Question: The first six presidents of the United States did not make extensive use of the veto power: George Washington only vetoed two bills, James Monroe one, and John Adams, Thomas Jefferson and John Quincy Adams none. James Madison, a firm believer in a strong executive, vetoed seven bills. None of the first six Presidents, however, used the veto to direct national policy. It was Andrew Jackson, the seventh President, who was the first to use the veto as a political weapon. During his two terms in office, he vetoed twelve billsmore than all of his predecessors combined. Furthermore, he defied the Supreme Court in enforcing the policy of ethnically cleansing Native American tribes ("Indian Removal"); he stated (perhaps apocryphally), "John Marshall has made his decision. Now let him enforce it!"
Try to answer this question if possible: How many bills did George Washington veto?
Answer: two
Question: In 1939, the Bureau began compiling a custodial detention list with the names of those who would be taken into custody in the event of war with Axis nations. The majority of the names on the list belonged to Issei community leaders, as the FBI investigation built on an existing Naval Intelligence index that had focused on Japanese Americans in Hawaii and the West Coast, but many German and Italian nationals also found their way onto the secret list. Robert Shivers, head of the Honolulu office, obtained permission from Hoover to start detaining those on the list on December 7, 1941, while bombs were still falling over Pearl Harbor. Mass arrests and searches of homes (in most cases conducted without warrants) began a few hours after the attack, and over the next several weeks more than 5,500 Issei men were taken into FBI custody. On February 19, 1942, President Franklin Roosevelt issued Executive Order 9066, authorizing the removal of Japanese Americans from the West Coast. FBI Director Hoover opposed the subsequent mass removal and confinement of Japanese Americans authorized under Executive Order 9066, but Roosevelt prevailed. The vast majority went along with the subsequent exclusion orders, but in a handful of cases where Japanese Americans refused to obey the new military regulations, FBI agents handled their arrests. The Bureau continued surveillance on Japanese Americans throughout the war, conducting background checks on applicants for resettlement outside camp, and entering the camps (usually without the permission of War Relocation Authority officials) and grooming informants in order to monitor dissidents and "troublemakers." After the war, the FBI was assigned to protect returning Japanese Americans from attacks by hostile white communities.
Try to answer this question if possible: What group did the FBI continue surveillance on?
Answer: Japanese Americans
Question: Von Neumann was born Neumann Janos Lajos (in Hungarian the family name comes first), Hebrew name Yonah, in Budapest, Kingdom of Hungary, which was then part of the Austro-Hungarian Empire, to wealthy Jewish parents of the Haskalah. He was the eldest of three children. He had two younger brothers: Michael, born in 1907, and Nicholas, who was born in 1911. His father, Neumann Miksa (Max Neumann) was a banker, who held a doctorate in law. He had moved to Budapest from Pecs at the end of the 1880s. Miksa's father and grandfather were both born in Ond (now part of the town of Szerencs), Zemplen County, northern Hungary. John's mother was Kann Margit (Margaret Kann); her parents were Jakab Kann and Katalin Meisels. Three generations of the Kann family lived in spacious apartments above the Kann-Heller offices in Budapest; von Neumann's family occupied an 18-room apartment on the top floor.
Try to answer this question if possible: Did Von Neumann have any siblings?
Answer: two younger brothers
Question: Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.
Try to answer this question if possible: How did Nicholas Lezard describe post-punk?
Answer:
fusion of art and music