title: Killing of Oscar Grant

text: Police in riot gear were dispatched and made efforts to disperse the crowds. During the course of the evening of January 8, there was peaceful protest, with some of the protesters turning to rioting and rampant property vandalism. A black bloc and other rioters smashed hundreds of car and shop windows, several private cars, and numerous trash containers and dumpsters. Public buildings such as the Oakland Police Internal Affairs office and the almost restored Fox Theatre were heavily vandalized. The rioting wound down later in the evening. Police made at least 105 arrests for suspicion of various offenses. More than 300 businesses were affected by the vandalism.


title: Killing of Oscar Grant

text: Community members and activists decried the shooting incident as another case of police brutality. There was a broad public perception that BART Police and the Alameda County District Attorney's office were not conducting an effective investigation because, according to an "East Bay Times" article, BART completed the shooting investigation on January 12, 2009, 11 days after the shooting occurred. Others were angry that Mehserle allegedly did not cooperate with Police and District Attorney's Office investigators.


title: Killing of Oscar Grant

text: On January 7, 2009, protests over the shooting and administration of justice began peacefully about 3:30 p.m. with about 500 people gathering at the Fruitvale station. In the early evening, some of the protesters marched toward Oakland's central business district and downtown. Over 200 Oakland police officers were dispatched in an attempt to disperse the protesters. Police roadblocked streets and diverted vehicle and foot traffic. After entering the central business district, the march continued to BART Police command and control headquarters at 8th & Madison streets near the Lake Merritt BART station.


title: Killing of Oscar Grant

text: Once at BART Police Command and Control, a contingent of angry protesters surrounded a police car. The officer driving the car fled on foot. Meanwhile, a group of 30 to 40 demonstrators broke out the cruiser's windows and attempted to overturn it. A line of police wearing gas masks swept up behind the rear of the march and deployed tear gas in an attempt to disperse the crowd.


title: Killing of Oscar Grant

text: The protest continued as the crowd marched along 8th Street through Chinatown. At Broadway, officers wearing gas masks deployed more tear gas canisters and acted quickly to charge and disperse the crowd as they approached the vicinity of Oakland Police headquarters at 7th and Broadway.


title: Killing of Oscar Grant

text: The protest regrouped downtown at the intersection of 14th and Broadway, blocking motor vehicle traffic. Some of the protesters lay face down in the intersection, in a symbolic act of solidarity with Grant, who was killed in the same position. Others shouted at police and chanted in unison. Others carried signs that read, "Your idea of justice?" and "Jail Killer Cops" and lit candles in remembrance of Grant.


title: Killing of Oscar Grant

text: Police in helmets and gas masks grouped in standing line formations on the south, west, and north sides of the intersection, allowing an avenue of retreat down 14th Street on the east side of the intersection.


title: Killing of Oscar Grant

text: About an hour later, police gave orders to disperse and fired tear gas, rubber bullets, and other non-lethal weapons and devices at demonstrators. Protestors threw bottles, rocks, and other objects at police. Police pushed the crowd east along 14th Street into the Lakeside Apartments District and the scene dissolved into a riot along the 14th Street spine.


title: Killing of Oscar Grant

text: Numerous helicopters which had been airborne throughout the evening converged on the area. Law enforcement helicopters shone powerful spotlights down onto surface streets, while media helicopters shot video, which were broadcast in real time on local television stations.


title: Killing of Oscar Grant

text: In the ensuing hours, a small clutch of rioters burned the contents of trash cans, dumpsters, newspaper boxes and set fire to at least five cars, including an Oakland police patrol car. Some rioters smashed the windshields of parked cars. The riot spread deep into the Lakeside Apartments District and cars were burned and heavily damaged on Madison Street. Other rioters in this clutch broke storefront windows, including those of a McDonald's fast-food restaurant at Jackson and 14th Streets in the Lakeside Apartments District. The night of the riot coincided with trash collection day the following morning and numerous trash dumpsters and containers were parked curbside. Rioters used these dumpsters to start fires along city streets. Rioters damaged some of the carefully restored historic woodwork and terra cotta on the nearly restored Fox Theater. Damage to the Fox was preliminarily estimated at $10,000 to $20,000.


title: Killing of Oscar Grant

text: As the rioting moved east toward Lake Merritt, Oakland Mayor Ron Dellums and Larry Reid held an impromptu press conference at 14th and Jackson streets, along the spine of the rioting, and called for the crowd to disperse peacefully. Dellums peacefully marched with the crowd back West along 14th Street to the steps of City Hall, where he attempted to address the crowd. After the crowd reacted negatively, he cut the meeting short and entered City Hall.


title: Killing of Oscar Grant

text: Demonstrators continued through City Hall Plaza, with angry splinter groups of rioters smashing the windows of Oakland Police Department's Internal Affairs and Recruiting Office at the east side of 250 Frank Ogawa Plaza. Windows of police cruisers parked outside the offices were also smashed.


title: Killing of Oscar Grant

text: The protesters continued east along 17th Street into the 17th Street Commercial District in Oaksterdam, crossing Broadway and Franklin, where rioters broke numerous storefront windows, and continued back into the Lakeside District, lighting discarded Christmas trees on fire. Police continued their efforts to disperse the crowds, and rioting continued on Broadway Downtown.


title: Killing of Oscar Grant

text: The rioting wound down around 10:40 p.m. in the vicinity of 20th and Broadway outside the Paramount Theater, where police detained around 80 individuals for various offenses. Most were cited and released for complaints which include inciting a riot, vandalism, assault on a police officer, and arson. Police recovered two handguns from the rioters. Around 120 people in total were arrested for offenses arising from the protests during the course of the evening. Two have been charged to date.


title: Killing of Oscar Grant

text: Numerous media photographers and videographers, both affiliated and independent, filmed the scene from close proximity on the ground. Media helicopters shot video of developments from overhead, which were broadcast in real time on local television stations.


title: Killing of Oscar Grant

text: The riots augmented the perception of crime in Oakland, adding to the previous year's run of takeover robberies, and were a challenge to overcome for greater economic investment. The Dellums administration held a press conference in City Hall Hearing room 4 on January 8, and decried the riots as regressive. Dellums noted there were riots in the streets of Oakland in 1967, 40 years ago, "and here we are, still smashing cars". Dellums noted that people were upset and had "lost faith in the process" because of what he called lack of communication by BART officials and the district attorney's office in the days after Grant was killed. BART has also been criticized for not ordering Mehserle to speak to internal affairs earlier.


title: Killing of Oscar Grant

text: On January 12, Alameda County District Attorney Tom Orloff filed a complaint for murder and an Alameda County Superior Court Judge signed a fugitive arrest warrant, as Mehserle had left the city. He was arrested January 13 at a friend's home in the Zephyr Cove, Nevada, area near Lake Tahoe. His attorney said Mehserle had gone after receiving death threats in the Bay Area. Mehserle waived extradition, and was held in protective custody at the Santa Rita Jail in Dublin, California. Mehserle pleaded not guilty at his arraignment January 15. On July 9, 2010, the U.S. Justice Department opened a civil rights investigation against Mehserle, but closed the investigation without filing charges.


title: Killing of Oscar Grant

text: On January 30, Alameda County Superior Court Judge Morris Jacobson set bail for Mehserle at $3 million. A week later, with the help of fundraising from the police union, Mehserle posted bail.


title: Killing of Oscar Grant

text: Alameda County District Attorney Tom Orloff refused to speculate whether Mehserle would be charged with first or second-degree murder, saying "What I feel the evidence indicates is an unlawful killing done by an intentional act and from the evidence we have there's nothing that would mitigate that to something lower than a murder." Orloff noted Mehserle's refusal to explain himself as a reason for charging him with murder, rather than manslaughter. Orloff said he would fight any motion to change venue for the trial.


title: Killing of Oscar Grant

text: Mehserle retained Pleasant Hill criminal defense attorney Michael Rains, who previously successfully represented one of the Oakland Riders. Before Mehserle retained Rains, the attorney was quoted as saying that it could be difficult to prosecute Mehserle for murder because the law discourages "second-guessing and hindsighting" of police officers, who tend to be favorably viewed by juries. Mehserle's defense was paid for by a statewide fund for police officers.


title: Killing of Oscar Grant

text: At a January 30 bail hearing, Rains told the court that Mehserle had carried a Taser for only a few shifts prior to the January 1 shooting, and he mistakenly deployed his service weapon when he thought Grant was reaching for a gun. Rains said, "Mr. Grant was actively, actively, actively resisting arrest." He said that some witnesses heard Mehserle say, "Get back, I'm gonna taze him." Rains said he plans to call witnesses who will show "there was a level of resistance by Oscar Grant and others that will negate malice."


title: Killing of Oscar Grant

text: The prosecutors' theory of the case is that the video direct evidence shows that Mehserle deliberately reached for his weapon. They argued: "What we see in the video is an officer releasing his control of a suspect, standing up, drawing his weapon, with some difficulty, and shooting it." Jacobson agreed in deciding to set bail at $3 million that Mehserle's claim of Taser confusion was inconsistent with his earlier statement to a fellow officer, and that Mehserle might be changing his story. He later imposed a gag order on attorneys and investigators in the case, prohibiting them from releasing future filings or otherwise commenting to the press.


title: Killing of Oscar Grant

text: Rains argued during the preliminary hearing that Mehserle lacked the malice necessary for a murder charge and that he intended to tase Grant. A BART officer testified, saying that Grant and his friends had yelled profanities and did not obey her orders to sit down moments before Mehserle fired at Grant. She said she was fearful when she heard taunts coming from Grant, his friends, and passengers on the train. After the seven days of testimony, Judge C. Don Clay concluded that Mehserle had not mistakenly used his service pistol instead of his stun gun. The judge based this on Mehserle's statements to other officers that he thought Grant had a gun. He also noted that Mehserle had held his weapon with both hands, but he was trained to use just his left if he was firing a Taser. Mehserle faced up to life in prison if convicted of first-degree murder.


title: Killing of Oscar Grant

text: Rains filed a supplemental motion arguing that Judge Clay should take a second look at a ruling that barred the defense attorney from presenting evidence about Grant's criminal background, as well as a ruling that barred him from presenting evidence that Mehserle told a fellow officer just before the shooting incident that he planned to use his Taser on Grant. He protested that "Both rulings amount to grave errors under longstanding and never-questioned California authorities" and alleged that they "substantially interfere with Mehserle's federal due process right to defend against the murder charge". Rains failed to convince Judge Clay to remove District Attorney Tom Orloff's office from the case. Rains claimed Orloff violated his client's rights because he ordered two Oakland police officers to try to interview Mehserle after he was arrested, even though Orloff knew Mehserle had an attorney. Judge Clay said Orloff's actions did not prove a bias nor did it meet the requirements necessary for him to be removed from the case.


