title: Bobby Roode

text: On the September 28 episode of "Raw", Roode returned and answered Drew McIntyre's WWE Championship open challenge, where he failed to win the title. As part of the 2020 Draft in October, both Roode and Ziggler was drafted back to the SmackDown brand. At Survivor Series, Roode competed in a 18-man Dual Brand Battle Royal, which was won by The Miz.


title: Bobby Roode

text: On the January 8, 2021 episode of SmackDown, Roode and Ziggler defeated The Street Profits (Angelo Dawkins and Montez Ford) to win the SmackDown Tag Team Championship. This would mark the team's first SmackDown Tag Team Championship, second tag team championship overall as a team, and Roode's third tag team championship as an individual. At "WrestleMania SmackDown" on April 8, Roode and Ziggler defeated Alpha Academy, The Mysterios and The Street Profits in a Fatal four Way match to retain the titles. on the April 16 episode of SmackDown, Roode and Ziggler defeated The Street Profits to retain the titles. At WrestleMania Backlash, Roode and Ziggler lost the titles to The Mysterios ending their reign at 128 days.


title: Bobby Roode

text: As part of the 2021 Draft, both Roode and Ziggler were drafted to the Raw brand.on the October 4 episode of Raw, Roode and Ziggler lost to Big E and Drew McIntyre. On the October 25 episode of Raw, Ziggler and Roode defeated Alpha Academy and the Street Profits in a #1 contenders match for a Raw tag team Championship match later on that night Roode and Ziggler failed to win the titles. on the November 1 episode of Raw, Roode and Ziggler defeated The Street Profits. at Survivor Series (2021), Roode competed in a 25-man dual branded battle royal which was won by Omos. At Royal Rumble, Roode competed in the Royal Rumble match where he was eliminated by AJ Styles. The night before WrestleMania 38 during the "WrestleMania Edition" of SmackDown, Roode competed in the André the Giant Memorial Battle Royal which was won by Madcap Moss.


title: Bobby Roode

text: On the June 6 episode of Raw, Roode and Ziggler returned to Raw for the first time in months where they appeared for an interview segment on the stage but would be interrupted Omos and MVP. Ziggler then superkicked MVP and both Roode and Ziggler were chased out of the arena by Omos, therefore turning Roode face for the first time since 2019. On September 29, it was reported that Roode underwent a procedure and would be out of action.


title: Bobby Roode

text: Roode made his video game debut in 2008's "TNA Impact!" and also appeared in its sequels "TNA Wrestling" (2009), "" (2010) and "TNA Wrestling Impact!" (2011). He made his WWE video game debut in "WWE 2K18" (2017), later appearing in "WWE 2K19" (2018), "WWE 2K20" (2019), "WWE 2K Battlegrounds" (2020), and most recently WWE 2K22 (2022).


title: Bobby Roode

text: Roode and his ex-wife Tracey have three children: Bobby, Riley, and Nicholas. He is a childhood friend of professional lacrosse player Tracey Kelusky. Roode attended Kenner Collegiate Vocational Institute in Peterborough, Ontario.


title: Novus ordo seclorum

text: The phrase Novus ōrdō sēclōrum (, ; "New order of the ages") is the second of two mottos added by the secretary of the Congress of the Confederation, Charles Thomson, on the reverse (the back side) of the Great Seal of the United States (the first motto is "Annuit cœptis").


title: Novus ordo seclorum

text: The phrase is a reference to the fourth "Eclogue" of Virgil, which contains a passage (lines 5-8) that reads:


title: Novus ordo seclorum

text: The forms "saecla", "saeclorum" etc. were normal alternatives to the more common "saecula" etc. throughout the history of Latin poetry and prose. The form "saeculorum" is impossible in hexameter verse: the "ae" and "o" are long, the "u" short by position.


title: Novus ordo seclorum

text: The word "seclorum" does not mean "secular", but is the genitive (possessive) plural form of the word "saeculum", meaning (in this context) generation, century, or age. "Saeculum" did come to mean "age, world" in late, Christian Latin, and "secular" is derived from it, through "secularis". However, the adjective "secularis," meaning "worldly," is not equivalent to the genitive plural "seclorum," meaning "of the ages."


title: Novus ordo seclorum

text: The motto "Novus ordo seclorum" was translated and added to the seal by Charles Thomson, a Latin expert who was involved in the design of the Great Seal, as "A new order of the ages." Thomson said it was to signify "the beginning of the new American Era" as of the date of the Declaration of Independence.


title: Neil Magny

text: Aoutneil "Neil" Jacques Magny (born August 3, 1987) is an American professional mixed martial artist. He currently competes in the Welterweight division in the Ultimate Fighting Championship (UFC). A professional MMA competitor since 2010, Magny made a name for himself as a competitor on "". As of November 21, 2022, he is #12 in the UFC welterweight rankings.


title: Neil Magny

text: Born and grew up in New York, Magny is of Haitian, and Dominican descent. Magny moved to Illinois at the age of 12, where graduated from Thornwood High School in the Chicago Southland and then went to Southern Illinois University Edwardsville, where he earned a B.A. in Criminal Justice. He wrestled and played football in both high school and college. He is also an army veteran, having been deployed in Kuwait. He left the service in 2013.


title: Neil Magny

text: Magny began competing in MMA professionally in 2010, making his debut August 7, 2010 against Nolan Norwood for the C3 Fights promotion. Magny won the fight via submission (kimura) midway into the second round. Just a few months later Magny again fought for the C3 Fights promotion, fighting against Nate Pratt, winning the fight via unanimous decision. Three weeks after his second win, Magny traveled to Indiana to fight for Cut Throat MMA on their November 6 card. Magny defeated Lawrence Dunning via TKO.


title: Neil Magny

text: Magny won two more fights, bringing his overall record to 6–0, before being invited to compete in Combat USA's Wisconsin vs. Illinois championship series. Magny won his first round fight against fellow Illinois native, Quartus Stitt, via submission (triangle choke). The win moved Magny into the final round of the welterweight division tournament against a Wisconsin fighter. The final round took place on July 21, 2011 where Magny fought against Andrew Trace. Magny lost the fight via submission, marking the first time Magny had lost in his career.


title: Neil Magny

text: Magny fought one more time before trying out for the popular reality TV series, The Ultimate Fighter.


title: Neil Magny

text: Magny was subsequently selected as a cast member of . He won the elimination fight in order to get into the Ultimate Fighter house by defeating Frank Camacho via decision. Magny was selected fourth (seventh overall) by Shane Carwin to be a part of his team.


title: Neil Magny

text: In the first fight of the season, Magny was selected to fight against Brazilian Jiu-Jitsu specialist, Cameron Diffley. Magny dominated the fight throughout two rounds and won via unanimous decision.


title: Neil Magny

text: Magny was then matched up against Team Carwin teammate and IFL and Strikeforce veteran, Bristol Marunde for the quarterfinal round. After two rounds Magny was awarded the unanimous decision victory.


title: Neil Magny

text: Magny made his UFC debut against fellow semifinalist Jon Manley on February 23, 2013 at UFC 157. He won the bout via unanimous decision.


title: Neil Magny

text: Magny faced Sérgio Moraes on August 3, 2013 at UFC 163. He lost the fight via triangle choke in the first round.


title: Neil Magny

text: Magny faced Seth Baczynski on November 6, 2013 at UFC Fight Night 31. He lost the back-and-forth fight via unanimous decision.


title: Neil Magny

text: Magny faced UFC newcomer Gasan Umalatov on February 1, 2014 at UFC 169. He effectively utilized his reach advantage in the striking department to win a unanimous decision.


title: Neil Magny

text: Magny was expected to face William Macário at UFC Fight Night 40. However, Macário was removed from the bout for undisclosed reasons and replaced by returning veteran Tim Means. He won the fight by unanimous decision.


title: Neil Magny

text: Magny was expected to face Cláudio Silva on June 28, 2014 at UFC Fight Night 43. However, da Silva was forced from the bout due to injury and was replaced by promotional newcomer Rodrigo Goiana de Lima. After spending much of the first round defending against de Lima's strikes and submission attempts on the ground, Magny won the fight via KO in the second round after staggering de Lima with punches throughout the round.


title: Neil Magny

text: Magny next fought William Macário at UFC 179. He defeated Macário by TKO in the third round, his fifth UFC win of 2014.


title: Neil Magny

text: Magny was briefly linked to a bout with Josh Koscheck at UFC 184 on February 28, 2015. However, the pairing was scrapped and Koscheck faced Jake Ellenberger at the event.


title: Neil Magny

text: Magny faced Kiichi Kunimoto on February 14, 2015 at UFC Fight Night 60. Magny defeated Kunimoto via submission in the third round, earning him his first "Performance of the Night" honors.


title: Neil Magny

text: Magny faced Lim Hyun-gyu on May 16, 2015 at UFC Fight Night 66. Magny won the fight via TKO in the second round, which also produced a "Performance of the Night" bonus.


title: Neil Magny

text: Magny faced Demian Maia on August 1, 2015 at UFC 190. He lost the fight by submission in the second round.


title: Neil Magny

text: Just twenty-two days after his loss to Maia, Magny stepped in as a short notice replacement for Rick Story to face Erick Silva on August 23, 2015 at UFC Fight Night 74. He won the fight via split decision.


title: Neil Magny

text: Magny was expected to face Stephen Thompson on January 2, 2016 at UFC 195. However, Magny replaced Matt Brown to face Kelvin Gastelum on November 21, 2015 at . Magny won the fight by split decision Their performance earned both participants "Fight of the Night" honors.


title: Neil Magny

text: Magny faced Héctor Lombard on March 20, 2016 at UFC Fight Night 85. After nearly being finished with strikes in the first round, Magny defeated Lombard via TKO in the third round. He also was awarded a "Performance of the Night" bonus. After this fight with Hector Lombard, Magny signed a four fight extension to his UFC contract.


title: Neil Magny

text: Magny was expected to face Dong Hyun Kim on August 20, 2016 at UFC 202. However, Kim was removed from the fight on July 12 and was replaced by Lorenz Larkin. He lost the fight via TKO in the first round.


title: Neil Magny

text: Magny faced Johny Hendricks on December 30, 2016 at UFC 207. At the weigh-ins, Hendricks missed weight for their bout, weighing in at 173.5 lbs. As a result, Magny received 20% of Hendricks' purse and the bout was made a catchweight fight. Magny won the fight via unanimous decision.


title: Neil Magny

text: Magny faced Rafael dos Anjos on September 9, 2017 at UFC 215. He lost the fight via arm-triangle choke submission in the first round.


