magazine. It is claimed that when Tecumseh was killed in a later battle, Tenskwatawa set a curse against Harrison.


title: Curse of Tippecanoe

text: Running for re-election in 1980, President Jimmy Carter was asked about the curse at a campaign stop in Dayton, Ohio, on October 2 of that year while taking questions from the crowd. A high school student asked Carter if he was concerned about "predictions that every 20 years or election years ending in zero, the President dies in office." Carter replied, "I've seen those predictions. [...] I'm not afraid. If I knew it was going to happen, I would go ahead and be President and do the best I could till the last day I could."


title: Curse of Tippecanoe

text: Since the assassination of John F. Kennedy in 1963, no president has died in office. Ronald Reagan was shot and wounded severely two months after his 1981 inauguration. Days after Reagan survived the shooting, columnist Jack Anderson wrote "Reagan and the Eerie Zero Factor" in "The Daily Intelligencer" and asserted that the 40th president either had disproved the superstition or had nine lives. As the oldest man to be elected president at that time, Reagan also survived surgery in 1985. First Lady Nancy Reagan was reported to have hired psychics and astrologers to try to protect her husband from the effects of the curse. As his son Ron revealed, he began showing symptoms of Alzheimer's disease as early as three years into his first term. Reagan left office in 1989 and ultimately died from natural causes in 2004. He was 93 years old and had survived his presidency by 15 years.


title: Curse of Tippecanoe

text: The president elected in 2000, George W. Bush, also survived two terms in office. In 2005, a live grenade was thrown at him but failed to explode. Bush left office in 2009 and has survived his presidency by 13 years and counting.


title: Curse of Tippecanoe

text: The only one of the eight presidents who died in office who was not elected on a year covered by the curse was Zachary Taylor, elected in 1848. Like Reagan and Bush, many presidents outside the curse have faced assassination attempts or medical problems.


title: Curse of Tippecanoe

text: The failure of the curse after 1960 has been called by multiple sources a disproof of a supernatural explanation for the curse. An analyst cited in a 2000 article by fact-checker "Snopes" developed a more complex astrological explanation to account for Reagan's survival.


title: Curse of Tippecanoe

text: According to Timothy Redmond of the "Skeptical Inquirer", the supposed curse demonstrates a number of logical fallacies, including confusing correlation with causation, cherrypicking, and moving the goalposts. In layman's terms, out of many unlikely eerie patterns, at least one of those hypothetical patterns is likely to come true. "Snopes" rates the curse on its fact-checking scale as a "legend", a rating given to over-general or unprovable claims, and denies a supernatural explanation for the curse.


title: Curse of Tippecanoe

text: In 2009, Steve Friess of "Slate" sought to interview notable presidential historians and security experts such as Michael Beschloss, Doris Kearns Goodwin, and Richard A. Clarke on the alleged curse, but none of them returned his calls. Michael S. Sherry, American history professor at Northwestern University, replied, "I doubt I have anything profound to say about this particular factoid, odd though it is."


title: Stanley Clarke

text: Stanley Clarke (born June 30, 1951) is an American bassist, film composer and founding member of Return to Forever, one of the first jazz fusion bands. Clarke gave the bass guitar a prominence it lacked in jazz-related music. He is the first jazz-fusion bassist to headline tours, sell out shows worldwide and have recordings reach gold status.


title: Stanley Clarke

text: Clarke is a 5-time Grammy winner, with 15 nominations, 3 as a solo artist, 1 with the Stanley Clarke Band, and 1 with Return to Forever. Clarke was selected to become a 2022 recipient of the National Endowment for the Arts Jazz Masters Fellowship.


title: Stanley Clarke

text: A Stanley Clarke electric bass is permanently on display at the National Museum of African American History and Culture in Washington, D.C.


title: Stanley Clarke

text: Clarke was born on June 30, 1951 in Philadelphia. His mother sang opera around the house, belonged to a church choir, and encouraged him to study music. He started on accordion, then tried violin. But he felt awkward holding such a small instrument in his big hands when he was twelve years old and over six feet tall. No one wanted the acoustic bass in the corner, so he picked it up. He took lessons on double bass at the Settlement Music School in Philadelphia, beginning with five years of classical music. He picked up bass guitar in his teens so that he could perform at parties and imitate the rock and pop bands that girls liked.


title: Stanley Clarke

text: Clarke attended the Philadelphia Musical Academy (later known as the Philadelphia College of the Performing Arts, and ultimately as the University of the Arts, after having merged with the Philadelphia College of Art) and after graduating moved to New York City in 1971. His recording debut was with Curtis Fuller. He worked with Joe Henderson and Pharoah Sanders, then in 1972 with Stan Getz, Dexter Gordon, and Art Blakey, followed by Gil Evans, Mel Lewis, and Horace Silver.


title: Stanley Clarke

text: Clarke intended to become the first black musician in the Philadelphia Orchestra until he met jazz pianist Chick Corea. At the time, Corea was working with Stan Getz putting together a new backing band for him and writing music for the group; these pieces first surfaced on two albums recorded in February/March 1972 in New York, "Captain Marvel" (credited to Getz, released in 1974) and "Return to Forever" (credited to Corea, issued in Europe in 1972). Clarke's playing and improvising was prominent on both albums; the band also played a couple of gigs with Getz in Europe. At this early stage, the band as separate from Getz was mostly a studio side project, but the members soon realized that it had potential as a regular live band, and so the band Return to Forever had been born.


title: Stanley Clarke

text: The first edition of Return to Forever performed primarily Latin-oriented music and used only acoustic instruments (except for Corea's Fender Rhodes piano). This band consisted of singer Flora Purim, her husband Airto Moreira (both Brazilians) on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and Clarke on bass. Their first album, titled "Return to Forever", was recorded for ECM Records in 1972. The second album, "Light as a Feather" (1973), was released by Polydor and included the song "Spain".


title: Stanley Clarke

text: After the second album, Farrell, Purim and Moreira left the group to form their own band, and guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, "Hymn of the Seventh Galaxy" (1973), was released.


title: Stanley Clarke

text: Fusion was a combination of rock and jazz which they helped develop in the early 1970s. Clarke was playing a new kind of music, using new techniques, and giving the bass guitar a prominence it lacked. He drew attention to the bass guitar as a solo instrument that could be melodic and dominant in addition to being part of the rhythm section. For helping to bring the bass guitar to the front of the band, Clarke cites Jaco Pastorius, Paul McCartney, Jack Bruce, and Larry Graham.


title: Stanley Clarke

text: After Return to Forever's second album, "Light as a Feather", Clarke received job offers from Bill Evans, Miles Davis, and Ray Manzarek of the Doors, but he remained with Return to Forever until 1977. During the early 1980s, he toured with Corea and Return to Forever, then worked with Bobby Lyle, Eliane Elias, David Benoit and Michel Petrucciani. He toured in a band with Herbie Hancock and Wayne Shorter in 1991. In 1998 he founded Superband with Lenny White, Larry Carlton, and Jeff Lorber.


title: Stanley Clarke

text: Corea produced Clarke's first solo album, "Children of Forever" (1973), and played keyboards on it with guitarist Pat Martino, drummer Lenny White, flautist Art Webb, and vocalists Andy Bey and Dee Dee Bridgewater. Clarke played double bass and bass guitar.


title: Stanley Clarke

text: Clarke's second self-titled album "Stanley Clarke" (1974) featured Tony Williams on Drums, Bill Connors - Electric Guitar, Acoustic Guitar, and Jan Hammer - Synthesizer [Moog], Electric Piano, Organ, Piano [Acoustic].


title: Stanley Clarke

text: While on tour, British guitarist Jeff Beck was performing the song "Power" from that album, and this was the impetus for their meeting and Beck's introduction to Hammer. They toured together, and Beck appeared on some of Clarke's albums, including "Journey to Love" (1975) and "Modern Man" (1978).


title: Stanley Clarke

text: The album "School Days" (Epic, 1976) brought Clarke the most attention and praise he had received so far. With its memorable riff, the title song became so revered that fans called out for it during concerts.


title: Stanley Clarke

text: Clarke has spent much of his career outside jazz. In 1979, Ronnie Wood of the Rolling Stones formed the New Barbarians with Clarke and Keith Richards. Two years later, Clarke and keyboardist George Duke formed the Clarke/Duke Project, which combined pop, jazz, funk, and R&B. They met in 1971 in Finland when Duke was with Cannonball Adderley. They recorded together for the first time on Clarke's album "Journey to Love". Their first album contained the single "Sweet Baby", which became a top 20 pop hit. They reunited for tours during the 1990s and the 2000s.


title: Stanley Clarke

text: Clarke joined fellow bassist Paul McCartney in 1981 to play bass on McCartney's 1982 & 1983 releases "Tug of War" & "Pipes of Peace".


title: Stanley Clarke

text: The Stanley Clarke Band is an American jazz band led by Clarke. He founded the band in 1985, with Ruslan Sirota, Shariq Tucker, Cameron Graves, Beka Gochiashvili, Salar Nader, and Evan Garr. They released the album "Find Out!". With a new group, The Stanley Clarke Band released the album "The Stanley Clarke Band" which won the 2011 Grammy Award for Best Contemporary Jazz Album. Their album "The Message" was released in 2018.