title: Killing of Oscar Grant

text: On June 19, 2009, Mehserle pleaded not guilty. The jury trial was scheduled to begin in October. Mehserle's attorney Michael Rains sought a change of venue of the trial, on the grounds that there would not be an impartial jury in Alameda County. Citing extensive media coverage and the social upheaval of protests and riots, the judge agreed. Rains' request was honored on October 16, and downtown Los Angeles was chosen as the venue on November 19.


title: Killing of Oscar Grant

text: Los Angeles County Judge Robert J. Perry was assigned to the case. He said that he would not allow cameras in the courtroom. A hearing was held on February 19, 2010, to address two issues. The judge did not reduce Mehserle's bail, as requested by the defense. The judge also rejected a motion by the defense to remove Alameda County prosecutors from the case. Rains had argued that prosecutors and detectives acted inappropriately when they interviewed Mehserle earlier in the case. Another hearing was set for March 26.


title: Killing of Oscar Grant

text: Mehserle's attorney stated that his client did not commit first-degree murder, and asked the judge to instruct the jury to limit its deliberations to either second-degree murder or acquittal. Rains wrote that Mehserle would not argue the killing was conducted in the heat of passion or in self-defense. Rains also argued that prosecutors had shown no evidence that the fatal shooting was either voluntary or involuntary manslaughter.


title: Killing of Oscar Grant

text: On May 7, Judge Perry granted a motion by defense to discuss Grant's conviction for possessing a gun and evading arrest. Perry formally selected the jury on June 8 after attorneys had used their motions. The 12-member jury consisted of eight women and four men; of these jurors, seven were white, four Hispanic, and one Asian. Of the alternates, there were five women and one man, consisting of three Asians, two whites, and one Hispanic. It was alleged that six of the jury had law enforcement connections.


title: Killing of Oscar Grant

text: Grant's family expressed outrage at the absence of blacks on the jury. The day before the trial began, Deputy District Attorney David Stein revealed a photo that Grant took of Mehserle with a cell phone camera. The photo showed Mehserle pointing a Taser at Grant.


title: Killing of Oscar Grant

text: Several experts who observed video evidence suggested Mehserle might have confused his gun for his Taser, causing him to mistakenly believe he was tasering Grant. William Lewinski stated this as an expert witness in the case. If Mehserle thought he was firing his Taser, this could provide a full or partial defense to the murder charge. It depended on whether Mehserle had a legal right to use his Taser at all, which was questioned. Prosecutors alleged that paperwork, including a blood alcohol test, completed by Mehserle after the shooting showed that he had changed his story about what occurred.


title: Killing of Oscar Grant

text: While there had been previous cases where police officers confused guns with Tasers, modern Tasers weigh half as much as handguns. The prosecution argued that the position of Mehserle's Taser "in relation to his duty weapon, combined with the different 'feel' and color of the two weapons made it highly unlikely that he would have mistaken one for the other". Burris responded to claims of Taser confusion by arguing that video evidence did not support the idea of Taser confusion. In any event, he said, Mehserle had no reason to fire his Taser. Mehserle was wearing his Taser on the left side of his body (on the opposite side from which he wore his gun) – but set up for a cross-body, strong hand (right-hand) draw.


title: Killing of Oscar Grant

text: BART purchased the Taser X26 stun guns in September 2008 and provided them to officers after six hours of training, as recommended by the manufacturer.


title: Killing of Oscar Grant

text: On June 14, Carlos Reyes recalled Mehserle saying, "Oh shit, I shot him" after shooting Grant. Grant's former girlfriend, Sophina Mesa, testified she called Grant while he and his friends were being detained, and he said, "They're beating us up for no reason, I'll call you back." Deputy District Attorney David Stein believed that Grant's phone call proved that he was not trying to resist arrest that night. Cell phone records showed two calls between Grant and Mesa — at 2:05 a.m. and 2:09 a.m. — the latter two minutes before Grant was shot.


title: Killing of Oscar Grant

text: On June 15, three eyewitnesses of the account testified that neither Grant nor the other suspects actively resisted the officers at any time. Each expressed disgust at the behavior of officers preceding the shooting that night.


title: Killing of Oscar Grant

text: On June 22, Jackie Bryson, a friend of Grant "who was kneeling and handcuffed just inches from Grant when Johannes Mehserle shot him", testified for the prosecution. Bryson said that Grant's hands were under Grant's body and Grant said: "I quit. I surrender." He claimed that Mehserle said "Fuck this" before shooting Grant. Defense attorney Rains repeatedly accused Bryson of lying to convict Mehserle and pointed out a video showing Bryson running toward the train while handcuffed. Responding to Rains' question, "You were going to leave your friend on that platform, weren't you?" Bryson said "I would never leave my friend." Rains accused Bryson of being inconsistent based on his statements in the civil lawsuit he had filed in early January 2009 against BART. Bryson said that he had lied to investigators, distrusted the police, and had been frequently stressed since Grant's killing.


title: Killing of Oscar Grant

text: On June 25, Mehserle took the witness stand. Sobbing, he said that he had not thought that he was holding his gun until he heard a pop and looked at his right hand. Responding to a question from Rains, he recalled Grant saying "you shot me" right after the shot went off. Judge Perry called a recess after Grant supporter Timothy Killings shouted out to Mehserle to "save those fucking tears". After another outburst, Killings was arrested for contempt of court.


title: Killing of Oscar Grant

text: Judge Perry offered jurors three conviction options: second-degree murder (with a sentence of 15 years to life in prison), voluntary manslaughter (3 to 11 years), or involuntary manslaughter (2 to 4 years); in addition the jury could have decided to acquit. Prosecutor Michael O'Brien said that by shooting Grant, Mehserle inherently committed a crime. Intention meant murder or voluntary manslaughter, and an accident indicated recklessness on Mehserle's part and thus involuntary manslaughter. Judge Perry gave two interpretations of Mehserle's shocked reaction after shooting Grant: either Mehserle had intended to use his Taser or he realized that many people were witnesses to his action.


title: Killing of Oscar Grant

text: Closing arguments took place on July 1. Expressing a belief that Mehserle "lost all control" the night he shot Grant and labeled the shooting as an accident to avoid liability, Deputy District Attorney David Stein asked the jury to convict Mehserle of second-degree murder. Defense attorney Rains argued that the shooting was accidental and told them not to make "some sort of commentary on the state of relations between the police and the community in this country". Jury deliberations began on Friday, July 2. The jury had the day off on July 5 because of the Independence Day holiday.


title: Killing of Oscar Grant

text: On July 6, deliberations were suspended after one juror left for vacation, having notified the judge in advance, another juror went to a medical appointment, and another called in sick. One new alternate juror joined the panel. One juror submitted a question asking whether provocation by "sources other than the suspect(s)" can make one guilty of voluntary manslaughter. Stein argued that the jury should be able to consider outside influences on Mehserle, but Rains disagreed.


title: Killing of Oscar Grant

text: On July 8, 2010, the jury informed the court that they had reached a verdict by 2:10 p.m. The deliberations with this jury panel totaled six and a half hours over the course of two days. At approximately 4:00 p.m., the jury announced that they had found Johannes Mehserle guilty of involuntary manslaughter, and not guilty of charges for second-degree murder or voluntary manslaughter charges. The jury found Mehserle guilty of a gun enhancement charge that could have added up to ten years to his prison sentence, made him ineligible for probation, and required him to serve 85 percent of his sentence, in contrast to the 50 percent that most state prisoners serve.


title: Killing of Oscar Grant

text: Having previously been freed on a $3 million bond, Mehserle was remanded into custody after the verdict was read. The next court date, when sentencing would occur, was set for August 6, 2010.


title: Killing of Oscar Grant

text: After the verdict, the court released a two-page letter written by Mehserle in which he said: "no words can express how truly sorry I am".


title: Killing of Oscar Grant

text: Mehserle was originally scheduled to be sentenced on August 6, 2010. Sentencing was rescheduled for November 5 at the defense's request.


title: Killing of Oscar Grant

text: On November 5, 2010, Mehserle was sentenced to two years with double credit for time already served, reducing his term by 292 days for the 146 days he has already spent in jail. The judge overturned the gun enhancement, which could have added an additional 3 to 10 years to the sentence. He was released from prison at 12:01a.m. on June 13, 2011.


title: Killing of Oscar Grant

text: On May 9, 2012, nearly a year after his release from prison, Mehserle appealed his conviction to the First District Court of Appeals in San Francisco. His lawyer, Dylan Schaffer, stated the purpose of this appeal was to allow Mehserle to return to "police work", which was not possible with this conviction on his record. They intended to continue to the state and the U.S. Supreme Court, but


title: Killing of Oscar Grant

text: in September 2012, the California Supreme Court unanimously denied review of an appellate ruling upholding the conviction.


title: Killing of Oscar Grant

text: On January 8, 2009, BART's elected directors offered apologies to the victim's family. BART later filed a legal response to the lawsuit that claimed that the shooting was "a tragic accident", and that Grant contributed to the fatal incident. BART said the officers were "just defending themselves" and that "Oscar Grant willfully, wrongfully, and unlawfully made an assault upon defendants and would have beaten, bruised, and ill-treated them if defendants had not


title: Killing of Oscar Grant

text: In the days after the shooting, BART held multiple public meetings to ease tensions, led by BART Director Carole Ward Allen. She called on the BART Board to hire two independent auditors to investigate the shooting, and to provide recommendations to the board regarding BART Police misconduct. Director Ward Allen established BART's first Police Department Review Committee and worked with Assemblyman Sandre Swanson to pass AB 1586 in the California State Legislature, which enforced civilian oversight of the BART Police Department. BART board member Lynette Sweet said that "BART has not handled this [situation] correctly," and called for the BART police chief and general manager to step down, but only one other board member, Tom Radulovich, has supported such action.


title: Killing of Oscar Grant

text: An investigation was conducted to determine whether any other officers should be disciplined. On January 12, investigation results were forwarded to the district attorney. The investigation, which interviewed seven police officers and 33 other witnesses, came to no conclusion and made no recommendations. The details were forwarded to Meyers Nave, an outside law firm, for an independent investigation. It was led by Jayne Williams, the former city attorney for San Leandro, and was estimated to cost $250,000. In August, the law firm provided two reports to BART but released only one publicly. The report said officers failed to follow recommended procedures, failed to work as a team, and had lapses in both tactical communication and leadership.