title: Neil Magny

text: Magny was expected to face Gunnar Nelson on May 27, 2018 at UFC Fight Night 130. However, on April 28, 2018, it was reported Nelson was pulled from the event due to knee injury. On May 15, promotional newcomer Craig White was announced as Magny's new opponent. Magny won the fight via technical knock out in round one.


title: Neil Magny

text: Magny was expected to face Alex Oliveira on September 22, 2018 at UFC Fight Night 137. However, on August 22, 2018, it was reported that Magny faced Santiago Ponzinibbio on November 10, 2018 at UFC Fight Night 140. He lost the fight via knockout.


title: Neil Magny

text: Magny was expected to face Elizeu Zaleski dos Santos on May 18, 2019 at UFC Fight Night 152. However, on March 28, 2019 dos Santos announced that he had not been contacted by the UFC about the match. Magny was the replacement and expected to face Vicente Luque instead. However, it was reported on May 13, 2019 that Magny pulled out of the bout due to testing positive for Di-Hydroxy-LGD-4033.


title: Neil Magny

text: Magny was expected to face Geoff Neal on August 29, 2020 at UFC Fight Night 175. However, Neal withdrew from the event due to health issues and he was replaced by Robbie Lawler. He won the fight via unanimous decision. With this win, Magny earned the second most wins in the welterweight division behind Georges St-Pierre.


title: Neil Magny

text: Magny faced Michael Chiesa on January 20, 2021 at UFC on ESPN 20. Magny lost the fight via unanimous decision after being controlled on the ground for most of the 5 rounds.


title: Neil Magny

text: Magny faced Max Griffin on March 26, 2022 at UFC on ESPN 33. He won the fight via split decision. With this win, Magny tied Georges St-Pierre for the most wins in the UFC welterweight division with nineteen.


title: Neil Magny

text: Magny faced Shavkat Rakhmonov on June 25, 2022 at UFC on ESPN 38. He lost the fight via a guillotine choke submission in the second round.


title: Neil Magny

text: Magny was scheduled to face Daniel Rodriguez on October 15, 2022 at UFC Fight Night 212. However, Rodriguez withdrew from the bout due to elbow infection. The bout was rescheduled for on November 5. He won the fight via D'Arce choke submission in the third round. This win earned him the Performance of the Night award.


title: Tommy Davidson

text: Thomas Davidson (born November 10, 1963) is an American comedian and actor. He was an original cast member on the sketch comedy TV show "In Living Color", Mitchell on "Between Brothers" (1997-1999), Dexter on "Malcolm & Eddie" (1999-2000), Oscar Proud on "The Proud Family" (2001-2005) & its 2022 , Rushon in "Booty Call" (1997), Womack in "Bamboozled" (2000), "Black Dynamite" (2009) and its subsequent television series. In 2022, Davidson appeared on Storybound reading from his book, "Living in Color: What's Funny about Me".


title: Tommy Davidson

text: Born Anthony Reed in Greenville, Mississippi, Davidson was abandoned in the trash at 18 months old, before being rescued by the woman who became his adoptive mother. He was a child of an interracial adoption, being that his adoptive parents are white. His parents changed his name to Thomas Davidson when they adopted him. He has two older white siblings, Michael and Beryle. He and his family had moved from Colorado to Wyoming to Oregon by the time he was five years old.


title: Tommy Davidson

text: His parents divorced when he was five years old, and his mother and the children moved to Washington, D.C. They later moved to Wheaton, Maryland, then the neighborhood of Rosemary Hills in Silver Spring, and then Takoma Park. He attended Rosemary Hills Elementary School, Sligo Middle School, and Bethesda-Chevy Chase High School, in Bethesda, Maryland. After graduating in 1981, he studied communications and interned at the radio station of the University of the District of Columbia for one semester. He had jobs in the kitchen of the Walter Reed National Military Medical Center, cleaning at Roy Rogers, bussing tables at an IHOP in Wheaton, and working in the storeroom of Hechinger in Hyattsville, Maryland.


title: Tommy Davidson

text: Davidson started his career as a stand-up comedian in 1986, when a childhood friend convinced him to perform stand-up at The Penthouse strip club in Park View, Washington, D.C. He continued performing in various comedy clubs throughout the Washington Metropolitan region, Baltimore, and Philadelphia. He opened concerts for Patti LaBelle, Starpoint, and Kenny G. He performed on a fundraising telethon for WHMM in 1987.


title: Tommy Davidson

text: Davidson won an amateur stand-up competition at the Apollo Theater in 1987. Soon afterwards, he moved to North Hollywood, California, where he met Martin Lawrence, who lived in his building. He performed at the Comedy Store, where Robert Townsend heard of him and asked him to be the warm-up comic for an HBO special. After performing at Luther Vandross and Anita Baker shows, he appeared on the Arsenio Hall Show.


title: Travel Man

text: Travel Man is a British television travel documentary series, presented by Richard Ayoade and, since Series 10, Joe Lycett.


title: Travel Man

text: The programme focuses on the presenter travelling to a popular city in each episode, accompanied by a celebrity guest, to provide viewers a potential itinerary for a two-day (48-hour) break. The series is characterised by a fast-paced format, consumer advice and light humour.


title: Travel Man

text: In July 2019, Channel 4 announced that Ayoade would be leaving the show after the ninth series and would be replaced as host by comedian Joe Lycett. His first episode was broadcast on 27 December 2021.


title: Travel Man

text: The programme has been twice nominated in the Best Features category at the BAFTAs and won Best Factual Programme three years running at the RTS Midlands awards.


title: Travel Man

text: "Travel Man" was a spin-off from the Ayoade-presented North One/Channel 4 series "Gadget Man", which was first broadcast with Stephen Fry as host in 2012. Since this series was first broadcast, the franchise has been expanded by Channel 4/North One to include new commission "Hobby Man", with Alex Brooker from Channel 4's Friday night comedy show "The Last Leg" as the main presenter. Similar to "Travel Man", the format features a main presenter with a different guest each week, but each episode of the new programme is an hour long, rather than half an hour. Channel 4 has commissioned a four-part "Hobby Man" series, with each episode exploring three different British hobbies. The guests for the series are Joe Wilkinson, Scarlett Moffatt, Joe Thomas and Andi Oliver.


title: ASCII art

text: ASCII art is a graphic design technique that uses computers for presentation and consists of pictures pieced together from the 95 printable (from a total of 128) characters defined by the ASCII Standard from 1963 and ASCII compliant character sets with proprietary extended characters (beyond the 128 characters of standard 7-bit ASCII). The term is also loosely used to refer to text-based visual art in general. ASCII art can be created with any text editor, and is often used with free-form languages. Most examples of ASCII art require a fixed-width font (non-proportional fonts, as on a traditional typewriter) such as Courier for presentation.


title: ASCII art

text: creations by computer-art pioneer Kenneth Knowlton from around 1966, who was working for Bell Labs at the time. "Studies in Perception I" by Ken Knowlton and Leon Harmon from 1966 shows some examples of their early ASCII art.


title: ASCII art

text: ASCII art was invented, in large part, because early printers often lacked graphics ability and thus, characters were used in place of graphic marks. Also, to mark divisions between different print jobs from different users, bulk printers often used ASCII art to print large banner pages, making the division easier to spot so that the results could be more easily separated by a computer operator or clerk. ASCII art was also used in early e-mail when images could not be embedded.


title: ASCII art

text: RTTY stands for Radioteletype; character sets such as Baudot code, which predated ASCII, were used. According to a chapter in the "RTTY Handbook", text images have been sent via teletypewriter as early as 1923. However, none of the "old" RTTY art has been discovered yet. What is known is that text images appeared frequently on radioteletype in the 1960s and the 1970s.


title: ASCII art

text: In the 1960s, Andries van Dam published a representation of an electronic circuit produced on an IBM 1403 line printer. At the same time, Kenneth Knowlton was producing realistic images, also on line printers, by overprinting several characters on top of one another.


title: ASCII art

text: Note that it was not ASCII art in a sense that the 1403 was driven by an EBCDIC-coded platform and the character sets and trains available on the 1403 were derived from EBCDIC rather than ASCII, despite some glyphs commonalities.


title: ASCII art

text: The widespread usage of ASCII art can be traced to the computer bulletin board systems of the late 1970s and early 1980s. The limitations of computers of that time period necessitated the use of text characters to represent images. Along with ASCII's use in communication, however, it also began to appear in the underground online art groups of the period. An ASCII comic is a form of webcomic which uses ASCII text to create images. In place of images in a regular comic, ASCII art is used, with the text or dialog usually placed underneath.


title: ASCII art

text: During the 1990s, graphical browsing and variable-width fonts became increasingly popular, leading to a decline in ASCII art. Despite this, ASCII art continued to survive through online MUDs, an acronym for "Multi-User Dungeon", (which are textual multiplayer role-playing video games), Internet Relay Chat, Email, message boards and other forms of online communication which commonly employ the needed fixed-width.


title: ASCII art

text: ASCII and more importantly, ANSI were staples of the early technological era; terminal systems relied on coherent presentation using color and control signals standard in the terminal protocols.


title: ASCII art

text: Over the years, warez groups began to enter the ASCII art scene. Warez groups usually release .nfo files with their software, cracks or other general software reverse-engineering releases. The ASCII art will usually include the warez group's name and maybe some ASCII borders on the outsides of the release notes, etc.


title: ASCII art

text: BBS systems were based on ASCII and ANSI art, as were most DOS and similar console applications, and the precursor to AOL.


title: ASCII art

text: ASCII art is used wherever text can be more readily printed or transmitted than graphics, or in some cases, where the transmission of pictures is not possible. This includes typewriters, teleprinters, non-graphic computer terminals, printer separators, in early computer networking (e.g., BBSes), email, and Usenet news messages. ASCII art is also used within the source code of computer programs for representation of company or product logos, and flow control or other diagrams. In some cases, the entire source code of a program is a piece of ASCII art – for instance, an entry to one of the earlier International Obfuscated C Code Contest is a program that adds numbers, but visually looks like a binary adder drawn in logic ports.


title: ASCII art

text: Examples of ASCII-style art predating the modern computer era can be found in the June 1939, July 1948 and October 1948 editions of Popular Mechanics.


title: ASCII art

text: Early computer games played on terminals frequently used ASCII art to simulate graphics, most notably the roguelike genre using ASCII art to visually represent dungeons and monsters within them. "0verkill" is a 2D platform multiplayer shooter game designed entirely in color ASCII art. MPlayer and VLC media player can display videos as ASCII art through the AAlib library. ASCII art is used in the making of DOS-based ZZT games.