title: Stanley Clarke

text: The band's first album "Find Out!" was recorded at Sunset Sound Studios and was released in 1985 by Sony. With a band composed of Stanley Clarke on bass, Ronald Bruner Jr. on drums, and Ruslan Sirota on keyboards, the Stanley Clarke Band released "The Stanley Clarke Band" album. It was produced by Lenny White and Stanley Clarke and featured pianist Hiromi."


title: Stanley Clarke

text: The album "The Stanley Clarke Band" won the Grammy Award for Best Contemporary Jazz Album at the 53rd Annual Grammy Awards. Additionally, the track "No Mystery" was nominated for Best Pop Instrumental Performance.


title: Stanley Clarke

text: In 1988, Clarke and drummer Stewart Copeland of the rock band the Police formed Animal Logic with singer-songwriter Deborah Holland. He and Copeland were friends before the Police formed. Copeland appeared on Clarke's album "Up" (Mack Avenue, 2014).


title: Stanley Clarke

text: In 2014 Clarke was invited on stage with Primus during their "Primus and the Chocolate Factory" tour featuring other guest appearances from Stewart Copeland and Danny Carey of Tool to perform the Primus classic "Here Come the Bastards" with Clarke and Les Claypool having a shred bass duel midway.


title: Stanley Clarke

text: In 2020 Clarke was invited as a teacher at a Bass Bootcamp hosted by bassist Gerald Veasley. The camp was hosted in Philadelphia where bassists of all ages were taught and featured many educators and professionals such as Richard Waller, Rob Smith, Freekbass, Michael Manring, and more. Unfortunately the camp was delayed and moved to 2021 due to the COVID-19 pandemic.


title: Stanley Clarke

text: In 2005, Clarke toured as Trio! with Béla Fleck and Jean-Luc Ponty. Clarke and Ponty had worked in a trio with guitarist Al Di Meola in 1995 and recorded the album "The Rite of Strings". They worked in a trio again in 2012 with guitarist Biréli Lagrène and two years later recorded "D-Stringz" (Impulse!, 2015).


title: Stanley Clarke

text: In 2008, Clarke formed SMV with bassists Marcus Miller and Victor Wooten and recorded the album "Thunder".


title: Stanley Clarke

text: In 2009 he released "Jazz in the Garden", featuring the Stanley Clarke Trio with pianist Hiromi Uehara and drummer Lenny White. The following year he released the "Stanley Clarke Band", with Ruslan Sirota on keyboards and Ronald Bruner, Jr. on drums; the album also features Hiromi on piano.


title: Stanley Clarke

text: His album "Up", released in 2014, has enlisted an all-star cast in his musical ensemble, including former Return to Forever bandmate Chick Corea on piano, with drummer Stewart Copeland (The Police) and guitarist Jimmy Herring (Widespread Panic), among others.


title: Stanley Clarke

text: In 2018, Clarke released "The Message", featuring the new Stanley Clarke Band with Cameron Graves on synthesizers, pianist Beka Gochiashvili, and drummer Mike Mitchell. The album also features rapper/beatboxer Doug E. Fresh and trumpeter Mark Isham.


title: Stanley Clarke

text: In 2019, The Stanley Clarke Band has transformed again as Clarke, Cameron Graves, and Beka Gochiashvili were joined by Shariq Tucker on Drums, Salar Nader on Tabla, and Evan Garr on Violin.


title: Stanley Clarke

text: Clarke has written scores for television and movies. His first score, for "Pee-wee's Playhouse", was nominated for an Emmy Award. He also composed music for the movies "Boyz n the Hood", "Passenger 57", and "What's Love Got to Do with It", the television programs "Lincoln Heights" and "Soul Food", and the video for "Remember the Time" by Michael Jackson.


title: Stanley Clarke

text: In 2007, Clarke released the DVD "Night School: An Evening of Stanley Clarke and Friends", a concert that was recorded in 2002 at the Musicians' Institute in Hollywood. Clarke plays both acoustic and electric bass and is joined by guests Stewart Copeland, Lenny White, Béla Fleck, Shelia E., and Patrice Rushen.


title: Stanley Clarke

text: Clarke's TV and movie music contribution can be found in "Soul Food" (2000-2004), "Static Shock" (2000-2004), "First Sunday" (2008), "Soul Men" (2008), "The Best Man Holiday" (2013), and "Barbershop: The Next Cut" (2016).


title: Stanley Clarke

text: His latest score composition work was for the documentary film "Halston" (2019), directed by Frédéric Tcheng. The film tells the extraordinary story of the life and death of the American fashion designer, Roy Halston Frowick.


title: Stanley Clarke

text: In 2010, Clarke founded Roxboro Entertainment Group in Topanga, California. He named it after the high school that he attended in the 1960s. The label's first releases were by guitarist Lloyd Gregory and composer Kennard Ramsey. Roxboro's roster also includes keyboardist Sunnie Paxson, pianist Ruslan Sirota, and pianist Beka Gochiashvili.


title: Stanley Clarke

text: When playing electric bass, Clarke places his right hand so that his fingers approach the strings much as they would on an upright bass, but rotated through 90 degrees. To achieve this, his forearm lies above and nearly parallel to the strings, while his wrist is hooked downward at nearly a right angle. For lead and solo playing, his fingers partially hook underneath the strings so that when released, the strings snap against the frets, producing a biting percussive attack. In addition to an economical variation on the funky Larry Graham-style slap-n'-pop technique, Clarke also uses downward thrusts of the entire right hand, striking two or more strings from above with his fingernails (examples of this technique include "School Days", "Rock and Roll Jelly", "Wild Dog", and "Danger Street"). Clarke has been playing Alembic short scale basses since 1973. Alembic also manufactures a series Stanley Clarke Signature Bass models.


title: Stanley Clarke

text: Clarke received the Latin Grammy for Best Instrumental Album in 2011 at the 12th Annual Latin Grammy Awards for the album "Forever", along with Chick Corea and Lenny White.


title: Eve (Japanese singer)

text: Eve (Japanese: いぶ; also stylized as E ve, born May 23, 1995), formerly known as Keitora (けいとら) and Kurowa (クロわ), is a Japanese singer-songwriter and Vocaloid producer. He got his start in the music industry by doing covers on Nico Nico Douga.


title: Eve (Japanese singer)

text: He eventually signed to Toy's Factory in 2019, moving away from Harapeco Records. He was also a guest in "School of Lock!" by Tokyo FM.


title: Eve (Japanese singer)

text: His music has been featured in the anime "Dororo" (Dark Night / 闇夜 ), "Jujutsu Kaisen (kaikaikitan /" 廻廻奇譚) and "Josee, the Tiger and the Fish" (Ao No Waltz / 蒼のワルツ) .


title: Eve (Japanese singer)

text: He started his career on Japanese video-sharing service Niconico in October 2009. His first cover was released on Niconico on 1 October, 2009, singing "TRAGIC BOY". Kurowa and Keitora were his previous names, before he began to use his current name.


title: Eve (Japanese singer)

text: From 2012 to 2013, Eve was the lead vocalist for the indie band "Einie", along with Natsushiro Takaaki. Afterwards, Eve was a member of "RIOT OF COLOR" in 2014.


title: Eve (Japanese singer)

text: Eve did not really see music as a path for him to take until 2016 after the release of Official Number. His first true try at creating an album afterwards was named "Bunka", which peaked at 14 and 33 on the JPN Oricon and JPN Billboard, respectively. He was influenced in the style of his music through pop culture, such as movies.


title: Eve (Japanese singer)

text: He created a clothing store named "Harapeco Store" in 2016. and currently manages and designs and sells unisex apparel and accessories. Eve also manages a second Store, named "Eve Official Store" where he sells different types of merchandise, including clothing and accessories.


title: Eve (Japanese singer)

text: He created and published a manga, "Kara no Kioku", illustrated by Newo, on 15 April, 2020. The Manga currently has 26 Chapters, and a 3rd Volume is being created. As well as the Manga, Eve is also writing a Light Novel, named "How to Eat Life", and was announced on 1 August, 2022 on Eve's twitter page, before being released on 22 September, 2022. Volume 2 for the Light Novel is also being worked on. Both Volume 3 and 2, respectively, are to be released in December, 2022.


title: Day of Infamy speech

text: The "Day of Infamy" speech, sometimes referred to as just ""The Infamy speech"", was delivered by Franklin D. Roosevelt, the 32nd president of the United States, to a joint session of Congress on December 8, 1941. The previous day, the Empire of Japan attacked the United States military bases at the Pearl Harbor, Hawaii, and the Philippines, and declared war on the United States and the British Empire. The speech is known for its first line: "Yesterday, December 7, 1941—a date which will live in infamy..."


title: Day of Infamy speech

text: On Sunday, December 7, 1941, the American naval base at Pearl Harbor in the Territory of Hawaii was attacked by 353 Imperial Japanese Navy Air Service aircraft in a surprise military strike, destroying various American ships and aircraft, and killing over 2,400 civilians and military personnel. After consulting with his cabinet, Roosevelt decided to deliver an address before the joint session of the Congress the next day.


title: Day of Infamy speech

text: Roosevelt's speech was worded to reinforce his portrayal of the United States as a victim of unprovoked Japanese aggression and appealed to patriotism rather than to idealism. Roosevelt employed the idea of "kairos", which relates to speaking promptly. It made the speech powerful and rhetorically important. According to author Sandra Silberstein, Roosevelt's speech followed a well-established tradition of how "through rhetorical conventions, presidents assume extraordinary powers as the commander in chief, dissent is minimized, enemies are vilified, and lives are lost in the defense of a nation once again united under God."