title: Killing of Oscar Grant

text: KTVU broadcast cell-phone video that showed Pirone striking Grant, resulting in additional agency actions. BART General Manager Dorothy Dugger said a "rigorous" internal affairs investigation would be ordered. Later, an attorney, representing BART and referring to the same video, said that Grant provoked Pirone's blow by trying to knee Pirone at least twice, "It is our position that there was a provocation and assault on Mr. Pirone based upon a video that shows Mr. Grant apparently hitting Mr. Pirone with his knee,"<ref name="MercNews4/3">BART filing says shooting victim, Oscar Grant, contributed to fatal incident Associated Press April 3, 2009</ref> On September 22, KTVU reported that Meyers Nave, in its unreleased report, had recommended the termination of Tony Pirone and Marysol Domenici. After being on leave since the incident, Domenici was terminated on March 24, 2010. She was rehired the following December after labor arbitration settled in her favor. Pirone was terminated on April 21 after an internal investigation upheld a finding of misconduct against him. Like Domenici, Pirone later sought to be reinstated through arbitration. This is a process whereby the BART administration and BART police union elect a member of the police union to decide if the firing of Anthony Pirone was justified. This arbitration was delayed, as Pirone served a tour in Afghanistan in the US Army. When he returned, the arbitration was set to finish by the end of 2013, but was delayed until the end of 2014. In December 2014, BART spokesperson Alicia Trost told reporters that Pirone's arbitration was denied, and the arbitrator upheld the termination. Pirone's lawyer, William Rapoport, declined to comment.


title: Killing of Oscar Grant

text: Protesters organized several demonstrations and marches in the weeks following the shooting and during court hearings. Alice Huffman, state president of the NAACP, said there was little doubt the shooting was criminal. Many reporters and community organizers stated that racial issues played a role both in the killing and in the community response. Grant's family claimed that officers used racial slurs during the arrest. BART Police Chief Gary Gee remarked that the BART investigation had found no "nexus to race that provoked this to happen".


title: Killing of Oscar Grant

text: There was a broad public perception that BART Police were not conducting an effective investigation. Efforts by BART officers to confiscate witnesses' cellphones during the incident created controversy. The shooting stirred outrage among political leaders and legal observers; Alameda County Supervisor Keith Carson, Oakland City Councilmember Desley Brooks (Eastmont-Seminary), and Berkeley Copwatch labeled the shooting an execution. Local columnists criticized such language as "inflammatory" and "the exact opposite of the kind of sane leadership we need and expect from our elected officials".


title: Killing of Oscar Grant

text: When the case went to trial, tensions were provoked because the selected jury contained no African Americans.


title: Killing of Oscar Grant

text: Grant's death has been cited as one of several police killings that contributed to the nationwide Black Lives Matter movement.


title: Killing of Oscar Grant

text: The fatal shooting of Grant was a catalyst for several protests. On January 8, 2009, a protest march in Oakland of about 250 people became violent. Rioters caused more than $200,000 in damages: breaking shop and car windows, burning cars, setting trash bins on fire, and throwing bottles at police officers. Police arrested more than 100 persons. Grant's family pleaded for calm and spoke out against the violence at a press conference the next day. On January 9, police in riot gear dispersed a crowd of about 100 demonstrators after some of the rioters stopped vehicles and threw trash cans in the street.


title: Killing of Oscar Grant

text: A January 14 demonstration briefly turned violent, and police arrested 18 people after rioters smashed car and store windows in Oakland's City Center district. Another eight were arrested in a January 30 demonstration after Mehserle's bail hearing, in which he said that he had intended to use his Taser rather than to shoot Grant. Mayor Ron Dellums suggested that Mehserle's right to bail should be abrogated to prevent violence in the community.


title: Killing of Oscar Grant

text: "Oakland Tribune" columnist Tammerlin Drummond criticized the protestors as "self-described 'anarchists,' who aren't even from Oakland, and wannabe Black Panther Party members... playing right into the hands of the defense" by giving Mehserle a plausible case for change of venue.


title: Killing of Oscar Grant

text: On May 18, 2009, 100 persons protested outside of the Alameda County Courthouse during the preliminary hearing and then marched to the nearby Oakland Police Department. A protest organizer was arrested after the group blocked traffic.


title: Killing of Oscar Grant

text: Protests continued throughout the pretrial process. At the hearing on February 19, 2010, some 50 protesters carried signs outside the Los Angeles courthouse. An estimated 200 protesters gathered at San Francisco's Embarcadero BART station on April 8, 2010, to call for the disbanding of the transit system's police department and the firing of an officer who was on the scene when Grant was shot.


title: Killing of Oscar Grant

text: On July 8, 2010, following the verdict, protests began peacefully, and officials commended both the protesters and the police for their demonstrated restraint. When the time of the verdict announcement was announced, many people packed BART trains to leave Oakland in fear of unrest, and Interstates 880 and 980 had heavy traffic. Multiple peaceful gatherings were held throughout Oakland after the verdict was announced, and sporadic conflicts were quelled quickly by the police early in the evening. As night fell, people engaged in opportunistic looting of local businesses. Oakland's police chief was quoted as saying that the people doing violence did not primarily seem to be Oakland residents protesting the verdict, but instead were self-styled "anarchists...who are almost professional people who go into crowds like this and cause problems". Oakland police arrested 83 people on a variety of charges, ranging from vandalism to failure to disperse to assault. According to the Oakland Police Chief Batts, nearly 3 out of 4 of those arrested during the protest did not live in Oakland.


title: Killing of Oscar Grant

text: The "San Francisco Chronicle" reported that many of the rioters who were most aggressive in damaging Oakland businesses and property were organized white anarchists wearing black clothing and hoods. An anarchist slogan was painted on one wall that read "Say 'no' to work. Say 'yes' to looting."


title: Killing of Oscar Grant

text: Some Oakland officials objected to the "anarchist" label, saying that the outside agitators seemed to lack any cohesive philosophy and were simply bent on making trouble.


title: Killing of Oscar Grant

text: Several lawsuits were filed against BART after these events; two made it to trial. Oakland attorney John Burris filed a $25 million wrongful death claim against BART on behalf of Grant's family (mother, daughter, sister and girlfriend) on January 6, 2009.


title: Killing of Oscar Grant

text: In February 2009, Burris filed claims for a total of $1.5 million on behalf of five of Grant's friends, whom he says were detained without cause for five hours after the shooting, alleging illegal search and seizure, false arrest, and use of excessive force.


title: Killing of Oscar Grant

text: Burris later increased the amount sought by Grant's family to $50 million. The civil case was partially resolved when BART settled with Grant's daughter for $1.5 million (with accrued interest), according to Burris' law firm. BART paid a $1.3 million settlement to Grant's mother. The five friends of Grant settled with BART and received a total of $175,000.


title: Killing of Oscar Grant

text: Grant's father, who has been in prison since before Grant was born, separately sued Mehserle for damages related to Grant III's death.


title: Killing of Oscar Grant

text: Zeporia Smith, the mother of Johnnie Caldwell, a friend of Grant's, filed a suit in 2011 (after her son was killed in a separate incident). She claimed that Officer Marysol Domenici had used excessive force against her son while detaining him on the platform at Fruitvale. Caldwell had testified in a video deposition in 2009 that after Grant III was shot, Officer Domenici dragged Caldwell across the platform, threatened him with a Taser, and shoved him on a departing train.


title: Killing of Oscar Grant

text: In 2014 a civil jury heard both the Grant Jr. and Smith cases. On July 1, 2014, the civil jury rejected the claims of Grant's father against Mehserle in the shooting of Grant, as they concluded that his imprisonment had prevented him from having a close relationship with his son.


title: Killing of Oscar Grant

text: In the same trial, the jury ruled in favor of Officer Domenici and against Smith. One person said that the lack of a video documenting Caldwell's claim of excessive force had been a determining factor.


title: Dirty Mind

text: Dirty Mind is the third studio album by American singer-songwriter, and multi-instrumentalist Prince. It was released on October 8, 1980, by Warner Bros. Records and produced entirely by Prince at his home studio in Minneapolis, Minnesota earlier that year from May to June. "Dirty Mind" has been considered by critics to be his most creative and boldest album, setting the standard for his artistic direction in the following years.


title: Dirty Mind

text: A fusion of post-disco, new wave, funk and dance, "Dirty Mind" has more punk sounds than Prince's previous albums. Prince’s high and feminine vocals, along with his androgynous image during the album's era, has been commended. Controversially, the album's theme is fueled by explicit topics including oral sex, threesome, incest and ejaculation, which has been credited for opening the doors for sexually explicit albums in the coming years.


title: Dirty Mind

text: The first single of "Dirty Mind", "Uptown" reached number five on both the "Billboard" Hot Soul Singles and the "Billboard" National Disco Action Top 30 charts. Though the album only reached number 45 on the "Billboard" 200, it earned widespread acclaim from music critics and crossover success. Due to its fusion of genres, critics have hailed it for setting the sound for urban black music of the early 1980s. The album has been ranked by several publications as one of the greatest albums of all time.


title: Dirty Mind

text: During the spring of 1980, Prince and his backing band members Dez Dickerson, André Cymone, drummer Bobby Z, and keyboardists Doctor Fink and Gayle Chapman spent nine weeks on the road opening for Rick James, a rival of Prince. James accused Prince of "copping my licks" throughout the tour.


title: Dirty Mind

text: Following the end of James' tour, Prince returned to Minnesota, rented a house in Wayzata where he set up a 16-track studio that Warner Bros. paid for. Although there were problems with the amount of space, Prince told "Rolling Stone", "Nobody knew what was going on, and I became totally engulfed in it...It really felt like me for once."


title: Dirty Mind

text: In the past Prince mostly recorded alone but the backing band members contributed to "Dirty Mind". A keyboard line that Doctor Fink jammed out during a rehearsal provided the basis for "Dirty Mind"; Doctor Fink cut the track.


title: Dirty Mind

text: "Dirty Mind" was mainly recorded in Prince's home studio throughout 1980, and several of the songs were cut in one night, giving them a sparse, demo-like quality. The title track was released as a single and described as "robotic funk" by AllMusic's Stephen Thomas Erlewine, while "When You Were Mine", notably covered by Cyndi Lauper on her album "She's So Unusual", is "pure new wave pop". "Do It All Night" and "Head", a sexually explicit song about a chance meeting with a bride-to-be and seducing her with oral sex, contain "sultry funk"; "Gotta Broken Heart Again", the only ballad on the record, features "soulful crooning"; and the rock-influenced "Sister" describes incest between the song's protagonist and his older sibling ("Incest is everything it's said to be"). "Uptown" and "Partyup" are "relentless dance jams", according to Erlewine; the former became a top-five hit on the "Billboard" Dance and R&B charts in late 1980, and the latter was performed on "Saturday Night Live" on February 21, 1981.