title: ASCII art

text: Many game walkthrough guides come as part of a basic .txt file; this file often contains the name of the game in ASCII art. Such as below, word art is created using backslashes and other ASCII values in order to create the illusion of 3D.


title: ASCII art

text: The simplest forms of ASCII art are combinations of two or three characters for expressing emotion in text. They are commonly referred to as 'emoticon', 'smilie', or 'smiley'. There is another type of one-line ASCII art that does not require the mental rotation of pictures, which is widely known in Japan as kaomoji (literally "face characters".)


title: ASCII art

text: More complex examples use several lines of text to draw large symbols or more complex figures. Hundreds of different text smileys have developed over time, but only a few are generally accepted, used and understood.


title: ASCII art

text: The Adventures of Nerd Boy, or just Nerd Boy, was an ASCII comic, published by Joaquim Gândara between 5 August 2001 and 17 July 2007, and consisting of 600 strips. They were posted to ASCII art newsgroup alt.ascii-art and on the website. Some strips have been translated to Polish and French.


title: ASCII art

text: The Atari 400/800, which were released in 1979, did not follow the ASCII standard and had their own character set, called ATASCII. The emergence of ATASCII art coincided with the growing popularity of BBS Systems caused by availability of the acoustic couplers that were compatible with the 8-bit home computers. ATASCII text animations are also referred to as "break animations" by the Atari sceners.


title: ASCII art

text: The Commodore 64, which was released in 1982, also did not follow the ASCII standard. The C-64 character set is called PETSCII, an extended form of ASCII-1963. As with the Atari's ATASCII art, C-64 fans developed a similar scene that used PETSCII for their creations.


title: ASCII art

text: So-called "block ASCII" or "high ASCII" uses the extended characters of the 8-bit code page 437, which is a proprietary standard introduced by IBM in 1979 (ANSI Standard x3.16) for the IBM PC DOS and MS-DOS operating systems. "Block ASCIIs" were widely used on the PC during the 1990s until the Internet replaced BBSes as the main communication platform. Until then, "block ASCIIs" dominated the PC Text Art Scene.


title: ASCII art

text: The first art scene group that focused on the extended character set of the PC in their art work was called "Aces of ANSI Art" (). Some members left in 1990, and formed a group called "ANSI Creators in Demand" (ACiD). In that same year the second major underground art scene group was founded, ICE, "Insane Creators Enterprise".


title: ASCII art

text: There is some debate between ASCII and block ASCII artists, with "Hardcore" ASCII artists maintaining that block ASCII art is in fact not ASCII art, because it does not use the 128 characters of the original ASCII standard. On the other hand, block ASCII artists argue that if their art uses only characters of the computers character set, then it is to be called ASCII, regardless if the character set is proprietary or not.


title: ASCII art

text: Microsoft Windows does not support the ANSI Standard x3.16. One can view block ASCIIs with a text editor using the font "Terminal", but it will not look exactly as it was intended by the artist. With a special ASCII/ANSI viewer, such as ACiDView for Windows (see ASCII and ANSI art viewers), one can see block ASCII and ANSI files properly. An example that illustrates the difference in appearance is part of this article. Alternatively, one could look at the file using the TYPE command in the command prompt.


title: ASCII art

text: In the art scene one popular ASCII style that used the 7-bit standard ASCII character set was the so-called "Oldskool" style. It is also called "Amiga style", due to its origin and widespread use on the Commodore Amiga computers. The style uses primarily the characters: codice_1. The "oldskool" art looks more like the outlined drawings of shapes than real pictures.


title: ASCII art

text: This is an example of "Amiga style" (also referred to as "old school" or "oldskool" style) scene ASCII art.


title: ASCII art

text: The Amiga ASCII scene surfaced in 1992, seven years after the introduction of the Commodore Amiga 1000. The Commodore 64 PETSCII scene did not make the transition to the Commodore Amiga as the C64 demo and warez scenes did. Among the first Amiga ASCII art groups were ART, Epsilon Design, Upper Class, Unreal (later known as "DeZign"). This means that the text art scene on the Amiga was actually younger than the text art scene on the PC. The Amiga artists also did not call their ASCII art style "Oldskool". That term was introduced on the PC. When and by whom is unknown and lost in history.


title: ASCII art

text: The Amiga style ASCII artwork was most often released in the form of a single text file, which included all the artwork (usually requested), with some design parts in between, as opposed to the PC art scene where the art work was released as a ZIP archive with separate text files for each piece. Furthermore, the releases were usually called "ASCII collections" and not "art packs" like on the IBM PC.


title: ASCII art

text: This kind of ASCII art is handmade in a text editor. Popular editors used to make this kind of ASCII art include Microsoft Notepad, CygnusEditor aka. CED (Amiga), and EditPlus2 (PC).


title: ASCII art

text: "Newskool" is a popular form of ASCII art which capitalizes on character strings like "$#Xxo". In spite of its name, the style is not "new"; on the contrary, it was very old but fell out of favor and was replaced by "Oldskool" and "Block" style ASCII art. It was dubbed "Newskool" upon its comeback and renewed popularity at the end of the 1990s.


title: ASCII art

text: Newskool changed significantly as the result of the introduction of extended proprietary characters. The classic 7-bit standard ASCII characters remain predominant, but the extended characters are often used for "fine tuning" and "tweaking". The style developed further after the introduction and adaptation of Unicode.


title: ASCII art

text: While some prefer to use a simple text editor to produce ASCII art, specialized programs, such as JavE have been developed that often simulate the features and tools in bitmap image editors. For Block ASCII art and ANSI art the artist almost always uses a special text editor, because to generate the required characters on a standard keyboard, one needs to know the Alt code for each character. For example, + will produce ▓, + will produce ▒, and + will produce ◘.


title: ASCII art

text: The special text editors have sets of special characters assigned to existing keys on the keyboard. Popular DOS-based editors, such as TheDraw and ACiDDraw had multiple sets of different special characters mapped to the function keys to make the use of those characters easier for the artist who can switch between individual sets of characters via basic keyboard shortcuts. PabloDraw is one of the very few special ASCII/ANSI art editors that were developed for Windows.


title: ASCII art

text: Other programs allow one to automatically convert an image to text characters, which is a special case of vector quantization. A method is to sample the image down to grayscale with less than 8-bit precision, and then assign a character for each value. Such ASCII art generators often allow users to choose the intensity and contrast of the generated image.


title: ASCII art

text: This is one of the earliest forms of ASCII art, dating back to the early days of the 1960s minicomputers and teletypes. During the 1970s, it was popular in US malls to get a t-shirt with a photograph printed in ASCII art on it from an automated kiosk containing a computer, and London's Science Museum had a similar service to produce printed portraits. With the advent of the web, HTML and CSS, many ASCII conversion programs will now quantize to a full RGB colorspace, enabling colorized ASCII images.


title: ASCII art

text: Still images or movies can also be converted to ASCII on various UNIX and UNIX-like systems using the AAlib (black and white) or libcaca (colour) graphics device driver, or the VLC media player or mpv under Windows, Linux or macOS; all of which render the screen using ASCII symbols instead of pixels.


title: ASCII art

text: There are also a number of smartphone applications, such as ASCII cam for Android, that generate ASCII art in real-time using input from the phone's camera. These applications typically allow the ASCII art to be saved as either a text file or as an image made up of ASCII text.


title: ASCII art

text: Most ASCII art is created using a monospaced font, such as Courier, where all characters are identical in width. Early computers in use when ASCII art came into vogue had monospaced fonts for screen and printer displays. Today, most of the more commonly used fonts in word processors, web browsers and other programs are proportional fonts, such as Helvetica or Times Roman, where different widths are used for different characters. ASCII art drawn for a fixed width font will usually appear distorted, or even unrecognizable when displayed in a proportional font.


title: ASCII art

text: Some ASCII artists have produced art for display in proportional fonts. These ASCIIs, rather than using a purely shade-based correspondence, use characters for slopes and borders and use block shading. These ASCIIs generally offer greater precision and attention to detail than fixed-width ASCIIs for a lower character count, although they are not as universally accessible since they are usually relatively font-specific.


title: ASCII art

text: Animated ASCII art started in 1970 from so-called VT100 animations produced on VT100 terminals. These animations were simply text with cursor movement instructions, deleting and erasing the characters necessary to appear animated. Usually, they represented a long hand-crafted process undertaken by a single person to tell a story.


title: ASCII art

text: Contemporary web browser revitalized animated ASCII art again. It became possible to display animated ASCII art via JavaScript or Java applets. Static ASCII art pictures are loaded and displayed one after another, creating the animation, very similar to how movie projectors unreel film reel and project the individual pictures on the big screen at movie theaters. A new term was born: ""ASCIImation"" – another name of "animated ASCII art". A seminal work in this arena is the Star Wars ASCIImation. More complicated routines in JavaScript generate more elaborate ASCIImations showing effects like Morphing effects, star field emulations, fading effects and calculated images, such as mandelbrot fractal animations.


title: ASCII art

text: There are now many tools and programs that can transform raster images into text symbols; some of these tools can operate on streaming video. For example, the music video for American singer Beck's song "Black Tambourine" is made up entirely of ASCII characters that approximate the original footage. VLC, a media player software, can render any video in colored ASCII through the libcaca module.


title: ASCII art

text: There are a variety of other types of art using text symbols from character sets other than ASCII and/or some form of color coding. Despite not being pure ASCII, these are still often referred to as "ASCII art". The character set portion designed specifically for drawing is known as the line drawing characters or pseudo-graphics.


title: ASCII art

text: The IBM PC graphics hardware in text mode uses 16 bits per character. It supports a variety of configurations, but in its default mode under DOS they are used to give 256 glyphs from one of the IBM PC code pages (Code page 437 by default), 16 foreground colors, eight background colors, and a flash option. Such art can be loaded into screen memory directly. ANSI.SYS, if loaded, also allows such art to be placed on screen by outputting escape sequences that indicate movements of the screen cursor and color/flash changes. If this method is used then the art becomes known as ANSI art. The IBM PC code pages also include characters intended for simple drawing which often made this art appear much cleaner than that made with more traditional character sets. Plain text files are also seen with these characters, though they have become far less common since Windows GUI text editors (using the Windows ANSI code page) have largely replaced DOS-based ones.


title: ASCII art

text: In Japan, ASCII art (AA) is mainly known as Shift_JIS art. Shift JIS offers a larger selection of characters than plain ASCII (including characters from Japanese scripts and fullwidth forms of ASCII characters), and may be used for text-based art on Japanese websites.


