text:
Is Zelda the New Benchmark for Open-world games?
Many games in recent history have been said to have revolutionised the industry and set the benchmark in quality for a specific type of game. For example, we have the Witcher 3, completely changing what everyone expects from an open-world action role-playing game, with its deep, captivating (and in most cases funny) quests; the brutal and fast-paced combat, all coupled with stunning graphics and a beautiful environment. In 2017, we were given Star Wars: Battlefront II, showing just how fantastically EA could mess-up and ruin a beloved franchise due to the money-whoring scumbaggery at the top, forcing gameplay altering 'Star Cards' to be a necessity for anyone who wants a chance to actually enjoy their experience without getting pwned by 'Pay 2 Winners'.
However, Nintendo has stepped forward and absolutely smashed 2017 with its releases of Super Mario: Odyssey, the Switch, and of course the Legend of Zelda: Breath of the Wild. I believe that this Zelda title is as revolutionary as the original, which introduced the world to saving, due to the sheer beauty and quality of the world Nintendo has created. In many years' time, we will be looking back on this game as an example of how to design a world and how to fully immerse a player into the world they are experiencing.
This essay will detail why I believe this is one of, if not the finest world ever crafted in gaming history, I will write about not only the world design, but the how the gameplay mechanics are used to interact with the world, and how the sound design and minimal direction is given actually adds more to this game. Let me just preface this by saying, I love the Witcher 3, the Elder Scrolls games, the Fallout franchise (up until Fallout 4), and the worlds of GTA 5, Dragon Age: Inquisition and so on, but the world that Nintendo has crafted can actually be considered art. I never really enjoyed the Zelda games. I found them to be fairly boring and I didn't really get the hype around the series, but then I played BOTW and I was completely mesmerised by what I consider to be one of the greatest games I have ever had the pleasure of playing.
HYRULE VS OTHER WORLDS
A lot of games nowadays include a vast open-world full of deep and rich lore, however, only a handful of them can be considered truly great. Games like Far Cry and Assassin's Creed are very popular and have huge open-worlds; however, I don't think we could feasibly consider many of the games from these franchises to be great, except from AC 2 and Far Cry 3. But the reason that these games are considered great is more due to the linear, engrossing, narrative and outstanding characters: namely Vaas and Ezio.
Some of the greatest worlds created in gaming history include Los Santos (GTA V), Skyrim, Afghanistan (Metal Gear Solid V) and the Wild West (Red Dead Redemption). These worlds really appeal to the player and are memorable because they feel real, for example, the way that guards have shifted in MGS V, and the way that civilians interact with one another and even the traffic found in GTA V. My biggest problem with games like Infamous, Far Cry and Assassin's Creed, all with enormous and impressive worlds, is that the main story is essentially the only thing that matters; the story is either done now, or done "in a minute". Zelda doesn't do this; there is only two mandatory objectives in this game, leave the 'Great Plateau' and 'Defeat Gannon', the story isn't forced and you are encouraged to explore and just mess about really.
While BOTW doesn't have random bandit ambushes, or reckless drivers cursing at one another, it still feels alive. The little critters that scamper across the plains, the horses meandering around near the duelling peaks, and of course the people, sharing rumours and riddles that could lead to sweet loot. All these small details make you really feel as if you are part of the world; this is further supported by the fact that the game pretty much never holds your hand and tells you where to go, but more on that later. Zelda manages to feel alive, without having these huge cities or even real, voiced dialogue. The way that Zelda manages to have such a great appeal is by literally letting the player do whatever they want in this giant world. You can go anywhere at any point. Yes, you may get absolutely obliterated by a sentinel or a Lynel, but that's part of the journey and in my opinion, this is what makes the world of this game and the atmosphere perfect. In some games, the harder areas are locked off, Far Cry 4 is a good example, but Zelda really redefines the term 'open-world': no invisible walls, if you can see it you can really go there (stamina permitting), no gated off areas.