title: Dirty Mind

text: "Dirty Mind" peaked at number 45 on the "Billboard" 200 and number 7 on the "Billboard" Top Black Albums chart. On June 6, 1984, the album was certified Gold by the Recording Industry Association of America (RIAA). Following the death of Prince in 2016, the album re-entered the "Billboard" 200 and also entered the album charts in France, Switzerland and the UK for the first time.


title: Dirty Mind

text: The first single, "Uptown" reached No. 101 on the "Billboard" Bubbling Under Hot 100 Singles but peaked within the top five of the R&B Singles chart and the Dance chart. The title track was released as the second single and was modestly successful on the R&B chart. The songs "Uptown", "Dirty Mind", and "Head" were released together, reaching the dance chart's top five. "Head" was featured in the movie "Waiting to Exhale".


title: Dirty Mind

text: "Dirty Mind" was met with critical acclaim. In a rave review published by "Rolling Stone" in February 1981, Ken Tucker wrote that the album makes an unexpected progression from the "doe-eyed" romanticism of Prince's first two records to a "liberating lewdness" which "jolts with the unsettling tension that arises from rubbing complex erotic wordplay against clean, simple melodies", all along an "ELECTRIC surface". Specifically of Prince's performance as a vocalist, Tucker remarked on how he casually delivers lyrics with a "graceful quaver" and "exhilarating breathlessness", drawing from both "the sweet romanticism of Smokey Robinson" and "the powerful vulgate poetry of Richard Pryor". The resulting music, he said, is "cool", "dealing with hot emotions", and, "at its best ... positively filthy". Writing that same month in "The Village Voice", Robert Christgau found the music's "metallic textures and simple drum patterns" comparable to both Funkadelic and the Rolling Stones, while acknowledging Prince as being in the generally shy-mannered "love-man" tradition because of his falsetto singing, but ultimately distinct in his "aggressively, audaciously erotic" character: "I'm talking about your basic fuckbook fantasies—the kid sleeps with his sister and digs it, sleeps with his girlfriend's boyfriend and doesn't, and stops a wedding by gamahuching the bride on her way to church. I mean, Mick Jagger can just fold up his penis and go home."


title: Dirty Mind

text: Retrospective appraisals have also been positive. Stephen Thomas Erlewine from AllMusic describes the album as a "stunning, audacious amalgam of funk, new wave, R&B, and pop, fueled by grinningly salacious sex and the desire to shock" and that it "set the style for much of the urban soul and funk of the early '80s". According to Michaelangelo Matos in "The New Rolling Stone Album Guide" (2004), ""Dirty Mind" remains one of the most radical 180-degree turns in pop history." Robert Hilburn of the "Los Angeles Times" describes the music as a "confident and highly danceable blend of post-disco funk and tasty, hard-line rock", Prince's songwriting contains prominently sexual lyrics. while Keith Harris of "Blender" credits it for setting "confessions of a sex junkie" to the sounds of "new-wave funk".


title: Dirty Mind

text: Due to "Dirty Mind"'s fusion of genres, critics have hailed it for setting the sound for urban black music of the early 1980s. Prince’s high and feminine vocals, along with his androgynous image during the "Dirty Mind" era, has been recognized for bringing attention to gaydar. The album's theme of explicit topics including oral sex, threesome and ejaculation has been credited for opening the doors for sexually explicit albums in the coming years. In Christgau's opinion, Prince's impact as a "commercially viable" yet "visionary" artist with the album was comparable to John Lennon, Bob Dylan, and Jimi Hendrix.


title: Dirty Mind

text: "Dirty Mind" has ranked highly and frequently on professional lists of the greatest albums. "Pitchfork" placed the album at number 87 on a list of the 100 best albums from the 1980s, while "Slant Magazine" ranked it 53rd on a similar list. In 2013, "NME" ranked it number 393 in its list of The 500 Greatest Albums of All Time. "Rolling Stone" has ranked it number 326 among the magazine's 500 greatest albums of all time (published in 2020) and 18th among albums from the 1980s. Based on such rankings, the aggregate website Acclaimed Music lists "Dirty Mind" as the 419th most acclaimed album in history, as well as the 55th from the 1980s and sixth among albums released in 1980.


title: Wallis Day

text: Wallis Day (born 20 September 1994) is an English actress and former model. She is known for playing Holly Cunningham in the soap opera "Hollyoaks", Nyssa-Vex in the TV series "Krypton", and Kate Kane in the second season of the TV series "Batwoman".


title: Wallis Day

text: Wallis Day was born on 20 September 1994 in London, England and raised in Ilford. Her father was educated in the University of Oxford, and her mother at the University of Cambridge. Day has stated that she came from "a very normal family with very normal jobs" as none of her family had ties to the entertainment industry. When five years old, she became passionate about acting after being taken to see ballets by her father, and joined Stagecoach Theatre Arts at the same age. During her formative years, Day and her family frequently moved house; in 12 years, Day studied in 11 different schools. Day attended the Sylvia Young Theatre School, and later the Arts Educational Schools (ArtsEd).


title: Wallis Day

text: Day signed on to the modelling agency Models 1 at the age of 13, and was the youngest in the agency for three years. She has stated that she started modelling "to save up to go to drama school". During her tenure as a model, Day modelled for Garnier, Superdry and Nike among others. At 16, she quit modelling to pursue a career in acting. One of her earliest screen appearances was in a commercial for Nintendo 3DS, where she is seen playing "Super Mario 3D Land". When she was 19, she landed her first film role as Lucy in "Between Two Worlds" in 2016. Day's first television role was Holly Cunningham in the British soap opera "Hollyoaks" from 2012 to 2013.


title: Wallis Day

text: In 2014, Day appeared in a YouTube prank video where she masquerades as the girlfriend of Caspar Lee, and flirts with his roommate Joe Sugg. The video gained over 23 million views. In the same year, she appeared in the music videos for Lea Michele's "On My Way", Arctic Monkeys' "Arabella" and 5 Seconds of Summer's "She Looks So Perfect", and in the seventh episode of the fourth series of Sky One's "Trollied". In 2015, Day appeared as Angelica in the television film "Casanova", and played Olalla Jekyll/Hyde in the ITV series "Jekyll and Hyde". After "Jekyll and Hyde", she took a hiatus to study at ArtsEd.


title: Wallis Day

text: In 2016, Day appeared in the Instagram original series "Shield 5" as Amy Williams, and joined "The Royals" in the recurring role of Angie which she played till 2018. In 2017, she appeared as Cressida Deveraux in the TNT series "Will". From 2018 to 2019, Day portrayed the series regular role of Nyssa-Vex, Superman's grandmother, in the Syfy series "Krypton". She appeared as Agent Shin in the science fiction film "Infinite", released in 2021.


title: Wallis Day

text: In March 2021, Day was cast to recur in the second season of the CW series "Batwoman" to take over the role of Kate Kane from Ruby Rose. She debuted in the episode "Initiate Self-Destruct", where the character's facial change is explained. Day also portrayed Circe Sionis. In February 2022, she joined the second season of Netflix's "Sex/Life" in a recurring role as Gigi, and in August, joined "Red Sonja" in the role of the title character's half-sister Annisia.


title: Wallis Day

text: Day dislikes playing stock characters such as "the girlfriend of the main character or the girl next door"; she has cited her preference for roles requiring more action, including femmes fatales. An aspiring writer, she wrote a psychological thriller novel in the mid-2010s and hopes to convert it into a screenplay. Day is trained in Mixed martial arts, boxing and Muay Thai. She is also a trained swimmer, and began preparing to participate in the 2012 Summer Olympics, but decided to leave swimming to focus on her acting career. Day declared herself vegan in 2017. She has chosen not to comment on her sexuality, stating in 2017, "Being straight, bisexual or gay is NOT a choice. All I'll say on that matter."


title: Shoba Chandrasekhar

text: Shoba Chandrasekhar (born 24 August 1948) is an Indian playback singer, director, writer and film producer. She is the mother of actor Vijay.


title: Shoba Chandrasekhar

text: She married S. A. Chandrasekhar, who is an Indian film director, producer and writer. Her son Vijay is an actor in Tamil cinema and her daughter Vidhya died at the age of two. Sangeeta Sornalingam is her daughter-in-law. Her siblings are Sunder, Surendar and Sheela. Her mother is Mrs. Lalitha.


title: Shoba Chandrasekhar

text: Her early guru was Shri Meenakshi Sundaram. Later, she joined the Tamil Nadu Government Music College and pursued her studies from the great tutors in the college such as Vidwan Shri T.M. Thiagarajan. She also had the opportunity to learn Veena playing from Smt. Kalpakam Swaminathan at the music college. For the past five years she has been learning vocal carnatic music from Smt. Brinda Thiagarajan – daughter of Shri Maharajapuram Santhanam.


title: Shoba Chandrasekhar

text: She has been honoured with the Lifetime Achievement Mrs. Chennai award by the Esthel Hotels and Resorts. Shoba Chandrasekhar, a singer, has been given this award for her philanthropic activities in Chennai as well as for being a good mother and wife.


title: Shoba Chandrasekhar

text: She has been appointed as the Artistic Heritage Consultant by the order of the Tamil Nadu Chief Minister J. Jayalalitha.


title: Shoba Chandrasekhar

text: She was a singer in light music troupes. She later graduated to singing in films. She has written several stories that have been made into movies by moviemaker husband S. A. Chandrasekhar. She turned film producer and then became a film director. She has also performed at various classical concerts. She has also recently released a devotional album titled "Anaimuganum Arumuganum", that talks about her singing career.


title: Shoba Chandrasekhar

text: Her first light classical music programme was telecast on Vijay TV in April 2003. The title of the programme was "Samarpanam". Her first live concert was for the Maharajapuram Santhanam Trust. Her first film song was "Maharaja Oru Maharani..." from the film "Iru Malargal". She has sung in nearly all the films made by her husband.


title: Shoba Chandrasekhar

text: She has produced 10 films and written stories for more than 50. She also directed two films, "Nanbargal" and "Innisai Mazhai". In fact, Chandrasekhar worked as her associate director in these films. He was assisted by Shankar, now a famous director. The management of the Esthel hotels and resorts said that Shoba is a perfect example of an egoless person. She also sang over 12 movies.


title: Polytechnique (film)

text: Polytechnique is a 2009 Canadian drama film directed by Denis Villeneuve and written by Villeneuve and Jacques Davidts. Starring Maxim Gaudette, Sebastien Huberdeau, and Karine Vanasse, the film is based on the 1989 École Polytechnique massacre (also known as the "Montreal Massacre") and re-enacts the events of the incident through the eyes of two students (Huberdeau and Vanasse) who witness a gunman (Gaudette) murder fourteen young women.


title: Polytechnique (film)

text: After a release in Quebec in February 2009, it was featured in the 2009 Cannes Film Festival. It received numerous honours, including nine Genie Awards, notably Best Motion Picture.