title: Day of Infamy speech

text: The speech had an immediate positive response and long-lasting impact. It is one of the most famous speeches of American politics. It was broadcast live by radio and attracted the largest audience in American radio history, with over 81% of people tuning in to hear the speech. Soon after the speech, Congress almost unanimously declared war against Japan, formally entering World War II. The White House later received a number of telegrams praising Roosevelt's stance. The speech has since been used in various films. Roosevelt's description of December 7, 1941, as "a date which will live in infamy" has been compared with November 22, 1963, the assassination of John F. Kennedy, the September 11 terrorist attacks, and January 6, 2021, the storming of the United States Capitol.


title: Day of Infamy speech

text: Franklin D. Roosevelt was born in 1882 in Dutchess County, New York. Initially working at a law firm, he later became a member of the New York state senate. He served as the assistant secretary of the Navy under President Woodrow Wilson and was elected the 44th governor of New York. He won the 1932 presidential election and was inaugurated as the president in 1933. He was re-elected in 1936, and in 1940, he won an unprecedented third term.


title: Day of Infamy speech

text: On December 7, 1941, the American naval base at Pearl Harbor in the Territory of Hawaii was attacked by 353 Imperial Japanese Navy Air Service aircraft in a surprise military strike at 7:48 a.m. HST (12:48 p.m. EST). Subsequently, 21 American ships and approximately 350 aircraft were destroyed, and more than 2,400 civilians and military personnel were killed. Roosevelt was informed of the attack shortly after 1:00 p.m. EST, while he was having lunch with Harry Hopkins. Frank Knox, the secretary of the Navy sent a phoned message which read: "Air raid on Pearl Harbor. This is not drill." Roosevelt soon ordered the mobilization of all military personnel. His secretary stated that the attacks were made "wholly without warning when both nations were at peace". Due to the delayed transmission of the Japanese declaration of war on the United States and the British Empire, the text of the declaration was not received until 30 minutes after the attack. Roosevelt consulted with his cabinet and members of Congress. According to author George T. McJimsey, Roosevelt told them not to lay blame, but to concentrate on the fact that the United States was "in it". The British prime minister Winston Churchill telephoned Roosevelt from Chequers and said: "We are all in the same boat now."


title: Day of Infamy speech

text: Though he was crippled by polio, Roosevelt was widely seen as a charismatic speaker. Laura Crowell of the University of Washington wrote that Roosevelt worked diligently on his speeches, and he "regularly provided the basic thoughts which he wanted to incorporate in an address ... [brought] the manuscript to the precise length; content and tone he desired in now widely understood." Roosevelt decided to deliver an address before the joint session of the Congress the next day. McJimsey wrote that the attack gave him a "definite direction and purpose".


title: Day of Infamy speech

text: The Infamy Speech was a brief address of approximately 6 minutes 30 seconds, delivered to a joint session of the Congress at 12:30 p.m. on December 8, 1941. Secretary of State Cordell Hull had recommended Roosevelt to devote more time to the exposition of Japanese-American relations and the lengthy but unsuccessful effort to find a peaceful solution. However, Roosevelt kept the speech brief in the belief that it would have a more dramatic effect. Roosevelt's revised statement was stronger for its emphatic insistence that posterity would endorse the American view of the attack. It was intended not merely as a personal response by Roosevelt, but as a statement on behalf of the all-American people in the face of great collective trauma. According to sociologist Jeffrey C. Alexander and other authors of the book "Cultural Trauma and Collective Identity", the speech worked to crystallize and channel the response of the nation into a collective response and resolve.


title: Day of Infamy speech

text: The first paragraph of the speech was worded to reinforce Roosevelt's portrayal of the United States as a victim of unprovoked Japanese aggression. The initial draft read, "a date which will live in world history". Roosevelt rephrased it as "a date which will live in infamy." The wording was deliberately passive. Rather than speaking in the active voice ("Japan attacked the United States"), Roosevelt chose to speak in the passive voice to emphasize America's status as a victim. Roosevelt said:


title: Day of Infamy speech

text: Yesterday, December 7, 1941—a date which will live in infamy—the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan.The United States was at peace with that Nation and, at the solicitation of Japan, was still in conversation with its Government and its Emperor looking toward the maintenance of peace in the Pacific. Indeed, one hour after Japanese air squadrons had commenced bombing in the American Island of Oahu, the Japanese Ambassador to the United States and his colleague delivered to our Secretary of State a formal reply to a recent American message. And while this reply stated that it seemed useless to continue the existing diplomatic negotiations, it contained no threat or hint of war or of armed attack.


title: Day of Infamy speech

text: Roosevelt said that the distance from Japan to Hawaii made it obvious that the attack was planned "days or even weeks ago". The theme of "innocence violated" was further reinforced by the mention of the ongoing diplomatic negotiations with Japan, which Roosevelt characterized as having been pursued cynically and dishonestly by the Japanese government while it was secretly preparing for war against the United States. He consciously sought to avoid making the sort of more abstract appeal that had been issued by President Wilson in his speech to Congress in April 1917, when the United States entered World War I. Wilson laid out the strategic threat posed by Germany and stressed the idealistic goals behind America's participation in the war. During the 1930s, however, the public opinion turned strongly against such themes and was wary of idealistic visions of remaking the world through just war. Roosevelt chose to appeal aimed more at the gut level—in effect, an appeal to patriotism rather than to idealism. Though, he drew a symbolic link with the April 1917 declaration of war: he was accompanied to the joint session by Edith Bolling Wilson, President Wilson's widow.


title: Day of Infamy speech

text: The "infamy framework" adopted by Roosevelt was given additional resonance by the fact that it followed the pattern of earlier narratives of great American defeats. The Battle of the Little Bighorn in 1876 and the sinking of the USS "Maine" in 1898 had both been the source of intense national outrage, and a determination to take the fight to the enemy. Defeats and setbacks were on each occasion portrayed as being merely a springboard towards an eventual and inevitable victory. According to Sandra Silberstein, Roosevelt's speech followed a well-established tradition of how "through rhetorical conventions, presidents assume extraordinary powers as the commander in chief, dissent is minimized, enemies are vilified, and lives are lost in the defense of a nation once again united under God". Roosevelt expertly employed the idea of kairos, which relates to speaking promptly; this made the Infamy Speech powerful and rhetorically important. Delivering his speech on the day after the attack on Pearl Harbor, Roosevelt presented himself as immediately ready to face this issue, indicating its importance to both him and the nation.


title: Day of Infamy speech

text: Roosevelt also made a point of emphasizing that "our people, our territory and our interests are in grave danger", and highlighted reports of Japanese attacks in the Pacific between Hawaii and San Francisco. He sought to silence the isolationist movement which had campaigned against American involvement in the war in Europe. He concluded the speech saying:


title: Day of Infamy speech

text: No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory. I believe that I interpret the will of the Congress and of the people when I assert that we will not only defend ourselves to the uttermost but will make it very certain that this form of treachery shall never again endanger us. Hostilities exist. There is no blinking at the fact that our people, our territory, and our interests are in grave danger. With confidence in our armed forces—with the unbounding determination of our people—we will gain the inevitable triumph—so help us God. I ask that the Congress declare that since the unprovoked and dastardly attack by Japan on Sunday, December 7, 1941, a state of war has existed between the United States and the Japanese Empire.


title: Day of Infamy speech

text: Roosevelt's speech had an immediate and long-lasting impact and was referred to as one of the most famous speeches of American politics. Thirty-three minutes after he finished speaking, Congress declared war against Japan, with only one Representative, Jeannette Rankin, voting against the declaration. The speech was broadcast live by radio and attracted the largest audience in American radio history, with over 81% of people tuning in to hear the speech. The response was positive, both within and outside of Congress. Samuel Irving Rosenman, who served as an adviser to Roosevelt, described the scene as the "most dramatic spectacle there in the chamber of the House of Representatives". He said that the spirit of cooperation came equally from both Democratic and Republican sides, and the "new feeling of unity which suddenly welled up in the chamber on December 8, the common purpose behind the leadership of the President, the joint determination to see things through, were typical of what was taking place throughout the country."


title: Day of Infamy speech

text: The White House was inundated with telegrams praising Roosevelt's stance. One writer wrote: "On that Sunday, we were dismayed and frightened, but your unbounded courage pulled us together.". Recruiting stations were jammed with a surge of volunteers, and had to go on 24-hour duty to deal with the crowds seeking to sign up, in numbers reported to be twice as high as after Wilson's declaration of war in 1917. The anti-war and isolationist movement collapsed in the wake of the speech, with even the president's fiercest critics falling into line. Charles Lindbergh, who had been a leading isolationist, gave a statement endorsing Roosevelt's speech. He said: "Our country has been attacked by force of arms, and by force of arms we must retaliate. We must now turn every effort to building the greatest and most efficient Army, Navy and Air Force in the world."


title: Day of Infamy speech

text: The speech's infamy line is often misquoted as "a day that will live in infamy". However, Roosevelt emphasized the date—December 7, 1941—rather than the day of the attack, a Sunday, which he mentioned only in the last line of the speech. He sought to emphasize the historic nature of the events at Pearl Harbor, implicitly urging the American people never to forget the attack and memorialize its date. The term "day of infamy" has become widely used by the media to refer to any moment of supreme disgrace or evil.