title: ASCII art

text: Often, such artwork is designed to be viewed with the default Japanese font on a platform, such as the proportional MS P Gothic.


title: ASCII art

text: Users on ASCII-NET, in which the word "ASCII" refers to the ASCII Corporation rather than the American Standard Code for Information Interchange, popularised a style of in which the face appears upright rather than rotated.


title: ASCII art

text: Unicode would seem to offer the ultimate flexibility in producing text based art with its huge variety of characters. However, finding a suitable fixed-width font is likely to be difficult if a significant subset of Unicode is desired. (Modern UNIX-style operating systems do provide complete fixed-width Unicode fonts, e.g. for xterm. Windows has the Courier New font, which includes characters like ┌╥─╨┐♥☺Ƹ̵̡Ӝ̵̨̄Ʒ). Also, the common practice of rendering Unicode with a mixture of variable width fonts is likely to make predictable display hard, if more than a tiny subset of Unicode is used. ≽ⱷ҅ⱷ≼ is an adequate representation of a cat's face in a font with varying character widths.


title: ASCII art

text: The combining characters mechanism of Unicode provides considerable ways of customizing the style, even obfuscating the text (e.g. via an online generator like Obfuscator, which focuses on the filters). Glitcher is one example of Unicode art, initiated in 2012: "These symbols, intruding up and down, are made by combining lots of diacritical marks. It’s a kind of art. There’s quite a lot of artists who use the Internet or specific social networks as their canvas." The corresponding creations are favored in web browsers (thanks to their always better support), as geekily stylized usernames for social networks. With a fair compatibility, and among different online tools, [Facebook symbols] showcases various types of Unicode art, mainly for aesthetic purpose (Ɯıḳĭƥḙȡḯả Wîkipêȡıẚ Ẉǐḳîṗȅḍȉā Ẃįḵįṗẻḑìẵ Ẉĭḵɪṕḗdïą Ẇïƙỉpểɗĭà Ẅȉḱïṕȩđĩẵ etc.). Besides, the creations can be hand-crafted (by programming), or pasted from mobile applications (e.g. the category of 'fancy text' tools on Android). The underlying technique dates back to the old systems that incorporated control characters, though. E.g. the German composite codice_2 would be imitated on ZX Spectrum by overwriting codice_3 after backspace and codice_4.


title: ASCII art

text: In the 1970s and early 1980s it was popular to produce a kind of text art that relied on overprinting. This could be produced either on a screen or on a printer by typing a character, backing up, and then typing another character, just as on a typewriter. This developed into sophisticated graphics in some cases, such as the PLATO system (circa 1973), where superscript and subscript allowed a wide variety of graphic effects. A common use was for emoticons, with WOBTAX and VICTORY both producing convincing smiley faces. Overprinting had previously been used on typewriters, but the low-resolution pixelation of characters on video terminals meant that overprinting here produced seamless pixel graphics, rather than visibly overstruck combinations of letters on paper.


title: ASCII art

text: Beyond pixel graphics, this was also used for printing photographs, as the overall darkness of a particular character space dependent on how many characters, as well as the choice of character, were printed in a particular place. Thanks to the increased granularity of tone, photographs were often converted to this type of printout. Even manual typewriters or daisy wheel printers could be used. The technique has fallen from popularity since all cheap printers can easily print photographs, and a normal text file (or an e-mail message or Usenet posting) cannot represent overprinted text. However, something similar has emerged to replace it: shaded or colored ASCII art, using ANSI video terminal markup or color codes (such as those found in HTML, IRC, and many internet message boards) to add a bit more tone variation. In this way, it is possible to create ASCII art where the characters only differ in color.


title: Rudolf Dassler

text: Rudolf "Rudi" Dassler (26 March 1898 – 27 October 1974) was a German cobbler, businessman, a member of the Nazi party and also the founder of the sportswear company Puma.


title: Rudolf Dassler

text: He was the older brother of Adidas founder, Adolf "Adi" Dassler. The brothers were partners in a shoe company Adolf started, "Gebrüder Dassler Schuhfabrik" (). Rudolf joined in 1924. However, after a feud developed between them following World War II, the brothers went separate ways and started their respective companies in 1948.


title: Rudolf Dassler

text: Initially calling the new company "Ruda" (an acronym for Rudolf Dassler), it was soon changed to its present name of Puma. Puma is the native Quechua word for cougar, from there it went into German as well as other languages.


title: Rudolf Dassler

text: After his return from World War I, Adolf Dassler, Rudolf's younger brother, started to produce sports shoes in his mother's kitchen. His father, Christoph, who worked in a shoe factory, and the brothers Zehlein, who produced the handmade spikes for track shoes in their blacksmith's shop, supported Adolf in starting his own business. In 1924, Rudolf joined the business, which became the Gebrüder Dassler Schuhfabrik (Dassler Brothers Shoe Factory).


title: Rudolf Dassler

text: With the rise of Adolf Hitler in the 1930s, both Dassler brothers joined the Nazi Party, with Rudolf reputed as being the more ardent Nazi.


title: Rudolf Dassler

text: During the war, a growing rift between the pair reached a breaking point after an Allied bomb attack in 1943 when Adi and his wife climbed into a bomb shelter that Rudolf and his family were already in: "The dirty bastards are back again," Adi said, apparently referring to the Allied war planes, but Rudolf was convinced his brother meant him and his family. Rudolf, upon his capture by American troops, was suspected of being a member of the SS, information supposedly supplied by Adolf.


title: Rudolf Dassler

text: Under his direction, Puma remained a small provincial company. Only under the direction of his son, Armin Dassler, did it become the worldwide known company it remains today.


title: Supply-side economics

text: Supply-side economics is a macroeconomic theory that postulates economic growth can be most effectively fostered by lowering taxes, decreasing regulation, and allowing free trade. According to supply-side economics, consumers will benefit from greater supplies of goods and services at lower prices, and employment will increase. Supply-side fiscal policies are designed to increase aggregate supply, as opposed to aggregate demand, thereby expanding output and employment while lowering prices. Such policies are of several general varieties:


title: Supply-side economics

text: A basis of supply-side economics is the Laffer curve, a theoretical relationship between rates of taxation and government revenue. The Laffer curve suggests that when the tax level is too high, lowering tax rates will boost government revenue through higher economic growth, though the level at which rates are deemed "too high" is disputed. A 2012 poll of leading economists found none agreed that reducing the US federal income tax rate would result in higher annual tax revenue within five years. Critics also argue that several large tax cuts in the United States over the last 40 years have not increased revenue.


title: Supply-side economics

text: The term "supply-side economics" was thought for some time to have been coined by the journalist Jude Wanniski in 1975; according to Robert D. Atkinson, the term "supply side" was first used in 1976 by Herbert Stein (a former economic adviser to President Richard Nixon) and only later that year was this term repeated by Jude Wanniski. The term alludes to ideas of the economists Robert Mundell and Arthur Laffer.


title: Supply-side economics

text: Supply-side economics developed in response to the stagflation of the 1970s. It drew on a range of non-Keynesian economic thought, including the Chicago School and New Classical School. Bruce Bartlett, an advocate of supply-side economics, traced the school of thought's intellectual descent from the philosophers Ibn Khaldun and David Hume, satirist Jonathan Swift, political economist Adam Smith and United States Secretary of the Treasury Alexander Hamilton.


title: Supply-side economics

text: Current day advocates of supply-side economic policies claim that lower tax rates produce macroeconomic benefits and emphasize this benefit rather than their traditional ideological Classical liberals opposion to taxation because they opposed government in general. Their traditional claim was that each man had a right to himself and his property and therefore taxation was immoral and of questionable legal grounding. On the other hand, supply-side economists argued that the alleged collective benefit (i.e. increased economic output and efficiency) provided the main impetus for tax cuts.


title: Supply-side economics

text: As in classical economics, supply-side economics proposed that production or supply is the key to economic prosperity and that consumption or demand is merely a secondary consequence. Early on, this idea had been summarized in Say's Law of economics, which states: "A product is no sooner created, than it, from that instant, affords a market for other products to the full extent of its own value."


title: Supply-side economics

text: Supply-side economics rose in popularity among Republican Party politicians from 1977 onwards. Prior to 1977, Republicans were more split on tax reduction, with some worrying that tax cuts would fuel inflation and exacerbate deficits.


title: Supply-side economics

text: In 1978, Jude Wanniski published "The Way the World Works" in which he laid out the central thesis of supply-side economics and detailed the failure of high tax rate progressive income tax systems and United States monetary policy under Richard Nixon and Jimmy Carter in the 1970s. Wanniski advocated lower tax rates and a return to some kind of gold standard, similar to the 1944–1971 Bretton Woods System that Nixon abandoned.


title: Supply-side economics

text: James D. Gwartney and Richard L. Stroup provide a definition of supply-side economics as the belief that adjustments in marginal tax rates have significant effects on the total supply. Gwartney and Stroup said "that the supply-side argument provided the foundation for the Reagan tax policy, which led to significant reductions in marginal tax rates in the United States during the 1980s".


title: Supply-side economics

text: Barry P. Bosworth has provided another definition by presenting the supply-side economics from two perspectives:


title: Supply-side economics

text: Supply-side economics has originated as an alternative to Keynesian economics, which focused macroeconomic policy on management of final demand. Demand-side economics relies on a fixed-price view of the economy, where the demand plays a key role in defining the future supply growth, which also allows for incentive implications of investment.


title: Supply-side economics

text: The Keynesian policy approaches focus on demand management as a major instrument to affect aggregate production and GNP, while Monetarism focuses on management of monetary aggregates and credit. Unlike supply-side economics, demand-side economics is based on the assumption that increases in GNP result from increased spending.


title: Supply-side economics

text: Traditional policy approaches were challenged by the theory of supply-side economics in the Reagan Administration of the 1980s. It claims that fiscal policy may lead to changes in supply as well as in demand. So, when marginal tax rates are high, consumers pursue additional leisure and current consumption instead of pursuing current income and extra income in the future. Therefore, there is a decline in work effort and investment, which in turn causes a decrease of production and GNP, regardless of the total demand levels.


title: Supply-side economics

text: On these assumptions, supply side economists formulate the idea that a cut in marginal tax rates has a positive effect on economic growth.


title: Supply-side economics

text: The main focus of supply-side economics is promotion of economic growth. In this regard, some studies have suggested to consider two relative prices.