title: Polytechnique (film)

text: A young man prepares his rifle and leaves a message for his mother. He then goes to Polytechnique Montreal, an engineering school, and enters a classroom during class with a rifle. He orders the men to leave and the women to stay. They comply after he shoots into the ceiling to show that he is serious. He tells the women that he hates feminists. Although the women deny being feminists, he shoots at them, killing some and wounding others. He then moves through corridors and the cafeteria, specifically targeting women.


title: Polytechnique (film)

text: One of the male students is Jean-François, who was ordered to leave the classroom. Instead of fleeing the scene, he returns to try to stop the killer and/or help the victims. Valérie and Stéphanie, two surviving women, play dead thinking the killer has returned, although Stéphanie later dies of her injuries.


title: Polytechnique (film)

text: Finally, the killer reaches another classroom where he kills a female lecturer. He then commits suicide, and his blood mixes with the blood of his victim.


title: Polytechnique (film)

text: Some time after the massacre, Jean-François, feeling guilty for complying with the order to leave the classroom and abandoning the women, commits suicide by carbon monoxide poisoning. Valérie, wearing the Iron Ring, the professional ring of Canadian engineers, learns she is pregnant. She makes plans to tell a potential son to be loving or a potential daughter that the world belongs to her.


title: Polytechnique (film)

text: Karine Vanasse, who played Valérie, helped produce "Polytechnique", and wanted to make a film about the massacre for years. She helped secure director Denis Villeneuve for the film, who at the time was respected for making the 2000 film "Maelström". Despite the sensitivity to the incident in Quebec, Villeneuve asserted it was not too soon for a film, and that there was an important conversation to be had.


title: Polytechnique (film)

text: Vanasse researched by speaking to the families of women killed in École Polytechnique de Montréal. In the film, one of the women tells The Killer that the students are not feminists, with Vanasse explaining, "One of the women who was there told me that it was the first time in her life that she had to confront her femininity head on".


title: Polytechnique (film)

text: École Polytechnique de Montréal gave the filmmakers the right to use the campus as a location, but Villeneuve opted against filming there to be respectful. The film was shot at Cégep de Maisonneuve and Collège Ahuntsic as well as Griffintown and Westmount. Villeneuve shot the film in black and white, so as to avoid the presence of blood on screen.


title: Polytechnique (film)

text: There were two versions of the film produced, one in English and one in French. The director Denis Villeneuve hoped the film would enter into the English-Canadian market, as well as the U.S. one. Villeneuve said the subject matter was challenging for the cast and crew to work with.


title: Polytechnique (film)

text: "Polytechnique" was screened at the Directors' Fortnight at the 2009 Cannes Film Festival on 17 May. It was also featured in festivals in London, Spain and Namur in fall 2009.


title: Polytechnique (film)

text: The film was released on 6 February 2009, in Quebec, and on 20 March 2009, in the Ontarian capital of Toronto, the British Columbian city of Vancouver and an Alberta city Calgary. Its release sparked controversy in Quebec and across Canada for its depiction of real life events involving the murder of unarmed students. The film was shown in 45 theatres in Quebec. By August 2009, the distributor Remstar had sold screening rights to around 12 countries.


title: Polytechnique (film)

text: Alliance Films and Remstar released the film on DVD and Blu-ray in August 2009, along with French language documentary films on the real massacre. It was showcased in the Museum of Modern Art in New York City in summer 2011.


title: Polytechnique (film)

text: The film grossed $326,000 in Quebec cinemas during its opening weekend, ranking first at the Quebec box office. By August 2009, it grossed $1.6 million. In English Canadian areas, it grossed $100,000. It was considered a financial hit in Quebec.


title: Polytechnique (film)

text: The film has received mostly positive reviews from film critics. Review aggregator Rotten Tomatoes reports that 87% of professional critics gave the film a positive review based on 15 reviews, with an average rating of 6.98/10. On Metacritic, the film has a weighted average score of 63 out of 100 based on 6 critics, indicating "generally favorable reviews". In Canada, Peter Howell of the "Toronto Star" gave the film three and a half stars out of four, stating ""Polytechnique" makes no judgments, offers no panaceas. It shows the violence, faithfully recreating the historical record, but it doesn't wallow in it. Pierre Gill's brilliant monochrome lensing minimizes the effect of the blood. [...] It stands as a work of art, summoning unspoken thoughts the way Picasso's war abstraction "Guernica" does in a scene of contemplation with Jean-François." Katherine Monk of Canwest News Services gave the film four stars out of five; "The paradox may sound grotesque, but it must be stated loud and clear: Denis Villeneuve and the cast of "Polytechnique" have transformed the tragedy of the Montreal Massacre into a work of profound beauty."


title: Polytechnique (film)

text: Critics compared "Polytechnique", favorably or unfavorably, to Gus Van Sant's Palme d'Or winning 2003 film "Elephant". In "The New York Times", A.O. Scott wrote that like Villeneuve's later film "Incendies", "Polytechnique" was a statement on decency being more powerful than savagery, and benefited from a rational look on an extreme matter. In "Variety", Rob Nelson compared it unfavourably to "Halloween" (1978) and other violent horror films, but gave it marks for addressing the misogyny of the crime. Ray Bennett criticized the film in "The Hollywood Reporter" for not examining the psychology of The Killer, and could not understand why the characters did not pull the fire alarm. Denis Seguin of "Screen Daily" gave the film a favourable review, writing ""Polytechnique" is a formalist interpretation of an atrocity, with a cool perspective on the events and much for audiences to read between the frames as the film moves back and forth through time." "Time Out" gave it four stars, saying it avoided tabloid journalism and foreshadowed the message of forgiveness in the face of horror in "Incendies".


title: Polytechnique (film)

text: In presenting the Rogers Best Canadian Film Award to "Polytechnique" in January 2010, Toronto Film Critics Association president Brian D. Johnson called it a "film of astonishing courage."


title: Yahoo! Finance

text: Yahoo! Finance is a media property that is part of the Yahoo! network. It provides financial news, data and commentary including stock quotes, press releases, financial reports, and original content. It also offers some online tools for personal finance management. In addition to posting partner content from other web sites, it posts original stories by its team of staff journalists. It is ranked 20th by SimilarWeb on the list of largest news and media websites.


title: Yahoo! Finance

text: In 2017 Yahoo! Finance added the feature to look at news surrounding cryptocurrency. It lists over 9,000 unique coins including Bitcoin and Ethereum.


title: Type 38 rifle

text: The is a bolt-action service rifle that was used by the Empire of Japan predominantly during the Second Sino-Japanese War and Second World War. The design was adopted by the Imperial Japanese Army in 1905 (the 38th year of the Meiji period, hence "Type 38"). Due to a lack of strength in its 6.5×50mmSR Arisaka cartridge, it was partially replaced during the war with the Type 99 rifle, but both rifles saw usage until the end of the war.


title: Type 38 rifle

text: The Imperial Japanese Army introduced the Type 30 rifle in 1897. However, the weapon had numerous shortcomings, which were highlighted by combat experience in the early stages of the Russo-Japanese War. These included bursting cartridges, a poorly designed lock in which excess gunpowder tended to accumulate, burning the face of the shooter, frequent misfires, jamming, difficulty in cleaning, and cartridge extraction. Major Kijiro Nambu undertook a redesign of the Type 30, which was introduced in 1906. Nambu reduced the number of parts making up the Type 30's bolt from nine to six and at that same time simplified manufacture and disassembly of the bolt without the need for tools. A dust cover was added because of experiences in the Russo-Japanese War that left rifles inoperable from dust. The weapon was produced in several locations:


title: Type 38 rifle

text: In 1939, the Type 38 rifle manufactured by these arsenals cost 75.9 yen per unit. By 1940 more than three million Type 38s had been issued to the Imperial Japanese Army. However, a concern that the 6.5×50mmSR Arisaka cartridge did not compare favorably to the ammunition used by the other great powers in the war led to the introduction of a further generation of rifles in 1939, during the Second Sino-Japanese War. Designated the Type 99 rifle, this new rifle used the more powerful 7.7×58mm Arisaka cartridge already in use with the Type 92 heavy machine gun and the Type 97 light machine gun. However, not all units received the new weapon, and the mixture of types with incompatible cartridges led to considerable logistics issues during World War II.


title: Type 38 rifle

text: The Type 38 rifle used the 6.5×50mm Arisaka cartridge. This cartridge produces little recoil when fired. However, while on par with the Norwegian and Italian 6.5 mm military cartridges of the time, the 6.5×50mm was not as powerful as several others in use by other nations. The Type 38 at was the longest rifle of the war, due to the emphasis on bayonet training for the Japanese soldier of the era, whose average height was . The rifle was even longer when the Type 30 bayonet was fixed. The Type 38 was fairly heavy, at about 4.25 kg.


title: Type 38 rifle

text: Post-war inspection of the Type 38 by the U.S. military and the National Rifle Association found that the Type 38's receiver was the strongest bolt action of any nation's and capable of handling more powerful cartridges.


title: Type 38 rifle

text: Nomenclature note: In the West, Japanese equipment is commonly referred to as "Type XX", rather than "Model XX". In the case of a firearm, "model" is a more accurate interpretation of the SHIKI (式) character, but the word "type" has become well-established by collectors for decades.


title: Type 38 rifle

text: Intended for use by cavalry, engineers, and other roles where a full sized rifle would be a hindrance, the Type 38 carbine was introduced into service at the same time as the standard Type 38. Its barrel was , overall length , and weight . The carbine lacked a bayonet and the cost in 1939 was 67.9 yen per unit. It was produced in a number of locations:


title: Type 38 rifle

text: Similar to the Type 38 carbine from the middle band back. The Type 44 cavalry carbine is almost entirely different from the middle band forward with an under-folding bayonet, metal nosecap, stacking hook to the left side of the nosecap and wide front sight guards. This model was introduced in 1911. There are three variations of this rifle. Each variation based entirely on the nosecap size and the spacing of the nosecap screws. They have a unique storage compartment in the buttstock for a cleaning rod. These additional features increased the cost of the carbine to 86.2 yen per unit by 1939.


title: Type 38 rifle

text: As with the standard Type 38, but with a rifle scope with 2.5x magnification, the Type 97 was introduced in 1937. The scope was offset to allow loading by stripper clip and bolt handle slightly bent down. Some 14,000 were produced.


title: Type 38 rifle

text: In the late 1930s to the early 1940s, an unknown number of Type 38 rifles were converted into short rifles at Nagoya Arsenal, that did all rebuilds of Type 38 and Type 44 rifles and carbines. The barrels were shortened to from the standard barrel and the stock shortened to match the barrel while the handguard retained its original length. The end result is a Type 38 which is similar in size to the Arisaka Type 99 short rifle. There is no consistency to serial numbers or arsenal marks as the rifles were converted from existing stock. Although total production is unknown, it is estimated that approximately 100,000 were converted.