title: Day of Infamy speech

text: Roosevelt's framing of the Pearl Harbor attack became, in effect, the standard American narrative of the events of December 7, 1941. Hollywood adopted the narrative in several war films including "Wake Island" (1942), the Academy Award-winning "Air Force" and the films "Man from Frisco" (1944), and "Betrayal from the East" (1945); all included actual radio reports of the pre-December 7 negotiations with the Japanese, reinforcing the message of enemy duplicity. "Across the Pacific" (1942), "Salute to the Marines" (1943), and "Spy Ship" (1942), used a similar device, relating the progress of United States–Japanese relations through newspaper headlines. The theme of American innocence betrayed was also frequently depicted on screen, the melodramatic aspects of the narrative lending themselves naturally to the movies.


title: Day of Infamy speech

text: Roosevelt's description of December 7, 1941, as "a date which will live in infamy" was borne out; the date became shorthand for the Pearl Harbor attack in much the same way that November 22, 1963, and September 11, 2001, became inextricably associated with the assassination of John F. Kennedy and the September 11 attacks. The slogans "Remember December 7th" and "Avenge December 7" were adopted as a rallying cry and were widely displayed on posters and lapel pins. "Prelude to War" (1942), the first of Frank Capra's "Why We Fight" film series (1942–45), urged Americans to remember the date of the Japanese invasion of Manchuria, September 18, 1931, "as well as we remember December 7th, 1941, for on that date in 1931, the war we are now fighting began". The symbolism of the date was highlighted in a scene in the 1943 film "Bombardier", in which the leader of a group of airmen walks up to a calendar on the wall, points to the date, and tells his men: "Gentlemen, there's a date we will always remember—and they'll never forget!"


title: Day of Infamy speech

text: The continuing resonance of the Infamy Speech was demonstrated following the September 11 attacks, which many commentators also compared with Pearl Harbor in terms of its lasting impression on the world. In the days following the attacks, Richard Jackson noted in his book "Writing the War on Terrorism: Language, Politics and Counter-terrorism" that "there [was] a deliberate and sustained effort" on the part of the President George W. Bush's administration to "discursively link September 11, 2001 to the attack on Pearl Harbor itself", both by directly invoking Roosevelt's Infamy Speech and by re-using the themes employed by Roosevelt in his speech. In Bush's speech to the nation on September 11, 2001, he contrasted the "evil, despicable acts of terror" with the "brightest beacon for freedom and opportunity" that America represented in his view. Sandra Silberstein drew direct parallels between the language used by Roosevelt and Bush, highlighting several similarities between the Infamy Speech and Bush's presidential address. Emily S. Rosenberg noted rhetorical efforts to link the conflicts of 1941 and 2001 by re-utilizing World War II terminology of the sort used by Roosevelt, such as using the term axis to refer to America's enemies (as in the "Axis of Evil").


title: Day of Infamy speech

text: Spanish Prime Minister José Maria Aznar referenced the speech hours after the 2004 Madrid train bombings, saying, "On March 11, 2004, it already occupies its place in the history of infamy." In 2019, Daniel Immerwahr wrote that in the speech's editing, Roosevelt elevated Hawaii as part of America, and downgraded the Philippines as foreign. On January 6, 2021, following the storming of the Capitol, Senator Chuck Schumer added that date to the "very short list of dates in American history that will live forever in infamy."


title: Movable type

text: Movable type (US English; moveable type in British English) is the system and technology of printing and typography that uses movable components to reproduce the elements of a document (usually individual alphanumeric characters or punctuation marks) usually on the medium of paper.


title: Movable type

text: The world's first movable type printing technology for paper books was made of porcelain materials and was invented around AD 1040 in China during the Northern Song dynasty by the inventor Bi Sheng (990–1051). The earliest printed paper money with movable metal type to print the identifying code of the money was made in 1161 during the Song dynasty. In 1193, a book in the Song dynasty documented how to use the copper movable type. The oldest extant book printed with movable metal type, Jikji, was printed in Korea in 1377 during the Goryeo dynasty.


title: Movable type

text: The spread of both movable-type systems was, to some degree, limited to primarily East Asia. The development of the printing press in Europe may have been influenced by various sporadic reports of movable type technology brought back to Europe by returning business people and missionaries to China. Some of these medieval European accounts are still preserved in the library archives of the Vatican and Oxford University among many others.


title: Movable type

text: Around 1450, German goldsmith Johannes Gutenberg introduced the metal movable-type printing press in Europe, along with innovations in casting the type based on a matrix and hand mould. The small number of alphabetic characters needed for European languages was an important factor. Gutenberg was the first to create his type pieces from an alloy of lead, tin, and antimony—and these materials remained standard for 550 years.


title: Movable type

text: For alphabetic scripts, movable-type page setting was quicker than woodblock printing. The metal type pieces were more durable and the lettering was more uniform, leading to typography and fonts. The high quality and relatively low price of the Gutenberg Bible (1455) established the superiority of movable type in Europe and the use of printing presses spread rapidly. The printing press may be regarded as one of the key factors fostering the Renaissance and, due to its effectiveness, its use spread around the globe.


title: Movable type

text: The 19th-century invention of hot metal typesetting and its successors caused movable type to decline in the 20th century.


title: Movable type

text: The technique of imprinting multiple copies of symbols or glyphs with a master "type" punch made of hard metal first developed around 3000 BC in ancient Sumer. These metal punch types can be seen as precursors of the letter punches adapted in later millennia to printing with movable metal type. Cylinder seals were used in Mesopotamia to create an impression on a surface by rolling the seal on wet clay.


title: Movable type

text: Seals and stamps may have been precursors to movable type. The uneven spacing of the impressions on brick stamps found in the Mesopotamian cities of Uruk and Larsa, dating from the 2nd millennium BC, has been conjectured by some archaeologists as evidence that the stamps were made using movable type. The enigmatic Minoan Phaistos Disc of c. 1800–1600 BC has been considered by one scholar as an early example of a body of text being reproduced with reusable characters: it may have been produced by pressing pre-formed hieroglyphic "seals" into the soft clay. A few authors even view the disc as technically meeting all definitional criteria to represent an early incidence of movable-type printing.


title: Movable type

text: Following the invention of paper during the Chinese Han dynasty, writing materials became more portable and economical than the bones, shells, bamboo slips, metal or stone tablets, silk, etc. previously used. Yet copying books by hand was still labour-consuming. Not until the Xiping Era (172–178 AD), towards the end of the Eastern Han dynasty, did sealing print and monotype appear. It was soon used for printing designs on fabrics, and later for printing texts.


title: Movable type

text: Woodblock printing, invented by about the 8th century during the Tang dynasty, worked as follows. First, the neat hand-copied script was stuck on a relatively thick and smooth board, with the front of the paper, which was so thin that it was nearly transparent, sticking to the board, and characters showing in reverse, but distinctly, so that every stroke could be easily recognized. Then carvers cut away the parts of the board that were not part of the character, so that the characters were cut in relief, completely differently from those cut intaglio. When printing, the bulging characters would have some ink spread on them and be covered by paper. With workers' hands moving on the back of paper gently, characters would be printed on the paper. By the Song dynasty, woodblock printing came to its heyday. Although woodblock printing played an influential role in spreading culture, there were some significant drawbacks. Firstly, carving the printing plate required considerable time, labour and materials; secondly, it was not convenient to store these plates; and finally, it was difficult to correct mistakes.


title: Movable type

text: Bi Sheng () (990–1051) developed the first known movable-type system for printing in China around 1040 AD during the Northern Song dynasty, using ceramic materials. As described by the Chinese scholar Shen Kuo (沈括) (1031–1095):


title: Movable type

text: In 1193, Zhou Bida, an officer of the Southern Song dynasty, made a set of clay movable-type method according to the method described by Shen Kuo in his "Dream Pool Essays", and printed his book "Notes of The Jade Hall" (). The ceramic movable type was also mentioned by Kublai Khan's counsellor Yao Shu, who convinced his pupil Yang Gu to print language primers using this method.


title: Movable type

text: The claim that Bi Sheng's clay types were "fragile" and "not practical for large-scale printing" and "short lived" was refuted by later experiments. Bao Shicheng (1775–1885) wrote that baked clay moveable type was "as hard and tough as horn"; experiments show that clay type, after being baked in an oven, becomes hard and difficult to break, such that it remains intact after being dropped from a height of two metres onto a marble floor. The length of clay movable types in China was 1 to 2 centimetres, not 2mm, thus hard as horn. But similar to metal type, ceramic type did not hold the water-based Chinese calligraphic ink well, and had an added disadvantage of uneven matching of the type which could sometimes result from the uneven changes in size of the type during the baking process.


title: Movable type

text: There has been an ongoing debate regarding the success of ceramic printing technology as there have been no printed materials found with ceramic movable types. However, it is historically recorded to have been used as late as 1844 in China from the Song dynasty through the Qing dynasty.


title: Movable type

text: Movable type was invented during the Northern Song dynasty around the year 1041 by the commoner Bi Sheng. Bi Sheng's movable type was fired in porcelain. After his death, the ceramic movable-type passed onto his descendants. The next mention of movable type occurred in 1193 when a Southern Song chief counsellor, Zhou Bida (周必大), attributed the movable-type method of printing to Shen Kuo. However Shen Kuo did not invent the movable type but credited it to Bi Sheng in his "Dream Pool Essays".