Furthermore, I believe that the colour palette is also important when comparing games, while I do agree that all of the other games mentioned above got the colour schemes spot on, it has to be said that some bright colours don't go amiss. For example, while Skyrim is one of my favourite games of all-time, it gets to a point where a certain amount of snow covered grass and the same wall textures get boring after a little while and just sort of creates this drab atmosphere. Zelda on the hand uses vibrant tones to appeal to the inner child in the player. I know this is quite a subjective idea, but the greens and yellows used create this jovial tone that is present throughout most of the game, however BOTW also knows when to tone down the colours and use much more muted tones, this transition in colour scheme tells the player that this area is important, like the Lost Woods with its muted colour palette and overall dark aesthetic, or may have harder enemies than other areas. This awareness is what distinguishes Zelda's world from just any other. I will use Skyrim as a comparison, Skyrim as a whole is covered in greys and whites (mountains, snow etc.), with some brief patches of green, however these greens are still muted and just makes traversing the world feel like a chore, unlike in BOTW, the world is just unappealing to look at. I made a promise to myself that I wouldn't fast travel throughout my entire play through of Zelda, and so far I still haven't, because the world uses a range of different colour palettes in all of its areas to really add a unique feel to each, making travelling feel like a treat rather than a task.
The combat is the only problem with the Legend of Zelda: Breath of the Wild. And this isn't because it is just insanely difficult or unfair in any way. It's the durability of the weapons. Oh my god, why is it that a 'Guardian Battle-axe ++' with 60 attack damage only manages to kill four or five Bokoblins before it decides it wants to break. I'm not saying that every weapon should have unlimited use like in other games, such as Skyrim, but just increase the durability of each weapon by about 30%-40% and it would feel so much more manageable. Even if a system like the Witcher 3's was put into place, where you could repair your weapons if they have been damaged and are getting worn. Or use a system that allows for weapons to deal damage based on their sharpness, so the damage decreases by 5-10% after each hit. I fully understand that Nintendo wants to encourage the player to experience every weapon, and all the different move sets they programmed and animated, but this feels lost when you just move from weapon to weapon, nothing feels permanent and it's just a bit irritating when you're fighting a giant enemy, in a ruthless battle to the death, and all of your weapons break and you end up running around in circles dropping 'remote bombs' which take off the tiniest slither of health possible.
However, in general, I love the combat in BOTW; it's challenging and free flowing. There is a huge range of enemies that try to murder you in a variety of different ways, and it's awesome. The feeling of achievement and the rush triggered by taking down a giant enemy by shooting a bomb arrow on the ground and using the up-draft created to sail miles into the sky just so that you can come crashing down on the beast with a crushing blow and see the health bar plummet, and to be met by the loot sitting on the ground. The way that the player can almost create their own set pieces, is unrivalled by any game, the moves that the player can create, feel similar to the QTEs found in the God of War series. The ways you can take down the enemies feels endless, you could use stealth, and you could cook up a dish that provides a stealth boost and then waits for night fall, then creep into a Bokoblin camp while they're sleeping, steal their weapons and then pick them off from a distance, and even if they do wake up, they won't have any weapons, so it should be easy pickings for Link.
Many enemies live in camps, and the player is incentivised to take on the problem with care, and caution, running straight into a herd of Bokoblins will almost end in certain death in the early game. When you take out all the enemies found in these camps, a chest will become unlocked and you can go and fetch your rewards, it will probably be a piece of amber or maybe some arrows, not necessarily a huge reward, but these enemies aren't exactly highly intelligent or skilled, so you shouldn't be expecting to find a super-duper enchanted weapon or chest piece like you would in games like Skyrim or Oblivion. These rewards also have a much bigger impact on you than you may think if you haven't played it yet, you can easily run out of arrows, you will almost never be overstocked like you would be in a game like Skyrim. Even the smallest of rewards can come in handy in a life or death scenario, who knows that arrow could be the item that wins a fight for you. Arrows don't just have the use of doing damage from a distance, in some cases they can be fired into the enemies' eyes to blind them, to allow you to get up-close and personal. There is also a great variation is weapon types, I'll use arrows as my example again, you can get a variety of arrows that all have vastly different uses, for example, the shock arrows are used to stun enemies while bomb arrows are used to deal a devastating amount of damage to a group of enemies or to create an up-draft so you can hop on and float away using your paraglider.