title: Type 38 rifle

text: Chinese copy of the Japanese Type 38 at the Taiyuan Arsenal in the very late 1920s to early 1930s for the warlord of Shansi province, General Yen Hsi-shan. The receiver is marked 六五步槍 or "six-five rifle". Estimated to have been 108,000 made.


title: Type 38 rifle

text: These copies of the Type 38 rifles are believed to have been manufactured at the South Manchuria Army Arsenal (also known as the 918 Arsenal), but very little is known about them. Chinese sources state that these rifles were made in China for Japan, but for whom it is not known. It does not bear the Japanese Imperial Chrysanthemum, but instead has a heart symbol and under it written "918 Type" (九一八式). It is also not known if these were made before or right after the surrender of Japanese forces. It has an under-folding bayonet similar to the Japanese Type 44. The "918" stamped on top of the receivers stands for the date of September 18, 1931; the date of the Mukden Incident.


title: Type 38 rifle

text: A relatively crude copy of the Type 38 carbine that is believed to have been made mostly in the Chinese city of Tientsin and may have been intended for puppet troops. Unlike the other Type 19 that is a copy of the Type 30 carbine, but in 7.92×57mm Mauser, this Type 19 is chambered in the Japanese 6.5x50sr cartridge. Like the other Type 19, it also has a cherry blossom on the receiver and not the Japanese Imperial Chrysanthemum and also says "North China Type 19" (北支一九式). The "19" may mean the 19th year of Showa Era or 1944. The true military designation is unknown. Approximately 40,000 carbines are thought to have been produced.


title: Type 38 rifle

text: Siam (Thailand) ordered 50,000 Type 38 rifles in 1924 from the Tokyo Army Arsenal chambered in their Type 66 8x52r cartridge. The receiver is marked with the Siamese Charkra with "Type 66" (แบบ ๖๖) written under it. Not only was the caliber changed, but the sights, bayonet and cleaning rod are different than the Japanese version. Almost all parts, including screws cannot be interchanged with the Japanese Type 38.


title: Type 38 rifle

text: Unlike the Siamese Type 66 (แบบ ๖๖), this rifle is a standard Japanese Type 38 in 6.5x50sr that was sent as aid from Japan to Thailand in 1940. These were taken straight from assembly lines at Nagoya and Kokura arsenals, after the Japanese Imperial Chrysanthemum was canceled out by zeros along the petals. In Thailand they called it the Type 83 (แบบ ๘๓). These rifles were issued to second-line troops to free up rifles in their main caliber from front line duties for the Franco-Thai War. Later in the 1950s, some of these rifles had their barrels and stocks cut down to short rifle length with many of those being rechambered for .30-06 Type 88 cartridge and becoming Type Type 83/88s (แบบ ๘๓/๘๘). Very few of these rifles were imported into the United States because of the Gun Control Act of 1968 restricting former military arms from entering the country.


title: Type 38 rifle

text: Made after World War II, these carbines were made in Thailand at the Royal Thai Arsenals in Bangkok from Type 38 parts for a handy carbine for police. The stock and barrel was cut down. The stocks were cut out like a M1 carbine stock and used M1 carbine slings and oilers. Some bolts were turned down, some not. Some had the Royal Thai Police symbol stamped on the receiver with "91" (๙๑) stamped above it and some received the Siamese Charkra stamped on the receiver. They all retained their original Japanese caliber of 6.5x50sr.


title: Type 38 rifle

text: Ordered in mid 1913 by the Huerta government in the standard Mexican military caliber, 7×57mm Mauser, for 50,000 rifles and later for another 25,000 carbines from the Tokyo Artillery Arsenal. They were made to fit the Mexican Mauser model 1895, 1902 or 1910 bayonets. Due to the Mexican Revolution, Japan instead sold them to Russia. Arisaka rifles designed for Mexican use had three interlocking circles on the receiver, the rest had the Mexican crest under "Republica Mexicana".


title: Type 38 rifle

text: Estonian conversion of the standard Type 38 to the .303 British cartridge, intended for usage by second line troops of the Estonian Defence League. A total of 24,000 rifles were rebored during 1929-1934.


title: Type 38 rifle

text: After World War II, Type 38s captured from the IJA were converted to use the 7.62×39mm cartridge by the People's Republic of China since the PLA was being equipped with AK and SKS rifles in that caliber.


title: Type 38 rifle

text: Two versions of the converted Type 38s consisted of rifles with just a SKS barrel or of a SKS barrel with a front stock cap and folding bayonet.


title: Breakwater (structure)

text: A breakwater is a permanent structure constructed at a coastal area to protect against tides, currents, waves, and storm surges. Part of a coastal management system, breakwaters are installed to minimize erosion, and to protect anchorages, helping isolate vessels within them from marine hazards such as prop washes and wind-driven waves. A breakwater, also known in some contexts as a jetty, may be connected to land or freestanding, and may contain a walkway or road for vehicle access.


title: Breakwater (structure)

text: On beaches where longshore drift threatens the erosion of beach material, smaller structures on the beach, usually perpendicular to the water's edge, may be installed. Their action on waves and current is intended to slow the longshore drift and discourage mobilisation of beach material. In this usage they are more usually referred to as groynes.


title: Breakwater (structure)

text: Breakwaters reduce the intensity of wave action in inshore waters and thereby provide safe harbourage. Breakwaters may also be small structures designed to protect a gently sloping beach to reduce coastal erosion; they are placed offshore in relatively shallow water.


title: Breakwater (structure)

text: An anchorage is only safe if ships anchored there are protected from the force of powerful waves by some large structure which they can shelter behind. Natural harbours are formed by such barriers as headlands or reefs. Artificial harbours can be created with the help of breakwaters. Mobile harbours, such as the D-Day Mulberry harbours, were floated into position and acted as breakwaters. Some natural harbours, such as those in Plymouth Sound, Portland Harbour, and Cherbourg, have been enhanced or extended by breakwaters made of rock.


title: Breakwater (structure)

text: Types of breakwaters include vertical wall breakwater, mound breakwater and mound with superstructure or composite breakwater.


title: Breakwater (structure)

text: A breakwater structure is designed to absorb the energy of the waves that hit it, either by using mass (e.g. with caissons), or by using a revetment slope (e.g. with rock or concrete armour units).


title: Breakwater (structure)

text: In coastal engineering, a revetment is a land-backed structure whilst a breakwater is a sea-backed structure (i.e. water on both sides).


title: Breakwater (structure)

text: Rubble mound breakwaters use structural voids to dissipate the wave energy. Rubble mound breakwaters consist of piles of stones more or less sorted according to their unit weight: smaller stones for the core and larger stones as an armour layer protecting the core from wave attack. Rock or concrete armour units on the outside of the structure absorb most of the energy, while gravels or sands prevent the wave energy's continuing through the breakwater core. The slopes of the revetment are typically between 1:1 and 1:2, depending upon the materials used. In shallow water, revetment breakwaters are usually relatively inexpensive. As water depth increases, the material requirements—and hence costs—increase significantly.


title: Breakwater (structure)

text: Caisson breakwaters typically have vertical sides and are usually erected where it is desirable to berth one or more vessels on the inner face of the breakwater. They use the mass of the caisson and the fill within it to resist the overturning forces applied by waves hitting them. They are relatively expensive to construct in shallow water, but in deeper sites they can offer a significant saving over revetment breakwaters.


title: Breakwater (structure)

text: An additional rubble mound is sometimes placed in front of the vertical structure in order to absorb wave energy and thus reduce wave reflection and horizontal wave pressure on the vertical wall. Such a design provides additional protection on the sea side and a quay wall on the inner side of the breakwater, but it can enhance wave overtopping.


title: Breakwater (structure)

text: A similar but more sophisticated concept is a wave-absorbing caisson, including various types of perforation in the front wall.


title: Breakwater (structure)

text: Such structures have been used successfully in the offshore oil-industry, but also on coastal projects requiring rather low-crested structures (e.g. on an urban promenade where the sea view is an important aspect (e.g. Beirut and Monaco)). In the latter, a project is presently ongoing at the Anse du Portier including 18 wave-absorbing high caissons.


title: Breakwater (structure)

text: Wave attenuators consist of concrete elements placed horizontally one foot under the free surface, positioned along a line parallel to the coast. Wave attenuators have four slabs facing the sea, one vertical slab, and two slabs facing the land; each slab is separated from the next by a space of . The row of four sea-facing and two land-facing slabs reflects offshore wave by the action of the volume of water located under it which, made to oscillate under the effect of the incident wave, creates waves in phase opposition to the incident wave downstream from the slabs.


title: Breakwater (structure)

text: Living Breakwaters is a $67 million strategy that aims to help a waterfront neighborhood called Tottenville, on the southwestern part of New York City, survive rising sea levels and storm surges caused by climate change. The strategy connects aquatic landscape architecture, science education, waste collection and coastal housing politics through the implementation of a 13,000 ft long breakwater with oysters planted along it. Each oyster planted is capable of filtering 50 gallons per day, removing all pollutants and toxins to create a cleaner harbor. The reproductive shimmy of the bivalves attracts many marine species, fostering significant ecosystem growth. Pete Malinowski, from the Billion Oyster Project, states that of the millions of oyster spawn that become babies, hardly any survive due to the lack of surfaces to settle on. Therefore, the implementation of reef will enhance the likelihood of oyster’s survival.  This concept of using oysters to fight climate change in coastal towns, “oyster-tecture”, was introduced in 2010 by landscape architect Kate Orff. Orff and her team created soft infrastructure made from fuzzy rope that allows for the seeding of oysters along points of the harbor. Living Breakwaters was awarded the Rebuild By Design grant in 2014 and was implemented by the New York State Governor’s Office of Storm Recovery. This grant additionally includes an on-shore building, the “water-hub, to host community activities near the breakwater. Simultaneously, NY Rising, the state’s civic rebuilding process, matched this federally funding initiative with the Tottenville Dune and Coastal Dune Plantings project The breakwaters will strengthen the vegetated dune system, providing protection to the beachside community in Tottenville by tempering beach erosion. Additionally, northern and eastern expansion of Living Breakwaters is expected along Staten Island at Lemon Creek and Great Kills. As a result, Living Breakwaters provides educational opportunities for Tottenville youth, and overall economic growth for the town.


title: Breakwater (structure)

text: As design wave heights get larger, rubble mound breakwaters require larger armour units to resist the wave forces. These armour units can be formed of concrete or natural rock. The largest standard grading for rock armour units given in CIRIA 683 "The Rock Manual" is 10–15 tonnes. Larger gradings may be available, but the ultimate size is limited in practice by the natural fracture properties of locally available rock.