title: Movable type

text: Bi Sheng (990–1051) of the Song dynasty also pioneered the use of wooden movable type around 1040 AD, as described by the Chinese scholar Shen Kuo (1031–1095). However, this technology was abandoned in favour of clay movable types due to the presence of wood grains and the unevenness of the wooden type after being soaked in ink.


title: Movable type

text: In 1298, Wang Zhen (), a Yuan dynasty governmental official of Jingde County, Anhui Province, China, re-invented a method of making movable wooden types. He made more than 30,000 wooden movable types and printed 100 copies of "Records of Jingde County" (), a book of more than 60,000 Chinese characters. Soon afterwards, he summarized his invention in his book "A method of making moveable wooden types for printing books". Although the wooden type was more durable under the mechanical rigors of handling, repeated printing wore down the character faces, and the types could only be replaced by carving new pieces. This system was later enhanced by pressing wooden blocks into sand and casting metal types from the depression in copper, bronze, iron or tin. This new method overcame many of the shortcomings of woodblock printing. Rather than manually carving an individual block to print a single page, movable type printing allowed for the quick assembly of a page of text. Furthermore, these new, more compact type fonts could be reused and stored. Wang Zhen used two rotating circular tables as trays for laying out his type. The first table was separated into 24 trays in which each movable type was categorized based on a number corresponding with a rhyming pattern. The second table contained miscellaneous characters.


title: Movable type

text: The set of wafer-like metal stamp types could be assembled to form pages, inked, and page impressions taken from rubbings on cloth or paper. In 1322, a Fenghua county officer Ma Chengde () in Zhejiang, made 100,000 wooden movable types and printed the 43-volume "Daxue Yanyi" (). Wooden movable types were used continually in China. Even as late as 1733, a 2300-volume "Wuying Palace Collected Gems Edition" () was printed with 253,500 wooden movable types on order of the Qianlong Emperor, and completed in one year.


title: Movable type

text: A number of books printed in Tangut script during the Western Xia (1038–1227) period are known, of which the "Auspicious Tantra of All-Reaching Union", which was discovered in the ruins of Baisigou Square Pagoda in 1991 is believed to have been printed sometime during the reign of Emperor Renzong of Western Xia (1139–1193). It is considered by many Chinese experts to be the earliest extant example of a book printed using wooden movable type.


title: Movable type

text: At least 13 material finds in China indicate the invention of bronze movable type printing in China no later than the 12th century, with the country producing large-scale bronze-plate-printed paper money and formal official documents issued by the Jin (1115–1234) and Southern Song (1127–1279) dynasties with embedded bronze metal types for anti-counterfeit markers. Such paper-money printing might date back to the 11th-century "jiaozi" of Northern Song (960–1127).


title: Movable type

text: The typical example of this kind of bronze movable type embedded copper-block printing is a printed "check" of the Jin dynasty with two square holes for embedding two bronze movable-type characters, each selected from 1,000 different characters, such that each printed paper note has a different combination of markers. A copper-block printed note dated between 1215 and 1216 in the collection of Luo Zhenyu's "Pictorial Paper Money of the Four Dynasties", 1914, shows two special characters – one called "Ziliao", the other called "Zihao" – for the purpose of preventing counterfeiting; over the "Ziliao" there is a small character (輶) printed with movable copper type, while over the "Zihao" there is an empty square hole – apparently the associated copper metal type was lost. Another sample of Song dynasty money of the same period in the collection of the Shanghai Museum has two empty square holes above "Ziliao" as well as "Zihou", due to the loss of the two copper movable types. Song dynasty bronze block embedded with bronze metal movable type printed paper money was issued on a large scale and remained in circulation for a long time.


title: Movable type

text: The 1298 book "Zao Huozi Yinshufa" () by the Yuan dynasty (1271–1368) official Wang Zhen mentions tin movable type, used probably since the Southern Song dynasty (1127–1279), but this was largely experimental. It was unsatisfactory due to its incompatibility with the inking process. But by the late 15th century these concerns were resolved and bronze type was widely used in Chinese printing.


title: Movable type

text: During the Mongol Empire (1206–1405), printing using movable type spread from China to Central Asia. The Uyghurs of Central Asia used movable type, their script type adopted from the Mongol language, some with Chinese words printed between the pages – strong evidence that the books were printed in China.


title: Movable type

text: During the Ming dynasty (1368–1644), Hua Sui in 1490 used bronze type in printing books. In 1574 the massive 1000-volume encyclopedia "Imperial Readings of the Taiping Era" () was printed with bronze movable type.


title: Movable type

text: In 1725 the Qing dynasty government made 250,000 bronze movable-type characters and printed 64 sets of the encyclopedic "Gujin Tushu Jicheng" (, "Complete Collection of Illustrations and Writings from the Earliest to Current Times"). Each set consisted of 5,040 volumes, making a total of 322,560 volumes printed using movable type.


title: Movable type

text: In 1234 the first books known to have been printed in metallic type set were published in Goryeo dynasty Korea. They form a set of ritual books, "Sangjeong Gogeum Yemun", compiled by Choe Yun-ui.


title: Movable type

text: While these books have not survived, the oldest book existing in the world printed in metallic movable types is "Jikji", printed in Korea in 1377.


title: Movable type

text: The Asian Reading Room of the Library of Congress in Washington, D.C. displays examples of this metal type. Commenting on the invention of metallic types by Koreans, French scholar Henri-Jean Martin described this as "[extremely similar] to Gutenberg's". However, Korean movable metal type printing differed from European printing in the materials used for the type, punch, matrix, mould and in method of making an impression.


title: Movable type

text: The techniques for bronze casting, used at the time for making coins (as well as bells and statues) were adapted to making metal type. The Joseon dynasty scholar Seong Hyeon (성현, 成俔, 1439–1504) records the following description of the Korean font-casting process:


title: Movable type

text: A potential solution to the linguistic and cultural bottleneck that held back movable type in Korea for 200 years appeared in the early 15th century—a generation before Gutenberg would begin working on his own movable-type invention in Europe—when Sejong the Great devised a simplified alphabet of 24 characters (hangul) for use by the common people, which could have made the typecasting and compositing process more feasible. But Korea's cultural elite, "appalled at the idea of losing hanja, the badge of their elitism", stifled the adoption of the new alphabet.


title: Movable type

text: A "Confucian prohibition on the commercialization of printing" also obstructed the proliferation of movable type, restricting the distribution of books produced using the new method to the government. The technique was restricted to use by the royal foundry for official state publications only, where the focus was on reprinting Chinese classics lost in 1126 when Korea's libraries and palaces had perished in a conflict between dynasties.


title: Movable type

text: Scholarly debate and speculation has occurred as to whether Eastern movable type spread to Europe between the late 14th century and early 15th centuries. For example, authoritative historians Frances Gies and Joseph Gies claimed that "The Asian priority of invention movable type is now firmly established, and that Chinese-Korean technique, or a report of it traveled westward is almost certain." However, Joseph P. McDermott claimed that "No text indicates the presence or knowledge of any kind of Asian movable type or movable type imprint in Europe before 1450. The material evidence is even more conclusive."


title: Movable type

text: Johannes Gutenberg of Mainz, Germany, is acknowledged as the first to invent a metal movable-type printing system in Europe: the printing press, 78 years after Jikji (the oldest preserved book printed with movable metal type) had been printed in Korea. Gutenberg, as a goldsmith, knew techniques of cutting punches for making coins from moulds. Between 1436 and 1450 he developed hardware and techniques for casting letters from matrices using a device called the hand mould. Gutenberg's key invention and contribution to movable-type printing in Europe, the hand mould, was the first practical means of making cheap copies of letterpunches in the vast quantities needed to print complete books, making the movable-type printing process a viable enterprise.


title: Movable type

text: Before Gutenberg, scribes copied books by hand on scrolls and paper, or print-makers printed texts from hand-carved wooden blocks. Either process took a long time; even a small book could take months to complete. Because carved letters or blocks were flimsy and the wood susceptible to ink, the blocks had a limited lifespan.


title: Movable type

text: Gutenberg and his associates developed oil-based inks ideally suited to printing with a press on paper, and the first Latin typefaces. His method of casting type may have differed from the hand-mould used in subsequent decades. Detailed analysis of the type used in his 42-line Bible has revealed irregularities in some of the characters that cannot be attributed to ink spread or type wear under the pressure of the press. Scholars conjecture that the type pieces may have been cast from a series of matrices made with a series of individual stroke punches, producing many different versions of the same glyph. It has also been suggested that the method used by Gutenberg involved using a single punch to make a mould, but the mould was such that the process of taking the type out disturbed the casting, causing variants and anomalies, and that the punch-matrix system came into use possibly around the 1470s.


title: Movable type

text: This raises the possibility that the development of movable type in the West may have been progressive rather than a single innovation.


title: Movable type

text: Gutenberg's movable-type printing system spread rapidly across Europe, from the single Mainz printing press in 1457 to 110 presses by 1480, with 50 of them in Italy. Venice quickly became the centre of typographic and printing activity. Significant contributions came from Nicolas Jenson, Francesco Griffo, Aldus Manutius, and other printers of late 15th-century Europe. Gutenberg's movable type printing system offered a number of advantages over previous movable type techniques. The lead-antimony-tin alloy used by Gutenberg had half the melting temperature of bronze, making it easier to cast the type and aided the use of reusable metal matrix moulds instead of the expendable sand and clay moulds. The use of antimony alloy increased hardness of the type compared to lead and tin for improved durability of the type. The reusable metal matrix allowed a single experienced worker to produce 4,000 to 5,000 individual types a day, while Wang Chen had artisans working 2 years to make 60,000 wooden types.