title: Supply-side economics

text: The first one influences decisions of individuals on the distribution of their income between consumption and savings. The cost of individual’s decision to assign a unit of income to either consumption or savings is a future value of the unit, which has been given up by choosing either to consume or to save. The unit of income value is defined by the marginal tax rates. Therefore, higher tax rates would decrease the cost of consumption, which would cause a fall in investment and savings. At the same time, lower tax rates would cause the investment and savings levels to rise, while the consumption levels would fall.


title: Supply-side economics

text: The second price influences decisions of individuals on the distribution of their time between work and leisure. The cost of individual’s decision to allocate a unit of time either to work or leisure stands for current income, which was given up by choosing either work or leisure. The cost also includes the future income, which was given up for leisure instead of enhancing the professional skills. The value of lost income is defined by the tax rate assigned to the additional income. Therefore, the increase in marginal tax rates leads to a decrease in the price of leisure. However, if the marginal tax rate decline, the cost of leisure increases.


title: Supply-side economics

text: Both the amount of retained and taxed income is determined by the marginal tax rate. That is why, from a supply-side economist's standpoint, marginal tax rates play a significant role in determining the development of the economy. Due to crucial role in determining how much time workers will spend on work and leisure or how much income will be spent on consumption and for savings, supply-side economists insist on decreasing tax rates as they believe it could improve the growth rates of the economy.


title: Supply-side economics

text: Laffer curve illustrates a mathematical relationship between tax revenues and tax rates, which was popularized by economist Arthur B. Laffer in 1974. Supply-side economics highly depends on the implications, which follow from the relationship presented by the curve. It shows that higher tax rates can sometimes decrease the tax base, which will lead to the decrease in tax revenues even if the tax rates are high. Due to the effect exerted by taxes on the taxed income, the adjustment of tax rates may not lead to proportional changes in tax revenues. That is why, some supply-side economists insist that the decreasing of too high tax rates can result in the increase of the tax revenues.


title: Supply-side economics

text: The Laffer curve embodies a postulate of supply-side economics: that tax rates and tax revenues are distinct, with government tax revenues the same at a 100% tax rate as they are at a 0% tax rate and maximum revenue somewhere in between these two values. Supply-siders argued that in a high tax rate environment lowering tax rates would result in either increased revenues or smaller revenue losses than one would expect relying on only static estimates of the previous tax base.


title: Supply-side economics

text: This led supply-siders to advocate large reductions in marginal income and capital gains tax rates to encourage greater investment, which would produce more supply. Jude Wanniski and many others advocate a zero capital gains rate. The increased aggregate supply should result in increased aggregate demand, hence the term "supply-side economics".


title: Supply-side economics

text: In the United States, commentators frequently equate supply-side economics with Reaganomics. The administration of Republican president Ronald Reagan promoted its fiscal policies as being based on supply-side economics. Reagan made supply-side economics a household phrase and promised an across-the-board reduction in income tax rates and an even larger reduction in capital gains tax rates. During Reagan's 1980 presidential campaign, the key economic concern was double digit inflation, which Reagan described as "[t]oo many dollars chasing too few goods", but rather than the usual dose of tight money, recession and layoffs, with their consequent loss of production and wealth, he promised a gradual and painless way to fight inflation by "producing our way out of it".


title: Supply-side economics

text: Switching from earlier monetary policy, Federal Reserve chair Paul Volcker implemented tighter monetary policies including lower money supply growth to break the inflationary psychology and squeeze inflationary expectations out of the economic system. Therefore, supply-side supporters argue that Reaganomics was only partially based on supply-side economics.


title: Supply-side economics

text: Congress under Reagan passed a plan that would slash taxes by $749 billion over five years. Critics claim that the tax cuts increased budget deficits while Reagan supporters credit them with helping the 1980s economic expansion and argued that the budget deficit would have decreased if not for massive increases in military spending. As a result, Jason Hymowitz cited Reagan—along with Jack Kemp—as a great advocate for supply-side economics in politics and repeatedly praised his leadership.


title: Supply-side economics

text: Critics of Reaganomics claim it failed to produce much of the exaggerated gains some supply-siders had promised. Paul Krugman later summarized the situation: "When Ronald Reagan was elected, the supply-siders got a chance to try out their ideas. Unfortunately, they failed." Although he credited supply-side economics for being more successful than monetarism which he claimed "left the economy in ruins", he stated that supply-side economics produced results which fell "so far short of what it promised", describing the supply-side theory as "free lunches".


title: Supply-side economics

text: Clinton signed the Omnibus Budget Reconciliation Act of 1993 into law, which raised income taxes rates on incomes above $115,000, created additional higher tax brackets for corporate income over $335,000, removed the cap on Medicare taxes, raised fuel taxes and increased the portion of Social Security income subject to tax, among other tax increases. Frankel and Orszag described the “progressive fiscal conservatism" of the 1993 package: "Such progressive fiscal conservatism combines modest attempts at redistribution (the progressive component) and budget discipline (the fiscal conservative component). Thus the 1993 package included significant spending reductions and tax increases. But it concentrated the tax increases on upper-income taxpayers, while substantially expanding the Earned Income Tax Credit, Head Start, and other government programs aimed at lower earners." The tax increases led to greater revenue (relative to a baseline without a tax increase).


title: Supply-side economics

text: The bill was strongly opposed by Republicans, vigorously attacked by John Kasich and Minority Whip Newt Gingrich as destined to cause job losses and lower revenue.


title: Supply-side economics

text: Economist Paul Krugman wrote in 2017 that Clinton's tax increases on the rich provided counter-example to the supply-side tax cut doctrine: "Bill Clinton provided a clear test, by raising taxes on the rich. Republicans predicted disaster, but instead the economy boomed, creating more jobs than under Reagan."


title: Supply-side economics

text: Supply-side economist Alan Reynolds argued that the Clinton era represented a continuation of a low tax policy (from the 1980s):


title: Supply-side economics

text: In May 2012, Sam Brownback, Governor of the state of Kansas, signed into law the "Kansas Senate Bill Substitute HB 2117", which cut the number of individual income tax brackets from three to two, and cut the top income tax rates from 6.45% and 6.25% to 4.9% and the bottom rate from 3.5% to 3%. It also eliminated the 7% tax on "pass-through" income, income that businesses — such as sole proprietorships, partnerships, limited liability companies, and subchapter S corporations — pass on to their owners instead of paying corporate income tax on, for the owners of almost 200,000 businesses The law cut taxes by 231 million in its first year, and cuts were projected to increase to 934 million annually after six years.


title: Supply-side economics

text: The cuts were based on model legislation published by the conservative American Legislative Exchange Council (ALEC), and were supported by "The Wall Street Journal", supply-side economist Arthur Laffer, economics commentator Stephen Moore and anti-tax leader Grover Norquist. The tax cuts have been called the "Kansas experiment", and was described by the Brookings Institution as "one of the cleanest experiments for how tax cuts effect economic growth in the U.S."


title: Supply-side economics

text: Brownback compared his tax cut policies with those of Ronald Reagan, but also described them as "a real live experiment ... We'll see how it works.", Brownback forecast his cuts would create an additional 23,000 jobs in Kansas by 2020, and was intended to generate rapid economic growth, which he said would be "like a shot of adrenaline into the heart of the Kansas economy." On the other hand, the Kansas Legislature's research staff warned of the possibility of a deficit of nearly 2.5 billion by July 2018.


title: Supply-side economics

text: causing spending on roads, bridges, and education to be slashed, but instead of boosting economic growth, growth in Kansas remained consistently below average. A working paper by two economists at Oklahoma State University (Dan Rickman and Hongbo Wang) using historical data from several other states with economies structured similarly to Kansas found that the Kansas economy grew about 7.8% less and employment about 2.6% less than it would have had Brownback not cut taxes.


title: Supply-side economics

text: In 2017, the Republican Legislature of Kansas voted to roll back the cuts, and after Brownback vetoed the repeal, overrode his veto.


title: Supply-side economics

text: According to Max Ehrenfreund, economists generally agree that an explanation for the reduction instead of increase in economic growth from the tax cuts is that "any" benefits from tax cuts come over the long, not short run, but what does come in the short run is a major decline in demand for goods and services. In the Kansas economy cuts in state government expenditures cut incomes of state government "employees, suppliers and contractors" who spent much or most of their incomes locally. In addition, concern over the state's large budget deficits "might have deterred businesses from making major new investments".


title: Supply-side economics

text: One problem Kansas encountered is that while studies have shown that tax cuts increase economic growth, the increased revenue from that growth at the new lower tax rates are only enough to make up for 10-30% of the tax cuts, meaning that to avoid deficits, spending cuts must also be made.


title: Supply-side economics

text: Supply-side advocates Laffer and economics commentators Stephen Moore and Larry Kudlow played prominent roles in formulating Trump’s economic policies by advising him on his tax cut, as well as encouraging him to lower trade barriers. Laffer and Moore wrote a 2018 book about the policy, "Trumponomics", with a foreword by Kudlow. Economist Gregory Mankiw reviewed the book in "Foreign Affairs", and characterized the statements around Trump's policies as "snake-oil economics". He criticized the authors for un-apologetically parroting the president's claimed annual growth rates spawned by his tax cut to be 1-4%, when the highest reasonable estimates were around 0.5%, but also credits them for continuing to support the consensus view that free trade is good for all, against the president's mercantilist views. He also criticized them for following a simplistic "economic growth will solve all problems" approach, when previous presidential economic advisors had been more nuanced, recognizing the unavoidable tradeoff between equity and efficiency in their approaches to managing the economy.


title: Supply-side economics

text: Trump implemented individual and corporate income tax cuts which took effect in 2018. Rutgers economics professor Farrokh Langdana claimed that the Trump tax cuts were an example of supply-side tax policy, citing a letter from economists long-associated with the supply-side theory describing them as such.


title: Supply-side economics

text: One benefit of a supply-side policy is that shifting the aggregate supply curve outward means prices can be lowered along with expanding output and employment. This is in contrast to demand-side policies (e.g., higher government spending), which even if successful tend to create inflationary pressures (i.e., raise the aggregate price level) as the aggregate demand curve shifts outward. Infrastructure investment is an example of a policy that has both demand-side and supply-side elements.


title: Supply-side economics

text: Supply-side economics holds that increased taxation steadily reduces economic activity within a nation and discourages investment. Taxes act as a type of trade barrier or tariff that causes economic participants to revert to less efficient means of satisfying their needs. As such, higher taxation leads to lower levels of specialization and lower economic efficiency. The idea is said to be illustrated by the Laffer curve.