title: Breakwater (structure)

text: Shaped concrete armour units (such as Dolos, Xbloc, Tetrapod, etc.) can be provided in up to approximately 40 tonnes (e.g. Jorf Lasfar, Morocco), before they become vulnerable to damage under self weight, wave impact and thermal cracking of the complex shapes during casting/curing. Where the very largest armour units are required for the most exposed locations in very deep water, armour units are most often formed of concrete cubes, which have been used up to ~195 tonnes for the tip of the breakwater at Punta Langosteira near La Coruña, Spain.


title: Breakwater (structure)

text: Preliminary design of armour unit size is often undertaken using the Hudson Equation, Van der Meer and more recently Van Gent et al.; these methods are all described in CIRIA 683 "The Rock Manual" and the United States Army Corps of Engineers Coastal engineering manual (available for free online) and elsewhere. For detailed design the use of scaled physical hydraulic models remains the most reliable method for predicting real-life behavior of these complex structures.


title: Breakwater (structure)

text: Breakwaters are subject to damage and overtopping in severe storms. Some may also have the effect of creating unique types of waves that attract surfers, such as The Wedge at the Newport breakwater.


title: Breakwater (structure)

text: The dissipation of energy and relative calm water created in the lee of the breakwaters often encourage accretion of sediment (as per the design of the breakwater scheme). However, this can lead to excessive salient build up, resulting in tombolo formation, which reduces longshore drift shoreward of the breakwaters. This trapping of sediment can cause adverse effects down-drift of the breakwaters, leading to beach sediment starvation and increased coastal erosion. This may then lead to further engineering protection being needed down-drift of the breakwater development. Sediment accumulation in the areas surrounding breakwaters can cause flat areas with reduced depths, which changes the topographic landscape of the seabed.


title: Breakwater (structure)

text: Salient formations as a result of breakwaters are a function of the distance the breakwaters are built from the coast, the direction at which the wave hits the breakwater, and the angle at which the breakwater is built (relative to the coast). Of these three, the angle at which the breakwater is built is most important in the engineered formation of salients. The angle at which the breakwater is built determines the new direction of the waves (after they've hit the breakwaters), and in turn the direction that sediment will flow and accumulate over time.


title: Breakwater (structure)

text: The reduced heterogeneity in sea floor landscape introduced by breakwaters can lead to reduced species abundance and diversity in the surrounding ecosystems. As a result of the reduced heterogeneity and decreased depths that breakwaters produce due to sediment build up, the UV exposure and temperature in surrounding waters increase, which may disrupt surrounding ecosystems.


title: Breakwater (structure)

text: But as a kind of environmental friendly breakwater, pile breakwaters because of occupation of a small area is not harmful to sea wildlife.


title: Breakwater (structure)

text: There are two main types of offshore breakwater (also called detached breakwater): single and multiple. Single, as the name suggests, means the breakwater consists of one unbroken barrier, while multiple breakwaters (in numbers anywhere from two to twenty) are positioned with gaps in between (). The length of the gap is largely governed by the interacting wavelengths. Breakwaters may be either fixed or floating, and impermeable or permeable to allow sediment transfer shoreward of the structures, the choice depending on tidal range and water depth. They usually consist of large pieces of rock (granite) weighing up to 10–15 tonnes each, or rubble-mound. Their design is influenced by the angle of wave approach and other environmental parameters. Breakwater construction can be either parallel or perpendicular to the coast, depending on the shoreline requirements.


title: Warner Bros. Cartoons

text: Warner Bros. Cartoons, Inc. was an American animation studio, serving as the in-house animation division of Warner Bros. during the Golden Age of American animation. One of the most successful animation studios in American media history, it was primarily responsible for the "Looney Tunes" and "Merrie Melodies" series of animated short films. The characters featured in these cartoons, including Bugs Bunny, Daffy Duck, and Porky Pig, are among the most famous and recognizable characters in the world. Many of the creative staff members at the studio, including directors and animators such as Chuck Jones, Friz Freleng, Robert McKimson, Tex Avery, Robert Clampett, Arthur Davis, and Frank Tashlin, are considered major figures in the art and history of traditional animation.


title: Warner Bros. Cartoons

text: Warner Bros. Cartoons was founded in 1933 by Leon Schlesinger as Leon Schlesinger Productions. Schlesinger sold the studio to Warner Bros. in 1944, after which the Warner Bros. Cartoons name was adopted. The studio closed in 1963, and "Looney Tunes" and "Merrie Melodies" were subsequently subcontracted to Freleng's DePatie–Freleng Enterprises studio from 1964 to 1967. Warner Bros. Cartoons re-opened that year, under Warner Bros.-Seven Arts, before closing again in 1969. It was succeeded by Warner Bros. Animation, which was established in 1980.


title: Warner Bros. Cartoons

text: Hugh Harman and Rudolf Ising originated the "Looney Tunes" and "Merrie Melodies" series of animated short subjects in 1930 and 1931, respectively. Both cartoon series were produced for Leon Schlesinger at the Harman-Ising Studio on Hollywood Boulevard in Hollywood, California, with Warner Bros. Pictures releasing the films to theaters. The first "Looney Tunes" character was the Harman-Ising creation Bosko, The Talk-ink Kid. Despite the fact that Bosko was popular among theater audiences, he could never match the popularity of Walt Disney's Mickey Mouse, or even Max Fleischer's Betty Boop. In 1933, Harman and Ising parted company with Schlesinger over financial disputes, and took Bosko with them to Metro-Goldwyn-Mayer. As a result, Schlesinger set up his own studio on the Warner Bros. lot on Sunset Boulevard in Hollywood.


title: Warner Bros. Cartoons

text: The Schlesinger studio got off to a slow start, continuing their one-shot "Merrie Melodies" and introducing a Bosko replacement named Buddy into the "Looney Tunes". Disney animator Tom Palmer was the studio's first senior director, but after the three cartoons he made were deemed to be of unacceptable quality and rejected by the studio, former Harman-Ising animator/musical composer Isadore "Friz" Freleng was called in to replace Palmer and rework his cartoons where every cartoon Freleng directed from 1933 to 1963 was created/directed by Freleng's musical compositions and methods.


title: Warner Bros. Cartoons

text: In 1935, Freleng helmed the "Merrie Melodies" cartoon "I Haven't Got a Hat", which introduced the character Porky Pig. Hardaway and King departed, and a new arrival at Schlesinger's, Fred "Tex" Avery, took Freleng's creation and ran with it. Avery directed a string of cartoons starring Porky Pig that established the character as the studio's first bona fide star. Schlesinger also gradually moved the "Merrie Melodies" cartoons from black and white, to two-strip Technicolor in 1934, and finally to full three-strip Technicolor in 1935. The "Looney Tunes" series would be produced in black-and-white for much longer, until 1943.


title: Warner Bros. Cartoons

text: Because of the limited spacing conditions in the Schlesinger building at 1351 N. Van Ness on the Warner Sunset lot, Avery and his unit – including animators Robert Clampett and Chuck Jones – were moved into a small building elsewhere on the Sunset lot, which Avery and his team affectionately dubbed "Termite Terrace." Although the Avery unit moved out of the building after a year, "Termite Terrace" later became a metonym for the classic Warner Bros. animation department in general, even for years after the building was abandoned, condemned, and torn down. During this period, four cartoons were outsourced to the Ub Iwerks studio; however, Iwerks struggled to adapt his style to the type of humor that the Looney Tunes had developed by this time, and so Clampett took over as director (using Iwerks' staff) for the last two of these outsourced cartoons. Schlesinger was so impressed by Clampett's work on these shorts that he opened a fourth unit for Clampett to head, although for tax reasons this was technically a separate studio headed by Schlesinger's brother-in-law, Ray Katz.


title: Warner Bros. Cartoons

text: From 1936 until 1944, animation directors and animators such as Freleng, Avery, Clampett, Jones, Arthur Davis, Robert McKimson, and Frank Tashlin worked at the studio. During this period, these creators introduced several of the most popular cartoon characters to date, including Daffy Duck (1937, "Porky's Duck Hunt" by Avery), Elmer Fudd (1940, "Elmer's Candid Camera" by Jones), Bugs Bunny (1940, "A Wild Hare" by Avery), and Tweety (1942, "A Tale of Two Kitties" by Clampett). Avery left the studio in 1941 following a series of disputes with Schlesinger, who shortly after closed the studio for two weeks due to a minor strike similar to the better known one that occurred at Disney. A few months earlier he banished all unionized employees in what became known in retrospect as the "Looney Tune Lockout"; this time Schlesinger lost nearly all of his employees of the Avery unit. Clampett and several of his key animators took over Avery's former unit, while Clampett's own position as director of the Schlesinger-Katz studio was taken by Norm McCabe, a Clampett animator whose cartoons focused in war-related humor; McCabe, in turn, lasted barely a year before being drafted, and Frank Tashlin returned to the studio to replace him.


title: Warner Bros. Cartoons

text: By 1942, the Schlesinger studio had surpassed Walt Disney Productions as the most successful producer of animated shorts in the United States. Between 1942 and 1945, the Schelsinger studio produced a number of films for the United States military in support of its efforts in World War II. Under the command of the US Air Force's First Motion Picture Unit, headed from 1942 to 1944 by Major Theodor Seuss Geisel (better known as Dr. Seuss), the studio produced the "Private Snafu" and (with Walter Lantz Productions) "Mr. Hook" cartoons for the servicemen's entertainment.


title: Warner Bros. Cartoons

text: In 1944, Schlesinger sold his studio to Warner Bros., which renamed the company Warner Bros. Cartoons, Inc., and Edward Selzer (who by Jones' and Freleng's accounts had no sense of humor or appreciation of cartoons), was appointed by Warner Bros. as the new head of the cartoon studio after Schlesinger retired. In September 1944 Frank Tashlin left, and in May 1945, Bob Clampett left. Tashlin's unit was initially taken over by Robert McKimson who later took over Clampett's unit. The remaining animators of the initial McKimson unit were assigned to Arthur Davis. Although inheriting most of their staff, these units have been the least known among the four, apart from having lower budgets than Jones and Freleng. In 1948, the studio moved to a larger building on the Sunset Boulevard lot. Davis' separate unit was dissolved in November 1947, and he became an animator for Freleng.


title: Warner Bros. Cartoons

text: The Jones, Freleng, and McKimson units became noted by their respective styles, mostly influenced by their budgets: Jones' cartoons (who was assigned the largest budgets) featured a more visual and sophisticated style, Freleng (having budgets noticeably smaller than Jones) made extensive use of slapstick, and McKimson (who with Davis had much lower budgets) often relied more on jokes and dialogue in general.