title: Movable type

text: The type-height varied in different countries. The Monotype Corporation Limited in London UK produced moulds in various heights:


title: Movable type

text: At the end of the 19th century there were only two typefoundries left in the Netherlands: Johan Enschedé & Zonen, at Haarlem, and Lettergieterij Amsterdam, voorheen Tetterode. They both had their own type-height: Enschedé: 65 23/24 points Didot, and Amsterdam: 66 1/24 points Didot – enough difference to prevent a combined use of fonts from the two typefoundries: Enschede would be too light, or otherwise the Amsterdam-font would print rather bold. This was a way of keeping clients.


title: Movable type

text: In 1905 the Dutch governmental , later: "State-printery" () decided during a reorganisation to use a standard type-height of 63 points Didot. , actually Belgium-height, but this fact was not widely known.


title: Movable type

text: Modern, factory-produced movable type was available in the late 19th century. It was held in the printing shop in a "job case", a drawer about 2 inches high, a yard wide, and about two feet deep, with many small compartments for the various letters and ligatures. The most popular and accepted of the job case designs in America was the California Job Case, which took its name from the Pacific coast location of the foundries that made the case popular.


title: Movable type

text: Traditionally, the capital letters were stored in a separate drawer or case that was located above the case that held the other letters; this is why capital letters are called "upper case" characters while the non-capitals are "lower case".


title: Movable type

text: Compartments also held spacers, which are blocks of blank type used to separate words and fill out a line of type, such as "em" and "en" quads ("quadrats", or spaces. A "quadrat" is a block of type whose face is lower than the printing letters so that it does not itself print.). An em space was the width of a capital letter "M" – as wide as it was high – while an en space referred to a space half the width of its height (usually the dimensions for a capital "N").


title: Movable type

text: Individual letters are assembled into words and lines of text with the aid of a composing stick, and the whole assembly is tightly bound together to make up a page image called a "forme", where all letter faces are exactly the same height to form a flat surface of type. The forme is mounted on a printing press, a thin coating of viscous ink is applied, and impressions are made on paper under great pressure in the press. "Sorts" is the term given to special characters not freely available in the typical type case, such as the "@" mark.


title: Movable type

text: Sometimes, it is erroneously stated that printing with metal type replaced the earlier methods. In the industrial era printing methods would be chosen to suit the purpose. For example, when printing large scale letters in posters etc. the metal type would have proved too heavy and economically unviable. Thus, large scale type was made as carved wood blocks as well as ceramics plates. Also in many cases where large scale text was required, it was simpler to hand the job to a sign painter than a printer. Images could be printed together with movable type if they were made as woodcuts or wood engravings as long as the blocks were made to the same type height. If intaglio methods, such as copper plates, were used for the images, then images and the text would have required separate print runs on different machines.


title: The Canyons (film)

text: The Canyons is a 2013 American erotic thriller-drama film directed by Paul Schrader and written by Bret Easton Ellis. The film is set in Los Angeles and stars Lindsay Lohan, James Deen, Nolan Funk, Amanda Brooks and Gus Van Sant. It received a limited release on August 2, 2013, at the IFC Center in New York City, the Bell Lightbox in Toronto and on video on demand platforms.


title: The Canyons (film)

text: Christian is a wealthy young man who produces low budget horror films. At the start of the film, he is having dinner with his girlfriend Tara, his personal assistant Gina and her boyfriend Ryan. Christian has recently secured a leading role for Ryan in one of his films. Christian reveals that he and Tara have an open relationship and use dating apps to find partners for hookups. He says that he trusts Tara never to fall in love with anyone he brings into their bed.


title: The Canyons (film)

text: Ryan accuses Gina of wanting to have a four-way with Tara and Christian. Ryan texts an unknown party for a meeting the next day. Ryan's text was sent to Tara, who meets him the next day. Through their conversation, it is revealed that the two are former lovers. Tired of life as a struggling actor, Tara left Ryan to date a string of wealthy men. Tara chides Ryan for texting her, as Christian monitors her texts and calls. Christian visits an actress named Cynthia for casual sex. Christian thinks Tara is cheating on him. Christian follows Tara and sees her with Ryan. Christian then goes to John, one of the film crew members, and pressures him into playing a prank on Ryan: calling him in to tell him that he's about to be fired but can save his job by performing sexual favors.


title: The Canyons (film)

text: Returning home, Christian grills Tara on her activities that afternoon. Tara denies being attracted to Ryan or knowing him previously. Meanwhile, Ryan discovers Christian's daily schedule on Gina's computer, noticing regular "yoga sessions" with Cynthia.


title: The Canyons (film)

text: Tara receives an anonymous text telling her she might be in trouble. Cynthia is revealed to have been Christian's girlfriend before Tara. Cynthia tells Tara that she needs to leave Christian and admits to sending the anonymous texts. Cynthia reveals that she left Christian after he drugged her, orchestrated a group assault on her and recorded the incident. When confronted, he brutally assaulted her and threatened to release the video if she told anyone about his actions. Tara rejects Cynthia's warnings.


title: The Canyons (film)

text: Christian acknowledges dating Cynthia but denies beating her or arranging the assault. Suddenly Christian's phone rings; a dating app friend is about to arrive. Christian offers to cancel but Tara insists they go through with it. Tara and Christian engage in group sex with the couple who arrives at the house.


title: The Canyons (film)

text: Meanwhile, it is revealed that Ryan put Cynthia up to warning Tara. While browsing around a record store Ryan realizes he is being stalked. Christian violently assaults Tara, revealing that he knows all about her and Ryan.


title: The Canyons (film)

text: Meanwhile, Ryan reveals to Gina that he has been sleeping with Tara. Gina announces she will do whatever it takes to make sure the film gets made but Ryan is fired and banned from the set.


title: The Canyons (film)

text: At his therapist's office, Christian rants about his need for control over everything in his life, especially Tara. It is revealed that Christian's therapy sessions with Doctor Campbell (Gus Van Sant) are not voluntary, but rather a condition of the trust fund he lives off.


title: The Canyons (film)

text: The film then cuts to Christian and Ryan, each driving through downtown Los Angeles. Christian leaves a message on Ryan's voicemail, mocking Ryan and revealing the details he has managed to obtain about Ryan's life. Christian arrives at Cynthia's house and forces his way in, accusing her of lying in an attempt to break up his relationship with Tara. Cynthia denies this but an enraged Christian stabs her to death.


title: The Canyons (film)

text: Returning home, Christian finds Tara packed and ready to leave. Christian apologizes for brutalizing her and agrees to let her leave their relationship on two conditions: 1. She must give him an alibi for his murder of Cynthia and 2. She must never contact Ryan; if she refuses, he will murder Ryan and use his family's wealth and connections to get away with it. Tara agrees and is allowed to leave.


title: The Canyons (film)

text: The film ends with a flash forward to several months in the future. Tara is living in Dubai and having lunch with a friend. The friend asks about Gina's film and her relationship with Christian. Tara says she left the project when she and Christian broke up. Tara insists she is on good terms with Christian. The friend leaves to use the restroom, where she makes a phone call. She reports that Tara is doing well but clearly lying about being friends with Christian and about being happy in her new life. The final shot shows who is on the other end of the call: Ryan, alone in an empty room.


title: The Canyons (film)

text: Braxton Pope, Bret Easton Ellis and Paul Schrader were originally involved in a film project, "Bait". When the project lost its financing, Pope, Ellis, and Schrader decided they wanted to make a lower-scale film. Ellis was in charge of writing the script. After it was completed, Pope suggested raising money via Kickstarter. Throughout May–June 2012, the film raised $159,015, with a goal of $100,000 in funding. The budget for the film was $250,000 and the actors were reportedly paid $100 a day.


title: The Canyons (film)

text: On July 13, it was announced that Brendan Canning would be scoring the film. On July 18, 2012, the official press release for the movie was published on the Facebook page of "The Canyons". On July 24, 2012, it was announced that American Apparel would be supplying the cast with wardrobe and was planning to issue logo T-shirts based on Ellis, "The Canyons", and Schrader.


title: The Canyons (film)

text: The first teaser was released on YouTube on June 16, 2012. On October 8, a "retro style" teaser trailer was released. IndieWire called "The Canyons" one of the "50 Indie Films We Want To See In 2013" in January 2013. On August 2, 2013, rapper Kanye West released a new version of the trailer; he worked with Nate Brown on the re-editing and created new music with Noah Goldstein.


title: The Canyons (film)

text: Following the film's release, Schrader accused Lohan of not supporting the film, saying she had pulled out of interviews and never showed up for promotional photo sessions.


title: The Canyons (film)

text: In the docu-series "Lindsay", which chronicles (in eight one-hour episodes) Lohan's return from her sixth stay in rehab for addiction and her attempts to revitalize her career, she claimed that she did not end up promoting "The Canyons", specifically its Venice Film Festival screening, because it would have placed her in a situation that compromised her sobriety.