title: Supply-side economics

text: Supply-side economists have less to say on the effects of deficits and sometimes cite Robert Barro’s work that states that rational economic actors will buy bonds in sufficient quantities to reduce long-term interest rates.


title: Supply-side economics

text: Bruce Bartlett stated in 2007 that "The original supply-siders suggested that some tax cuts, under very special circumstances, might actually raise federal revenues. ... But today it is common to hear tax cutters claim, implausibly, that all tax cuts raise revenue."


title: Supply-side economics

text: Some contemporary economists do not consider supply-side economics a tenable economic theory, with Alan Blinder calling it an "ill-fated" and perhaps "silly" school on the pages of a 2006 textbook. Greg Mankiw, former chairman of President President George W. Bush's Council of Economic Advisers, offered similarly sharp criticism of the school in the early editions of his introductory economics textbook. "Tax cuts rarely pay for themselves. My reading of the academic literature leads me to believe that about one-third of the cost of a typical tax cut is recouped with faster economic growth."


title: Supply-side economics

text: In a 1992 article for the "Harvard International Review", James Tobin wrote: "The 'Laffer curve' idea that tax cuts would actually increase revenues turned out to deserve the ridicule."


title: Supply-side economics

text: Karl Case and Ray Fair wrote in "Principles of Economics", "The extreme promises of supply-side economics did not materialize. President Reagan argued that because of the effect depicted in the Laffer curve, the government could maintain expenditures, cut tax rates, and balance the budget. This was not the case. Government revenues fell sharply from levels that would have been realized without the tax cuts."


title: Supply-side economics

text: Supply side proponents Trabandt and Uhlig argue that "static scoring overestimates the revenue loss for labor and capital tax cuts" and that "dynamic scoring" is a better predictor for the effects of tax cuts.


title: Supply-side economics

text: A 1999 study by University of Chicago economist Austan Goolsbee examined major changes in high-income tax rates in the United States from the 1920s onwards. It concluded that there were only modest changes in the reported income of high-income individuals, indicating that the tax changes had little effect on how much people work. He concluded that the notion that governments could raise more money by cutting rates "is unlikely to be true at anything like today's marginal tax rates." In 2015, one study found that in the past several decades, tax cuts in the U.S. seldom recouped revenue losses and had minimal impact on GDP growth.


title: Supply-side economics

text: A 2008 working paper found that in the case of Russia, "tax rate cuts can increase revenues by improving tax compliance."


title: Supply-side economics

text: "The New Palgrave Dictionary of Economics" reports that estimates of revenue-maximizing tax rates have varied widely, with a mid-range of around 70%. According to a 2012 study, "the U.S. marginal top [tax] rate is far from the top of the Laffer curve." A 2012 survey found a consensus among leading economists that reducing the US federal income tax rate would raise GDP but would not increase tax revenue.


title: Supply-side economics

text: John Quiggin distinguishes between the Laffer curve and Laffer's analysis of tax rates. The Laffer curve was "correct but unoriginal", but Laffer's analysis that the United States was on the wrong side of the Laffer curve "was original but incorrect."


title: Supply-side economics

text: Proponents of supply-side economics have sometimes cited tax cuts enacted in the 1920s as evidence that tax cuts can increase tax revenue. After World War I, the highest tax bracket, which was for those earning over $100,000 a year (worth at least $1 million a year now), was over 70 percent. According to The Heritage Foundation, revenue acts of 1921, 1924 and 1926 reduced this tax rate to less than 25 percent, yet tax revenues actually went up significantly. Tax historian Joseph Thorndike argues that the tax cuts helped "bolster" growth but did not "cover the full cost of those tax cuts".


title: Supply-side economics

text: Proponents of supply-side economics sometimes cite tax cuts enacted by President Lyndon B. Johnson with the Revenue Act of 1964. John F. Kennedy had the year prior advocated a drastic tax-rate cut in 1963 when the top income tax rate was 91%, arguing that "[t]ax rates are too high today and tax revenues too low, and the soundest way to raise revenues in the long run is to cut rates now". The CBO concluded in 1978 that the tax cuts reduced tax revenue by $12 billion and that only between $3 billion to $9 million were recaptured due to bolstered economic growth. According to the CBO, "most of this rise [in revenues] was due to economic growth that would have taken place even without the tax cut."


title: Supply-side economics

text: At the same time, some studies have found a relatively robust response to tax cuts from the top 5% of tax returns. There has been identified an increase of 7.7% in revenues from the top 5%, from $17.17 billion US in 1963 to $18.49 billion in 1965. Hereby, the data have provided evidence that the group has been in the prohibitive part of the Laffer curve, because its input to total tax revenues have increased despite the tax rates decreasing significantly.


title: Supply-side economics

text: Supply-siders justified Reagan's tax cuts during the 1980s by claiming they would result in net increases in tax revenue, yet tax revenues declined (relative to a baseline without the cuts) due to Reagan's tax cuts, and the deficit ballooned during Reagan's term in office. The Treasury Department studied the Reagan tax cuts and concluded they significantly reduced tax revenues relative to a baseline without them. The 1990 budget by the Reagan administration concluded that the 1981 tax cuts had caused a reduction in tax revenue.


title: Supply-side economics

text: Both CBO and the Reagan Administration forecast that individual and business income tax revenues would be lower if the Reagan tax cut proposals were implemented, relative to a policy baseline without those cuts, by about $50 billion in 1982 and $210 billion by 1986. FICA tax revenue increased because in 1983 FICA tax rates were increased from 6.7% to 7% and the ceiling was raised by $2,100. For the self-employed, the FICA tax rate went from 9.35% to 14%. The FICA tax rate increased throughout Reagan's term and rose to 7.51% in 1988 and the ceiling was raised by 61% through Reagan's two terms. Those tax hikes on wage earners, along with inflation, were the source of revenue gains in the early 1980s.


title: Supply-side economics

text: It has been contended by some supply-side critics that the argument to lower taxes to increase revenues was a smokescreen for "starving" the government of revenues in the hope that the tax cuts would lead to a corresponding drop in government spending, but this did not turn out to be the case. Paul Samuelson called this notion "the tape worm theory—the idea that the way to get rid of a tape worm is [to] stab your patient in the stomach".


title: Supply-side economics

text: There is frequent confusion on the meaning of the term "supply-side economics" between the related ideas of the existence of the Laffer Curve and the belief that decreasing tax rates can increase tax revenues. Many supply-side economists doubt the latter claim while still supporting the general policy of tax cuts. Economist Gregory Mankiw used the term "fad economics" to describe the notion of tax rate cuts increasing revenue in the third edition of his 2007 "Principles of Macroeconomics" textbook in a section entitled "Charlatans and Cranks":


title: Supply-side economics

text: In 1986, Martin Feldstein — a self-described "traditional supply sider" who served as Reagan's chairman of the Council of Economic Advisors from 1982 to 1984 — characterized the "new supply siders" who emerged circa 1980:


title: Supply-side economics

text: What distinguished the new supply siders from the traditional supply siders as the 1980s began was not the policies they advocated but the claims that they made for those policies ... The "new" supply siders were much more extravagant in their claims. They projected rapid growth, dramatic increases in tax revenue, a sharp rise in saving, and a relatively painless reduction in inflation. The height of supply side hyperbole was the "Laffer curve" proposition that the tax cut would actually increase tax revenue because it would unleash an enormously depressed supply of effort. Another remarkable proposition was the claim that even if the tax cuts did lead to an increased budget deficit, that would not reduce the funds available for investment in plant and equipment because tax changes would raise the saving rate by enough to finance the increased deficit ... Nevertheless, I have no doubt that the loose talk of the supply side extremists gave fundamentally good policies a bad name and led to quantitative mistakes that not only contributed to subsequent budget deficits but that also made it more difficult to modify policy when those deficits became apparent.


title: Supply-side economics

text: During his presidency, President Bush signed the Economic Growth and Tax Relief Reconciliation Act of 2001 and Jobs and Growth Tax Relief Reconciliation Act of 2003, which entailed significant tax cuts. In 2003, the Congressional Budget Office conducted a dynamic scoring analysis of tax cuts advocated by supply advocates, and found that the Bush tax cuts would not pay for themselves. Two of the nine models used in the study predicted a large improvement in the deficit over the next ten years resulting from tax cuts, but only by making the assumption that people would work harder from 2004 to 2014 because they believed that tax rates would increase again in 2014, and they wanted to make more money before the tax cuts expired.


title: Supply-side economics

text: In 2006, the CBO released a study titled "A Dynamic Analysis of Permanent Extension of the President's Tax Relief". This study found that under the best possible scenario making tax cuts permanent would increase the economy "over the long run" by 0.7%. This study was criticized by many economists, including Harvard Economics Professor Greg Mankiw, who pointed out that the CBO used a very low value for the earnings-weighted compensated labor supply elasticity of 0.14. In a paper published in the Journal of Public Economics, Mankiw and Matthew Weinzierl noted that the current economics research would place an appropriate value for labor supply elasticity at around 0.5.


title: Supply-side economics

text: The Congressional Budget Office (CBO) estimated that extending the Bush tax cuts beyond their 2010 expiration would increase the deficit by $1.8 trillion over 10 years. The CBO also completed a study in 2005 analyzing a hypothetical 10% income tax cut and concluded that under various scenarios there would be minimal offsets to the loss of revenue. In other words, deficits would increase by nearly the same amount as the tax cut in the first five years with limited feedback revenue thereafter.


title: Supply-side economics

text: Nobel laureate economist Milton Friedman agreed the tax cuts would reduce tax revenues and result in intolerable deficits, though he supported them as a means to restrain federal spending. Friedman characterized the reduced government tax revenue as "cutting their allowance".


title: Supply-side economics

text: Douglas Holtz-Eakin was a Bush administration economist who was appointed director of the Congressional Budget Office in 2003. Under his leadership, the CBO undertook a study of income tax rates which found that any new revenue from tax cuts paled in comparison to their cost.


title: Supply-side economics

text: Dartmouth economics professor Andrew Samwick was the chief staff economist for the Bush Council of Economic Advisers from July 2003 to July 2004. Writing on his blog in 2007, Samwick urged his former colleagues in the Bush administration to avoid asserting that the Bush tax cuts paid for themselves, because "No thoughtful person believes it...Not a single one."