title: Warner Bros. Cartoons

text: Among the Warner Bros. cartoon stars who were created after Schlesinger's departure include Pepé Le Pew (1945, "Odor-able Kitty" by Jones), Yosemite Sam (1945, "Hare Trigger" by Freleng), Sylvester (1945, "Life with Feathers" by Freleng), Foghorn Leghorn (1946, "Walky Talky Hawky" by McKimson), Wile E. Coyote and the Road Runner (1949, "Fast and Furry-ous" by Jones), and Speedy Gonzales (1953, "Cat-Tails for Two" by McKimson). In later years, even more minor "Looney Tunes" characters such as Freleng's Rocky and Mugsy, Jones' Marvin the Martian and McKimson's Tasmanian Devil have become significantly popular.


title: Warner Bros. Cartoons

text: After the verdict of the "United States v. Paramount Pictures, Inc." anti-trust case in 1948 ended the practice of "block booking", Warner Bros. could no longer force theaters into buying their features and shorts together as packages; shorts had to be sold separately. Theater owners were only willing to pay so much for cartoon shorts, and as a result, by the late-1950s the budgets at Warner Bros. Cartoons became tighter. Selzer forced a stringent five-week production schedule on each cartoon (at least one director, Chuck Jones, cheated the system by spending more time on special cartoons such as "What's Opera, Doc?", less time on simpler productions such as Road Runner entries, and had his crew forge their time cards). With less money for full animation, the Warner Bros. story men — Michael Maltese, Tedd Pierce, and Warren Foster — began to focus more of their cartoons on dialogue. While story artists were assigned to directors at random during the 1930s and 1940s, by the 1950s each story man worked almost exclusively with one director: Maltese with Jones, Foster with Freleng, and Pierce with McKimson.


title: Warner Bros. Cartoons

text: With the advent of the 3-D film craze in 1953, Warner Bros. shut its cartoon studio down in June of that year, fearing that 3-D cartoon production would be too expensive (only one Warner Bros. cartoon was ever produced in 3-D, Jones' "Lumber Jack-Rabbit" starring Bugs Bunny). The creative staff dispersed (Jones, for example, went to work at Disney on "Sleeping Beauty", Maltese went to Walter Lantz Productions, and Freleng went into commercial work). Warner Bros. Cartoons re-opened five months after its close, following the end of the 3-D craze. In 1955, the staff moved into a brand new facility on the main Warner Bros. lot in Burbank. KTLA television took over the old studio location on Van Ness; the old Warner Sunset Studios is today called Sunset Bronson Studios.


title: Warner Bros. Cartoons

text: Also on February 19, 1955, Warner Bros. sold its library of black and white Looney Tunes to Guild Films. The package consisted of 191 cartoons which began showing on television that year.


title: Warner Bros. Cartoons

text: By 1958, Selzer had retired, and veteran Warner Cartoons production manager John Burton took his place. Warner Bros. also lost its trio of staff storymen at this time. Foster and Maltese found work at Hanna-Barbera Productions, while Pierce worked on a freelance basis with writing partner Bill Danch. John Dunn and Dave Detiege, both former Disney men, were hired to replace them.


title: Warner Bros. Cartoons

text: During Burton's tenure, Warner Bros. Cartoons branched out into television. In the fall of 1960, ABC TV premiered "The Bugs Bunny Show", which was a package program featuring three theatrical Warner Bros. cartoons, with newly produced wraparounds to introduce each short. The program remained on the air under various names and on all three major networks for four decades from 1960 to 2000. All versions of "The Bugs Bunny Show" featured Warner Bros. cartoons released after July 31, 1948, as all of the Technicolor cartoons released before that date were sold to Associated Artists Productions on June 11, 1956.


title: Warner Bros. Cartoons

text: David H. DePatie became the last executive in charge of the original Warner Bros. Cartoons studio in 1961. The same year, Chuck Jones moonlighted to write the script for a UPA-produced feature titled "Gay Purr-ee". When that film was picked up by Warner Bros. for distribution in 1962, the studio learned that Jones had violated his exclusive contract with Warners and he was terminated in July. Most of Jones' former unit subsequently re-joined him at Sib Tower 12 Productions to work on a new series of "Tom and Jerry" cartoons for MGM.


title: Warner Bros. Cartoons

text: In late 1962, at the height of television popularity and decline in moviegoing, DePatie was sent to a board meeting in New York, and he was informed that the cartoon studio was going to be shut down. DePatie completed the task by 1964. Although Chuck Jones was left in mid-1963, he helped DePatie's task by directing four more cartoons with his former unit. The cartoons were "Hare-Breadth Hurry", "Mad as a Mars Hare", "Transylvania 6-5000" and "To Beep or Not to Beep". The final project at the studio was making the animated sequences, directed by McKimson, for the 1964 Warner Bros. feature "The Incredible Mr. Limpet". With the studio closed, Hal Seeger Productions in New York had to be contracted to produce the opening and closing credits for "The Porky Pig Show", which debuted on ABC on September 20, 1964. This marked one of the first times that the "Looney Tunes" characters were animated outside of the Los Angeles area.


title: Warner Bros. Cartoons

text: David H. DePatie and Friz Freleng started DePatie–Freleng Enterprises in 1963, and leased the old Warner Bros. Cartoons studio as their headquarters. In 1964, Warners contracted DePatie–Freleng to produce more "Looney Tunes" and "Merrie Melodies", an arrangement that lasted until 1967. The vast majority of these paired off Daffy Duck against Speedy Gonzales, and after a few initial cartoons directed by Freleng, Robert McKimson was hired to direct most of the remaining DePatie–Freleng Looney Tunes.


title: Warner Bros. Cartoons

text: In addition to DePatie–Freleng's cartoons, a series of new shorts featuring The Road Runner and Wile E. Coyote was commissioned from an independent animation studio, Herbert Klynn's Format Productions. Veteran Warner animator Rudy Larriva, who had worked for years under Road Runner creator Chuck Jones, assumed directorial duties for these films, but even with the Jones connection, Larriva's Road Runner shorts are considered to be mediocre by critics. McKimson also directed an additional two Road Runner shorts with the main DePatie–Freleng team, which are more highly regarded than Larriva's efforts.


title: Warner Bros. Cartoons

text: After three years of outsourced cartoons, Warner Bros. decided to bring production back in-house. DePatie–Freleng had their contract terminated (they subsequently moved to new studios in the San Fernando Valley), and Format was commissioned to produce three "buffer" cartoons with Daffy and Speedy (again, directed by Rudy Larriva) to fill the gap until Warner Bros.'s own studio was up and running again.


title: Warner Bros. Cartoons

text: The new cartoon studio was to be founded and headed by studio executive William L. Hendricks, and after an unsuccessful attempt at luring Bob Clampett out of retirement, former Walter Lantz Productions and Hanna-Barbera animator Alex Lovy was appointed director at the new studio. He brought his longtime collaborator, Laverne Harding to be the new studio's chief animator, and brought in Disney animator Volus Jones and Ed Solomon who also started at Disney as an assistant, which contributed to make cartoons from this era of the studio stylistically quite different from the studio's "Golden Age". Lovy also brought in animator Ted Bonnicksen and layout artist Bob Givens, both veterans of the original studio. Shortly after the studio opened, Warner Bros. was bought out by Seven Arts Associates, and the studio renamed Warner Bros.-Seven Arts.


title: Warner Bros. Cartoons

text: Initially, Lovy's new team produced more Daffy and Speedy cartoons, but soon moved to create new characters such as Cool Cat and Merlin the Magic Mouse, and even occasional experimental works such as "Norman Normal" (1968), the only cartoon not to be in either series. Lovy's cartoons were not well received, and many enthusiasts regard them (particularly his Daffy and Speedy efforts) as the worst cartoons ever produced by the studio.


title: Warner Bros. Cartoons

text: After a year, Alex Lovy left and returned to Hanna-Barbera, and Robert McKimson was brought back to the studio. He focused on using the characters that Lovy had created (and two of his own creation: Bunny and Claude). The studio's classic characters appeared only in advertisements (as for Plymouth Road Runner) and cartoon show bumpers. McKimson's films of the era have more adult-oriented humor than Lovy's. However, on October 10, 1969, Warner Bros. ceased production on all its short subjects and shut the studio down for good when Warner Bros.-Seven Arts was acquired by Kinney National Company. The back catalog of "Looney Tunes" and "Merrie Melodies" shorts would remain a popular broadcast and syndication package for Warner Bros. Television well into the 2000s, by which time it had reacquired the rights to the pre-August 1948 shorts, it sold to Associated Aritsts Productions (known as a.a.p.) on June 11, 1956.


title: God's Favorite Idiot

text: God's Favorite Idiot is an American apocalyptic workplace comedy television series created by and starring Ben Falcone for Netflix. The series consists of sixteen episodes, and the first batch of eight episodes premiered on June 15, 2022.


title: God's Favorite Idiot

text: After getting struck by lightning from an unusual angelic cloud, Clark suddenly has the ability to glow. His coworkers, including his friend Amily, believe that this may somehow be related to God. Their fears are confirmed when an angel tells Clark that he is to be God's messenger and must prevent the Apocalypse from happening.


title: God's Favorite Idiot

text: In December 2020, Netflix gave a 16-episode series order to "God's Favorite Idiot". Ben Falcone and Melissa McCarthy were set to star and executive produce via their On the Day Productions. Michael McDonald would direct and executive produce, after previously working with Falcone and McCarthy on "Nobodies". Steve Mallory joined as an executive producer in February 2021.


title: God's Favorite Idiot

text: Alongside the series announcement, Ben Falcone and Melissa McCarthy were cast. In February 2021, Yanic Truesdale, Usman Ally, Ana Scotney, Chris Sandiford, and Steve Mallory were cast. Leslie Bibb and Kevin Dunn were cast a month later.


title: God's Favorite Idiot

text: Filming began in Byron Bay, Ballina and Lismore in northern New South Wales in March 2021. Filming wrapped in early June 2021 after shooting only eight episodes. The series was expected to wrap in November 2021. The other batch of eight episodes will shoot on a later date.


title: God's Favorite Idiot

text: On Rotten Tomatoes, the series has an approval rating of 33% with an average rating of 4.6/10, based on 15 critic reviews. The website's critics consensus reads, "While it claims to have the Almighty's favor, this silver screen collaboration between Melissa McCarthy and Ben Falcone is too dunderheaded to win over everyday viewers."


title: God's Favorite Idiot

text: Daniel D'Addario of "Variety" called it "a waste of precious time in the career of a talented performer, one whose fans will follow her anywhere, and who rewards them with so little of what she can do."