title: The Canyons (film)

text: Casting of "The Canyons" was operated through the casting website Let It Cast, where an audition scene was made available for download and actors were encouraged to film their own video auditions. As Pope and Ellis explained in a video on Let It Cast, the motivation to cast in this fashion was to facilitate submissions from talented actors who might not otherwise be seen given the time constraints of the traditional casting process, as well as to open a direct channel to actors whose talent agents might complicate the process. Paul Schrader wrote a full account of the process of casting the seven actors cast through their Let It Cast auditions. Actors Lindsay Lohan and James Deen were cast independently of this process.


title: The Canyons (film)

text: Although Schrader, Ellis, and Pope initially favored French actress Leslie Coutterand (who auditioned through Let It Cast), the role of Tara ultimately went to Lindsay Lohan. When Pope approached Lohan's manager about the possibility of Lohan playing the role of Cynthia, Lohan responded that she wanted to play the lead. Two weeks later, she screen tested and was cast. Pope said, "She's very charismatic and she has a lot of acting skills...So for this part, we felt that she was really the right actor for a host of different reasons." Fleur Saville was also considered for the role of Tara.


title: The Canyons (film)

text: Early on, the filmmakers considered casting Sean Brosnan as Christian, but later decided they wanted to cast someone "more edgy and unexpected". Ellis had mentioned several times that he had Deen in mind for Christian's role and when he, Pope and Deen met, Deen was promised a screen test. Schrader was reluctant at first, thinking it unlikely he would cast Deen due to his background in porn. Although surprised by Deen's acting abilities and charisma, Schrader was still reluctant to cast him; but, with Ellis and Pope, was intrigued by the idea of casting Lohan and Deen in the leads. Alex Meraz and Daren Kagasoff were also considered for the role, among others.


title: The Canyons (film)

text: Funk was cast as Ryan. Other actors who had been considered for Ryan's role included gay porn star Sean Paul Lockhart, Alex Ashbaugh, who was cast in a different role, Zach Roerig, and Chris Schellenger, who was also given a different, smaller role in the film.


title: The Canyons (film)

text: Gina was cast through Let It Cast, with the goal being finding the best counterpoint to Lohan, in physical appearance and personality. After many auditions, Brooks was cast. Spencer Grammer and Jessica Morris were considered, among others.


title: The Canyons (film)

text: Cynthia was originally called Lindsay, but the character's name was changed so she wouldn't be confused with Lohan. She was also cast through Let It Cast, and the primary criterion for the actress was to balance Lohan and Brooks.


title: The Canyons (film)

text: Houston's audition was sent in early and remained a favorite. Other actresses who had been considered included Fleur Saville and Cameron Richardson.


title: The Canyons (film)

text: In tertiary roles, Boeven was cast as John, and Aquitaine was cast as Randall. Philip Pavel, who was cast as Erik, had also been considered, among others.


title: The Canyons (film)

text: Caitlin's character was originally supposed to be cast through Let It Cast, but was ultimately cast through mobli due to Pope's preference. Lauren Schacher was cast.


title: The Canyons (film)

text: Director Gus Van Sant's casting in the role of Christian's psychotherapist was reported in July 2012.


title: The Canyons (film)

text: When asked about casting "The Canyons", Ellis stated: "Dealing with the casting of "The Canyons" was a great, liberating process—for both the production team and for actors in general. We used Let It Cast and saw some amazing actors that we will definitely keep in mind for future projects. The way the entire cast came together so quickly was a thrill and everyone who landed their roles deserved them. Using social media as a way to help build a film is really like riding the wave into the future." Pope said, "Nothing about this film was orchestrated in a traditional way. We wanted to actively embrace all the digital and social media tools at our disposal and give the film real cinematic value—"The Canyons" is the result of a forward thinking experiment with a terrific cast." Schrader said: "Bret Easton Ellis' characters are beautiful people doing bad things in nice rooms. Lindsay Lohan and James Deen not only have the acting talent; they also have that screen quality that keeps you watching their every move."


title: The Canyons (film)

text: Principal photography began in July 2012 with the shooting of the first six minutes of the film in the bar of the Chateau Marmont in Los Angeles. Many key scenes were shot at the Malibu home of designer Vitus Mataré. Filming was moved to Westfield Century City mall in Los Angeles after a failed attempt to film at the Santa Monica Promenade. Scenes were also shot in Amoeba Records on Sunset Boulevard, Hollywood, and Cafe Med restaurant at Sunset Plaza, West Hollywood, as well as Palihotel Melrose and The Churchill bar of The Orlando Hotel, both in the Beverly Grove neighborhood of Los Angeles.


title: The Canyons (film)

text: Schrader says about filming "The Canyons": "...we're making art out of the remains of our empire. The junk that's left over. And this idea of a film that was crowdfunded, cast online, with one actor from a celebrity culture, one actor from adult-film culture, a writer and director who have gotten beat up in the past—felt like a post-Empire thing. And then everything I was afraid of with Lindsay and James started to become a positive. I was afraid we wouldn't be taken seriously and people would think it was a joke. My son and daughter didn't want me to do it. That just shows you how conservative young kids are."


title: The Canyons (film)

text: The rough cut of the film was 1 hour 44 minutes long. Initial edits of the film were disappointing; the film was said to "drag". Ellis, Schrader and Pope had a disagreement over the final cut of the film. After Schrader showed Steven Soderbergh the rough cut of the film, Soderbergh offered to cut it within three days. Schrader declined, telling "The New York Times": "The idea of 72 hours is a joke, it would take him 72 hours to look at all the footage. And you know what Soderbergh would do if another director offered to cut his film? [Puts up two middle fingers] That's what Soderbergh would do." Ellis is quoted as saying: "The film is so languorous. It's an hour 30, and it seems like it's three hours long. I saw this as a pranky noirish thriller, but Schrader turned it into, well, a Schrader film."


title: The Canyons (film)

text: On Ellis' Podcast, he claims to now have a new appreciation of the film, saying he had trouble at first accepting Schrader's vision of his material, but in the end, has come to an understanding over his reservations during the creative process. He also openly praises Lohan's performance, calling it "searing," and blames the film's perceived 'failures' on Lohan's reputation in the media, which has nothing to do about the film's quality or her performance in the film. He continued with saying he believes "The Canyons" to have ended up as being a success both creatively and financially for all those involved. He concludes with saying he is very proud of the final product.


title: The Canyons (film)

text: The film was not accepted by the Sundance Film Festival, but was scheduled for sale in January 2013 by William Morris Endeavor. It was also publicly rejected by SXSW citing they had "quality issues" with the film, which enraged director Paul Schrader, who was very proud of his final film. IFC Films bought the rights to distribute the film theatrically, accompanied by a special screening at the Film Society of Lincoln Center (on July 29, 2013) featuring a conversation session with director Paul Schrader and the film critic/New York Film Festival Program Director Kent Jones. It was released on August 2, 2013, in the United States at the IFC Center in New York City, the Bell Lightbox in Toronto, and on video on demand platforms. It was shown in the out of competition section at the 70th Venice International Film Festival. The film was also featured on the cover of the July/August 2013 (Volume 49/Number 4) issue of "Film Comment" Magazine, featuring a full centerpiece article on the film's production. The issue featured an article, by Schrader, on the hardships and merits of working with Lindsay Lohan.


title: The Canyons (film)

text: "The Canyons" was given an R rating for "strong sexual content including graphic nudity, language throughout, a bloody crime scene, and brief drug use".


title: The Canyons (film)

text: Review aggregation website Rotten Tomatoes gives the film a 21% approval rating, based on 95 reviews, with an average score of 4/10. The site's consensus says the film "serves as a sour footnote in Paul Schrader's career—but it does feature some decent late-period work from Lindsay Lohan". At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the film received an average score of 36, based on 30 reviews, indicating "generally unfavorable reviews".


title: The Canyons (film)

text: Linda Barnard of the "Toronto Star" gave the film one out of four stars, calling it "a howlingly bad soap-opera-meets-soft-core-porn mash-up". Writing for "The Village Voice", Stephanie Zacharek praised Lohan's performance, likening her Tara character to "a nectarine on the far side of ripening, and this isn't a story about innocence lost—she sold that off long ago. But there's a dreaminess about her that could never crystallize into hardness." Zacharek also wrote that the "nuts and bolts of the plot are the least interesting things" about the film.


title: The Canyons (film)

text: While the negative response to the film was overwhelming, "The Canyons" also received some praise. In a glowing review, Richard Brody wrote in "The New Yorker" that movie "isn’t a study in character but a view of the world; it’s a masterful setting of mood", praising Deen for doing "terrific job exuding a sense of imperious entitlement" and saying that Lohan's "performance itself is electrifyingly alive". Jason Shawhan's "Nashville Scene" review claimed "Lohan tears into this role with fierce energy, walking the fine line between dominance and desperation." Kent Jones also highly praised the film in "Film Comment" as "a visually and tonally precise, acid-etched horror story of souls wandering through a hyper-materialist hell, with a fearless and, I think, stunning performance by Lindsay Lohan at its center. On another level, it’s an inspiration and an example to us all: it’s difficult for me to imagine another filmmaker of Paul Schrader’s stature diving into the world of crowd-sourced moviemaking, let alone with such fervor, dedication and rigor."