title: Supply-side economics

text: "The New York Times" reported in November 2018 that the Trump tax overhaul "has fattened the paychecks of most American workers, padded the profits of large corporations and sped economic growth." Cautioning that "its still early but ten months after the law took effect, the promised 'supply side' bump is harder to find than the sugar-high stimulus." The writers explained that "It's highly unusual for deficits...to grow this much during periods of prosperity" and that "the fiscal health of the U.S. is deteriorating fast, as revenues have declined sharply" (nearly $200 billion or about 6%) relative to the CBO forecast prior to the tax cuts. Results for 2018 included:


title: Supply-side economics

text: Analysis conducted by the Congressional Research Service on the first-year effect of the tax cut found that little if any economic growth in 2018 could be attributed to it. Growth in GDP, employment, worker compensation and business investment slowed during the second year following enactment of the tax cut, prior to the emergence of the COVID-19 pandemic.


title: Supply-side economics

text: Following the Trump tax cut, top White House economic advisor Larry Kudlow falsely asserted that federal revenues had increased about 10% since the tax cut, though they had actually declined. He also falsely asserted that the CBO had found the "entire $1.5 trillion tax cut is virtually paid for by higher revenues and better nominal GDP."


title: Supply-side economics

text: Income inequality can be measured both pre- and after-tax. There is no consensus on the effects of income tax cuts on pre-tax income inequality, although one 2013 study indicated a strong correlation between how much top marginal tax rates were cut and greater pre-tax inequality across many countries.


title: Supply-side economics

text: For example, the Tax Policy Center evaluated a detailed supply-side tax cut proposal from presidential candidate Jeb Bush in 2015. Their conclusion was that the proposal would both increase deficits dramatically and worsen after-tax income inequality.


title: Supply-side economics

text: Critics of supply-side policies emphasize the growing federal deficits, increased income inequality and lack of growth. They argue that the Laffer curve only measures the rate of taxation, not tax incidence, which may be a stronger predictor of whether a tax code change is stimulative or dampening.


title: Supply-side economics

text: Writing in 2010, John Quiggin said, "To the extent that there was an economic response to the Reagan tax cuts, and to those of George W. Bush twenty years later, it seems largely to have been a Keynesian demand-side response, to be expected when governments provide households with additional net income in the context of a depressed economy."


title: Supply-side economics

text: Cutting marginal tax rates can also be perceived as primarily beneficial to the wealthy, which some see as politically rather than economically motivated:


title: Supply-side economics

text: Studies, which have analysed the tax cuts in 2001 (EGTRRA), provided controversial conclusions: the decrease in taxes have provided a generally positive impact on the future output from the effect of the lower tax rates on human capital accumulation, private saving and investment, labor supply; however, the tax cuts have produced adverse effects such as higher deficits and reduced national savings. Thus, Gale and Potter (2002) concluded that these tax cuts could not affect the GDP levels in any significant way in the next 10 years.


title: Piero Ferrari

text: Piero Lardi Ferrari (born 22 May 1945) is an Italian billionaire businessman and sport personality. He is the second and only living son of Enzo Ferrari, and a 10.23% owner of the Ferrari automotive company, of which he is the vice chairman. He owns 13.2% of the Ferretti Group. As of August 2022, his net worth was estimated at US$4.6 billion.


title: Piero Ferrari

text: Piero Ferrari is the son of Enzo Ferrari (20 February 1898 – 14 August 1988) and his mistress, Lina Lardi (1911 – 2006). He is also the younger half-brother of Dino Ferrari (19 January 1932 – 30 June 1956), with whom he shares a father. Dino had been diagnosed with Duchenne muscular dystrophy, and died on 30 June 1956, at the age of 24. Piero never met his older brother in life, despite being 11 years old at the time of Dino's passing.


title: Piero Ferrari

text: After Dino's death, Enzo made Piero one of his principal heirs, giving him a 10% stake in the Ferrari company.


title: Piero Ferrari

text: Enzo had met Lina Lardi in the late 1930s, when she was working at Carrozzerie Orlandi, a coachbuilder company in Modena. The two began a romantic affair soon after; their son, Piero, was born on 22 May 1945; and Enzo and Lina continued their relationship until Ferrari's death in 1988. As divorce was illegal in Italy until 1975, Piero could not be acknowledged as a Ferrari family member until the death of Enzo's estranged wife, Laura, on 27 February 1978. In 1990, he legally changed his name from Piero Lardi Ferrari to Piero Ferrari.


title: Piero Ferrari

text: Ferrari grew up in Modena. He became passionate about mechanics by hanging out in a bike repair shop close to his mother's home. In 1964, he obtained a high school diploma with at the mechanics course of the Fermo Corni Technical Institute in Modena, an istituto tecnico industriale.


title: Piero Ferrari

text: In 1969 Ferrari started working informally for the family company as an English translator for his father. In the early 1970s he was officially hired as technical supervisor, with the task of listing, describing and archiving defective or ineffective car components. One of his early jobs was taking the drawings and parts of the 196 Dino to the GT department, acting as a bridge between the road car and racing division. In doing so, he earned considerable experience about the operational dynamics of the factory.


title: Piero Ferrari

text: In 1974 he was moved to the Formula One team, where he worked as a co-organiser, assisting sporting directors Luca Cordero di Montezemolo and Daniele Audetto. In the mid-1980s he became supervisor of the production of road cars, where he helped developing concepts for the low-volume Ferrari F40, Ferrari F50 and LaFerrari.


title: Piero Ferrari

text: In 1988, when Enzo Ferrari died, Piero was the sole heir of the Ferrari family and inherited his father's 10% share of the company and the ownership of the Fiorano Circuit. In 1989 he was nominated vice chairman by Ferrari's then president Vittorio Ghidella.


title: Piero Ferrari

text: On the occasion of the 2013 Chinese Grand Prix, won by Fernando Alonso, Ferrari's then team principal Stefano Domenicali persuaded Piero Ferrari to collect the trophy for the team. It was the first time in the history of Scuderia Ferrari that a Ferrari family member would step on the podium of a Formula One race.


title: Piero Ferrari

text: In 1998 Ferrari teamed up with José Di Mase and purchased Piaggio Aero Engineering with the idea of bringing Piaggio back to its roots as a designer and producer of business aircraft. Ferrari was nominated president. He resigned in 2015 when he sold the final 1.95% of his shares to Mubadala Development Company. The connection proved fruitful as Ferrari was then able to persuade Mubadala to become a title sponsor of the Ferrari Formula One Team the following year.


title: Piero Ferrari

text: Ferrari is also the chairman of HPE COXA, a company he founded in 1998 with the aim of providing high end engineering services in the mechanical field. In 2009 HPE acquired COXA, a manufacturing firm founded in 1985 and specialized in the high precision manufacturing of niche volumes and prototypes.


title: Piero Ferrari

text: In May 2019 he was ranked by "Forbes" at number 838 in the world's billionaires list with a net worth of $3.1 billion. Also in 2019, he acquired the first mega yacht built by Riva—the 50m "RACE"—that launched the new superyacht division of the Ferretti Group.


title: Piero Ferrari

text: In April 2020 he was ranked by "Forbes" at number 680 in the world's billionaires list with a net worth of $3.4 billion.


title: Piero Ferrari

text: In June 2021 he was ranked by "Forbes" at number 705 in the world's billionaires list with a net worth of $4.7 billion.


title: Piero Ferrari

text: Ferrari was awarded the title of Cavaliere del Lavoro in 2004. In 2004, he received an honorary degree in aerospace engineering from the University of Naples. In 2021 he received the Mecenate dello Sport Award in Latina.


title: Piero Ferrari

text: Piero Ferrari was very close to his paternal grandmother, Adalgisa Bisbini (1872 – 1965). He is married to Romina Gingasu; has a daughter Antonella with previous wife Floriana Nalin; and two grandsons, Enzo and Piero. He lives in Modena in his father's old residence.


title: Piero Ferrari

text: Ferrari also actively supports Centro Dino Ferrari, a research center for neurodegenerative and muscular diseases at the University of Milan, located in the Clinical Neurology Institute at the University Polyclinic of Milan. The center was named for his deceased half-brother, Dino Ferrari, after the latter died at age 24 due to Duchenne muscular dystrophy, and was co-founded by their father, Enzo Ferrari, with Prof. Guglielmo Scarlato (1931 – 2002) in 1978.


title: Life in Pieces

text: Life in Pieces is an American sitcom television series created by Justin Adler and which premiered on CBS on September 21, 2015 and concluded on June 27, 2019. The series was produced by 40 or 50 Years, Inc., Kapital Entertainment in association with 20th Century Fox Television, with Adler serving as showrunner. "Life in Pieces" was canceled by CBS after four seasons on May 10, 2019.


title: Life in Pieces

text: The series chronicles the lives of three generations of the Short family as they go about their daily lives in Los Angeles County. Each episode is told as four short stories, typically one for three of the four Short family branches and one that involves the fourth and ties the other three stories together.


title: Life in Pieces

text: On January 22, 2015, CBS placed a pilot order, under the title "Life in Pieces". The pilot was written by Justin Adler and directed by Jason Winer. On May 8, 2015, CBS placed a series order. The first season was picked up for a full 22-episode order on October 27, 2015. On May 11, 2016, CBS renewed the show for a second season, which premiered on October 27, 2016. "Life in Pieces" was renewed for a third season on March 23, 2017, which premiered on November 2, 2017. "Life in Pieces" was renewed for a fourth season on May 12, 2018, which premiered on April 18, 2019.


title: Life in Pieces

text: On May 10, 2019, it was announced that CBS cancelled "Life in Pieces". A combination of factors, including declining ratings, CBS's desire to have an ownership stake, and the network needing to clear space in getting four new sitcoms in the fall 2019 and mid-season schedule, led to the show's demise.


title: Life in Pieces

text: The show debuted on September 21, 2015 on CBS. The first five episodes aired on Mondays, before it was moved on November 5, 2015, to a new time slot of 8:30 p.m. ET/PT (7:30 p.m. CT) on Thursdays, directly after CBS finished its NFL broadcasts. In the United States, all seasons are available on Hulu. The first season airs on Netflix, with all seasons being available in Canada.


title: Life in Pieces

text: In the United Kingdom, all seasons are available on Amazon Prime and is shown season by season on Comedy Central UK and Ireland.


title: Life in Pieces

text: 20th Century Fox Home Entertainment released region-free, MOD versions of the first two seasons on Amazon on May 22, 2018. This was followed by the third season on June 12, 2018 and the fourth on July 9, 2019.


title: Life in Pieces

text: The first season on review aggregator website Rotten Tomatoes reports a 62% approval rating with an average rating of 6.58/10 based on 39 reviews. The website's consensus reads ""Life in Pieces" strong cast delivers funny, offbeat stories even if they're not always relatable". On Metacritic, the series holds a score of 64 out of 100 based on 24 reviews, indicating "generally favorable reviews."


title: Holding Out for a Hero

text: "Holding Out for a Hero" is a song recorded by Welsh singer Bonnie Tyler for the soundtrack to the 1984 film "Footloose". It later featured on her sixth studio album, "Secret Dreams and Forbidden Fire" (1986). The track was produced by Jim Steinman, who co-wrote the song with Dean Pitchford and was a Top 40 hit in several European countries, as well as Canada and the United States. Its 1985 re-release in the United Kingdom reached number two (remaining there for three weeks) and topped the singles chart in Ireland.


title: Holding Out for a Hero

text: Paramount Pictures asked Tyler to record a song for the soundtrack to the 1984 film "Footloose". She agreed on the condition that Jim Steinman, who was her producer at the time through CBS/Columbia, could work with her on the project. Steinman wrote the song with Dean Pitchford, who co-wrote every song on the soundtrack album. Tyler was invited to the Paramount film studios in Los Angeles to watch the film rushes to see how "Holding Out for a Hero" would fit into the plot.


title: Holding Out for a Hero

text: "Holding Out for a Hero" shares numerous musical elements with "Stark Raving Love", a track from Steinman's solo album "Bad for Good" (1981), including the piano riff and vocal harmonies.


title: Holding Out for a Hero

text: In a retrospective review, "The A.V. Club"s William Hughes stated that the song "displays some of the worst of its decade's (and composer's) typical excesses: The lyrics are laughable, and the heavy-handed synths and piano riffs come dangerously close to cheese", but adds, "The sum of those parts transcends their limitations, hooking directly into pure emotional need like only the greatest of torch songs can."


title: Holding Out for a Hero

text: Writing in Metal Hammer the song was described by Paul Stenning as "the ultimate rock anthem", stating "Only Jim Steinman can get away with such bombastic overtones, in this case the perfect coupling with Tyler's inimitable voice."


title: Holding Out for a Hero

text: The accompanying music video for "Holding Out for a Hero" was produced by Jeffrey Abelson for Parallax Productions, directed by Doug Dowdle, with the concept by Keith Williams. It was filmed at the Grand Canyon, Arizona, and at Veluzat Ranch, California. It was the second video, released to promote "Footloose" while featuring no movie footage in the video.


title: Holding Out for a Hero

text: The video sees Tyler escaping from a burning house; the video is set primarily in the vicinity of the burning house and on the edge of the Grand Canyon – interspersed with shots of angelic background singers in white dresses. Evil cowboys dressed in black, carrying neon whips appear before Tyler, threatening her; a cowboy hero dressed in white, brandishing a revolver, appears on horseback and the evil cowboys flee on horseback, with the hero in pursuit. As the song fades out, the hero cowboy appears in front of Tyler.


title: Holding Out for a Hero

text: Two recorded performances of "Holding Out for a Hero" have been released on Tyler's concert DVDs "Bonnie on Tour" (2006) and "Live in Germany 1993" (2011), and their respective CD editions.


title: Holding Out for a Hero

text: "Holding Out for a Hero" has featured in numerous commercials, film and television soundtracks, and the song has been covered by various artists. In 1984, E. G. Daily's version was used as the theme for the television series "Cover Up". In 1984, Miki Asakura's Japanese version was used as the theme for the television series "". In 2004, Jennifer Saunders recorded a version of the song for "Shrek 2". Frou Frou also recorded a version for the credits sequence. Saunders' version would later be used in the opening ceremony for the 2010 Summer Youth Olympics. Ella Mae Bowen recorded a cover of the song for the 2011 "Footloose" remake. In 2012, Becca Tobin and Marley Rose did this song in the fourth season of "Glee". In 2014 German band Grailknights recorded a metal cover of the song.


title: Holding Out for a Hero

text: The song was used in the Cartoon Network series "Regular Show" in the 7th episode of season 3, "Eggscellent". The episode won an Emmy Award.


title: Holding Out for a Hero

text: Tyler has released re-recordings of the song in 2004 and 2011. In 2013, she recorded a parody of the song for use in a "Children in Need" fundraising campaign.


title: Holding Out for a Hero

text: In 2021, the song was noted for its appearances in a trailer for "", another trailer for the "Guardians of the Galaxy" video game, and in the second episode of the Disney+ series "Loki", all of which premiered in the same week. This led to a significant increase in downloads and streams, and a placement atop "Billboard"’s Top TV Songs Chart.


title: Holding Out for a Hero

text: In February 2022, the song again received media coverage for its use in the seventh episode of the American teen drama series "Euphoria".


title: Holding Out for a Hero

text: A Japanese cover of the song by singer Miki Asakura was used in the final battle in the 2022 film, "Bullet Train".


title: Paper Mario

text: Paper Mario is a video game series and part of the "Mario" franchise, developed by Intelligent Systems and produced by Nintendo. It combines elements from the role-playing, action-adventure, and puzzle genres. Players control a paper cutout version of Mario, sometimes with allies, on a quest to defeat the antagonist, primarily Bowser. The series consists of six games and one spin-off; the first, "Paper Mario" (2000), was released for the Nintendo 64, and the most recent, "" (2020), for the Nintendo Switch.


title: Paper Mario

text: The original "Paper Mario" began as a sequel to "Super Mario RPG" (1996), developed by Square for the Super Nintendo Entertainment System. Changes in development resulted in the game becoming a standalone game. Although the early games in the series were well-received, Kensuke Tanabe wanted each one to have different genre and core gameplay elements. This led the series to slowly move genres from role-playing to action-adventure, though some role-playing elements are still present later in the series.


title: Paper Mario

text: The first two games in the series, "Paper Mario" and "", received critical acclaim, and were praised for their story, characters, and unique gameplay. When "" was released in 2012, the series began to receive complaints about its change in genre, removal of original fictional races, and less unique character designs, but continued to earn praise for its writing, characters, music, and enhanced paper-inspired visuals. "Super Paper Mario" is the bestselling game in the series, with 4.3 million sales as of 2019. The series has collectively sold 12.54 million copies.


title: Paper Mario

text: Except for "Paper Mario" and "Paper Jam", each game was nominated for at least one award; "The Thousand-Year Door" won "Role Playing Game of the Year" at the 2005 Interactive Achievement Awards, "Super Paper Mario" won "Outstanding Role Playing Game" at the 12th Satellite Awards in 2007, and "Sticker Star" won "Handheld Game of the Year" at the 16th Annual D.I.C.E. Awards in 2012. "The Origami King" was nominated for 3, the most at once for the series. The games, mainly the first two titles, have inspired various indie games including "". Numerous "Paper Mario" elements have also been included in the "Super Smash Bros." series.


title: Paper Mario

text: In the series, Mario is tasked with a quest to explore either the Mushroom Kingdom or a similar world. Each game divides the world into several explorable areas that contain puzzles and interactive elements, such as obstacles that Mario has to hit with his hammer, that need to be completed to progress in the story. The locations are designed to look as if they are made out of paper, and contain coins and other collectibles, such as hidden trophies. There are also non-playable characters (NPCs) which Mario can talk to. All games except "Super Paper Mario" feature a turn-based combat system, where Mario and one or more opponents take turns attacking one another.


title: Paper Mario

text: The first two games, "Paper Mario" and "", feature elements similar to that of a typical role-playing video game (RPG). Mario encounters multiple allies that join him on his journey, who can help complete tasks in the worlds and fight in combat, the latter of which is similar to other RPG games. The player can either perform a regular attack, where they time a button-press on the controller to deal more damage, or use a special attack, which is more powerful but consumes flower points (FP)—an in-game statistic—when used. When defeating an enemy, experience points (known in-game as Star Points, or SP) are awarded, which makes Mario and his allies more powerful as they progress. Upgrades to special attacks can be found in the overworlds.


title: Paper Mario

text: "Super Paper Mario", the third game in the series, deviates from the RPG genre and plays more as a platform game instead. Unlike the previous two games, which use a turn-based combat system, Mario does not enter a combat phase and instead fights the enemy in the overworld in real-time. XP is still awarded for defeating enemies. Although Mario does not fight alongside unique partners, Luigi, Princess Peach, and Bowser are playable and a part of Mario's party. In addition, allies known as Pixls, which grant abilities for combat and traversing levels, can be summoned and used.


title: Paper Mario

text: From "" onwards, the "Paper Mario" games were aimed more towards the action-adventure genre. RPG elements, such as experience points, allies, a complex plot and variety of fictional races, were reduced. It instead emphasized puzzle-solving, a new experience point system, and new strategic and somewhat puzzle-like gameplay around combat.


title: Paper Mario

text: "Paper Mario" is a 2000 role-playing video game (RPG) released for the Nintendo 64 in 2000 in Japan, and 2001 worldwide. The game was later re-released on the iQue Player in 2004, the Wii Virtual Console in 2007, the Wii U Virtual Console in 2015, and via Nintendo Switch Online in 2021. In "Paper Mario", Bowser kidnaps Princess Peach and steals the seven Star Spirits and the Star Rod to make himself invincible. Mario must save the imprisoned Star Spirits, defeat Bowser, and save the Mushroom Kingdom.


title: Paper Mario

text: Gameplay centers around Mario and his allies solving puzzles, with many of the challenges designed around one of the characters' unique abilities. Mario encounters multiple partners as the game progresses. In combat, Mario and his allies have special abilities that consume FP when executed. In the overworld, other abilities can be discovered that can be used in combat.


title: Paper Mario

text: "" is a role-playing video game released for the GameCube in 2004. The game is set mainly in Rogueport, where Mario and Peach discover a locked portal that is thought to lead to the riches of a lost kingdom. Soon after, Peach is kidnapped by the X-Nauts, who want to open the portal. Peach e-mails Mario about her kidnapping and informs him that he needs to search for the seven Crystal Stars to find the treasure. During this, Mario becomes cursed, which allows him to perform special moves such as folding into a paper airplane or boat.


title: Paper Mario

text: Combat takes place on a stage in front of a live audience; if Mario performs well in battle, the audience will throw helpful items on stage or inflict damage to the opponent. Contrarily, audience members will leave and sometimes inflict damage on Mario if he performs poorly.


title: Paper Mario

text: "Super Paper Mario" is an action role-playing platform game released for the Wii in 2007. In the game, a new villain, Count Bleck, summons the Chaos Heart to destroy and remake the universe to his liking. Mario sets out to stop Count Bleck by collecting the eight Pure Hearts with the help of Peach, Luigi, Bowser, and a new ally named Tippi.