title: The Canyons (film)

text: "The Canyons" was screened as a part of the 14th Melbourne Underground Film Festival and won four awards:


title: The Canyons (film)

text: "The Canyons" made its DVD and Blu-ray debut on November 26, 2013, courtesy of MPI Media Group. The release included a 100-minute 'Unrated Director's Cut' of the film. The new cut of the film only runs about a minute longer than the version that was in theaters and video on demand. During a "live tweet" session of the film on Twitter, where Bret Easton Ellis via his own Twitter account and Paul Schrader using "The Canyons"' account, discussed their feelings on and experiences with making the film- while viewers watched from home. Here they confessed that a sex scene had to be edited down for the final cut. A sex scene at the beginning of the film, which featured the characters of Tara, Christian and Reid (Danny Wylde), had to have cuts made to meet the content standards of iTunes. Thus the shots of Reid indulging in masturbation had to go, since they were unsimulated, unlike the other sexual content shown in the film. These shots were included in the version of the film shown at the Film Society of Lincoln Center screening but did not appear in the theatrical or video on demand edit. These shots are restored in the 'Unrated Director's Cut' available on Blu-ray and DVD. A DVD has also been made available featuring the edited version, which the MPAA gave an R Rating in the United States.


title: The Canyons (film)

text: Debuting only at the IFC Center in the U.S., the film earned $13,351 by the end of its opening weekend. On video on demand and iTunes, the film was said to do "extremely well". The film has grossed a total of $56,825 in United States and $265,670 all around the world. IFC Films has not released the Video on Demand profits of the film, but Bret Easton Ellis, on his Podcast, claimed ""The Canyons" was, something like, the number one Video on Demand film IFC released last year. The film has made a profit."


title: The Canyons (film)

text: The soundtrack was made by Brendan Canning with Me&John and features songs by Gold Zebra, A Place to Bury Strangers, and the Dum Dum Girls. It was released on July 30, 2013.


title: Executive Office of the President of the United States

text: The Executive Office of the President (EOP) comprises the offices and agencies that support the work of the president at the center of the executive branch of the United States federal government. The EOP consists of several offices and agencies, such as the White House Office (the staff working directly for and reporting to the president, including West Wing staff and the president's closest advisers), the National Security Council, and the Office of Management and Budget.


text: The EOP is also referred to as a "permanent government", with many policy programs, and the people who implement them, continuing between presidential administrations. This is because there is a need for qualified, knowledgeable civil servants in each office or agency to inform new politicians.


text: The civil servants who work in the Executive Office of the President are also regarded as nonpartisan and politically neutral, so that they can give impartial advice.


text: With the increase in technological and global advancement, the size of the White House staff has increased to include an array of policy experts to effectively address various fields. In 2015, there were about 1,800 positions in the EOP, most of which did not require confirmation from the U.S. Senate.


text: The EOP is overseen by the White House chief of staff. Since January 20, 2021, that position has been held by Ron Klain, who was appointed by President Joe Biden.


text: In 1937, the Brownlow Committee, which was a presidentially commissioned panel of political science and public administration experts, recommended sweeping changes to the executive branch of the United States government, including the creation of the Executive Office of the President. Based on these recommendations, President Franklin D. Roosevelt in 1939 lobbied Congress to approve the Reorganization Act of 1939. The Act led to Reorganization Plan No. 1, which created the EOP, which reported directly to the president. The EOP encompassed two subunits at its outset: the White House Office (WHO) and the Bureau of the Budget, the predecessor to today's Office of Management and Budget, which had been created in 1921 and originally located in the Treasury Department. It absorbed most of the functions of the National Emergency Council. Initially, the new staff system appeared more ambitious on paper than in practice; the increase in the size of the staff was quite modest at the start. However, it laid the groundwork for the large and organizationally complex White House staff that would emerge during the presidencies of Roosevelt's successors.


text: Roosevelt's efforts are also notable in contrast to those of his predecessors in office. During the 19th century, presidents had few staff resources. Thomas Jefferson had one messenger and one secretary at his disposal, both of whose salaries were paid by the president personally. It was not until 1857 that Congress appropriated money ($2,500) for the hiring of one clerk. By Ulysses S. Grant's presidency (1869–1877), the staff had grown to three. By 1900, the White House staff included one "secretary to the president" (then the title of the president's chief aide), two assistant secretaries, two executive clerks, a stenographer, and seven other office personnel. Under Warren G. Harding, there were thirty-one staff, although most were clerical positions. During Herbert Hoover's presidency, two additional secretaries to the president were added by Congress, one of whom Hoover designated as his press secretary. From 1933 to 1939, as he greatly expanded the scope of the federal government's policies and powers in response to the Great Depression, Roosevelt relied on his "brain trust" of top advisers, who were often appointed to vacant positions in agencies and departments, from which they drew their salaries since the White House lacked statutory or budgetary authority to create new staff positions.


text: After World War II, in particular during the Eisenhower presidency, the staff was expanded and reorganized. Eisenhower, a former U.S. Army general, had been Supreme Allied Commander during the war, and reorganized the Executive Office to suit his leadership style.


text: Today, the staff is much bigger. Estimates indicate some 3,000 to 4,000 persons serve in EOP staff positions with policy-making responsibilities, with a budget of $300 to $400 million (George W. Bush's budget request for Fiscal Year 2005 was for $341 million in support of 1,850 personnel).


text: Some observers have noted a problem of control for the president due to the increase in staff and departments, making coordination and cooperation between the various departments of the Executive Office more difficult.


text: The president had the power to reorganize the Executive Office due to the 1949 Reorganization Act which gave the president considerable discretion, until 1983 when it was renewed due to President Reagan's administration allegedly encountering "disloyalty and obstruction".


text: The chief of staff is the head of the Executive Office and can therefore ultimately decide what the president needs to deal with personally and what can be dealt with by other staff, in order to avoid wasting the time of the president.


text: Senior staff within the Executive Office of the President have the title Assistant to the President, second-level staff have the title Deputy Assistant to the President, and third-level staff have the title Special Assistant to the President.


text: The core White House staff appointments, and most Executive Office officials generally, are not required to be confirmed by the U.S. Senate, although there are a handful of exceptions (e.g., the director of the Office of Management and Budget, the chair of the Council of Economic Advisers, and the United States Trade Representative).


text: The information in the following table is current as of January 20, 2021. Only principal executives are listed; for subordinate officers, see individual office pages.


text: The White House Office (including its various offices listed below) is a sub-unit of the Executive Office of the President (EOP). The various agencies of the EOP are listed above.


text: Congress as well as the president has some control over the Executive Office of the President. Some of this authority stems from its appropriation powers given by the Constitution, such as the "power of the purse", which affects the Office of Management and Budget and the funding of the rest of federal departments and agencies. Congress also has the right to investigate the operation of the Executive Office, normally holding hearings bringing forward individual personnel to testify before a congressional committee.


text: The Executive Office often helps with legislation by filling in specific points understood and written by experts, as Congressional legislation sometimes starts in broad terms.


text: This table specifies the budget of the Executive Office for the years 2008–2017, and the actual outlays for the years 1993–2007.


title: Queen Mathilde of Belgium

text: Mathilde (born "Jonkvrouw" Mathilde Marie Christine Ghislaine d'Udekem d'Acoz ; 20 January 1973) is Queen of the Belgians as the wife of King Philippe. She is the first native-born Belgian queen. She has founded and assisted charities to decrease poverty in the country.


title: Queen Mathilde of Belgium

text: Mathilde Marie Christine Ghislaine d'Udekem d'Acoz was born on 20 January 1973 at Edith Cavell Hospital in Uccle, Belgium. Her parents are Count and Countess Patrick d'Udekem d'Acoz. Mathilde has three sisters: Marie-Alix, Elisabeth and Hélène, and one brother Charles-Henri.


title: Queen Mathilde of Belgium

text: Upon Mathilde's marriage to Prince Philippe of Belgium, the Duke of Brabant in 1999, King Albert II of Belgium elevated the d'Udekem d'Acoz family from the baronial to the comital rank, hereditary in the male lineage. Upon the accession of her husband, Prince Philippe, Duke of Brabant to the throne of Belgium she became the first queen consort of native Belgian nationality.


title: Queen Mathilde of Belgium

text: Mathilde attended primary school in Bastogne and then attended secondary school at the Institut de la Vierge Fidèle in Brussels where she studied modern languages. From 1991 until 1994, Mathilde attended the Institut Libre Marie Haps in Brussels, where she studied speech therapy and graduated magna cum laude. She worked as a speech therapist in her own practice in Brussels from 1995 to 1999. She also worked part-time at a primary school. She also studied psychology at the Université catholique de Louvain and earned a master's degree in psychology in 2002 with honours (cum laude).


title: Queen Mathilde of Belgium

text: Mathilde speaks French, Dutch, English and Italian. She is also able to speak basic Spanish. Her mother, who has lived most of her life outside Poland, did not teach her Polish, thinking that it would not be necessary. Therefore, she knows only a few words of Polish.


title: Queen Mathilde of Belgium

text: The announcement of Mathilde's engagement to the Belgian heir-apparent Prince Philippe came as a surprise to the country. Mathilde married Philippe on 4 December 1999 in Brussels, civilly at the Brussels Town Hall and religiously at the Cathedral of St. Michael and St. Gudula. Mathilde's bridal gown was designed by Édouard Vermeulen. She was made Duchess of Brabant and a Princess of Belgium on 8 November 1999 (published on 13 November 1999 and effective from 4 December 1999).