The movement in the Legend of Zelda is arguably one of the most polished and in-depth movement systems ever seen. All the different ways you can travel in this game feel varied and unique, whether it be shield surfing down a sand dune, or gliding from the top of a tower in an attempt to cover as much land as possible without having to walk all the way.
Nintendo has implemented a stamina system that can be used to sprint, climb, swim, glide, do power attacks with weapons or to slow time when aiming your bow when in mid-air. This simple system that drains stamina when performing any of these actions is very effective in teaching players to perhaps take a more conservative approach to traversing the landscape and to combat, for example, you may struggle to just simply climb up a mountain in a straight line, so you must plan your course and hope you have enough stamina, or you won't make it, and you will fall to your death.
Another great way to traverse Hyrule is by horse. Now, Link doesn't have his legendary steed Epona from the get-go, and instead must find a group of horses, approach slowly, hop on and hope that you don't run out of stamina when trying to calm the horse. Once you have broken the horse, you can bond with it by feeding it apples or just by spending time with it, this allows for you to really create a bond with your horse. There are four different stats that affect your horses performance, these are stamina (the little spurs present on the screen), shows how many times you can dash with the horse (essentially galloping that provides a short speed boost); speed, no prizes for what this governs, the speed of your horse is defined by this stat; and finally, strength, which is how strong your horse is and how much damage it can withstand before kicking the bucket (not literally…obviously). The final characteristic of a horse is its temperament, which affects how easy a horse is to tame, not like knowing this would've been useful before taming it or anything, thanks Nintendo! Moreover, the temperament of a horse also governs how it treats its rider, for example, if you try to spur on a horse with a wild temperament, it will throw you off and leave you crying on the ground, while he rides a little way down the path, essentially the biggest 'BUCK YOU' ever… sorry, I had to slip one horse pun in there somewhere. But, if the horse has a gentle temperament, then it wouldn't throw you off, but rather not react to your incessant spurring on.
Arguably the most useful tool is the paraglider. You unlock this early in the game, the 'Old Man' gives it to you, which is what allows for you to jump off of the 'Great Plateau' and not go "SPLAT!" when you land. The paraglider has an immense amount of uses, despite the fact it only really has one use, speaking in terms of a gameplay mechanics point of view. It is literally just used to glide and to negate fall damage when opened, however, this nifty piece of kit can be used in battle in conjunction with bomb arrows to send Link sailing into the air in order for him to rain death upon his enemies from a higher place. The paraglider also acts as a way to travel quickly, if you were to jump off of one of the towers, you could sail as far as your stamina bar will take you, which depending on how much you have, could talk you miles, this helps to skip covering ground that may be littered with baddies, or perhaps if it is a Blood Moon, then to avoid certain death. You will find yourself using the paraglider in almost every situation, especially when jumping off of a cliff and opening it right as you're about to slam into the ground, this will essentially stop you from taking damage, whilst keeping the drop quick easy. Weirdly enough, however, I don't think that Nintendo actually meant for it to be used in this way, but what do they know, it's not like they're the company who introduced the world to save your game progress or created the most iconic video game character of all-time… ok, ignore that last part.
The HUD contains a sound meter, or whatever you call it, basically a little graph that displays how noisy Link is being as he moves around and interacts with his environment, this allows for the player to perhaps take a different approach, for example, if you are trying to sneak through a camp, then you are more likely to move slowly and wear light armour, not some giant janky iron chestpiece.
The movement system in BOTW is deep enough to keep me from fast travelling that is something that no other game that I have ever played has been able to do, not even the Witcher 3. For any of you thinking about picking up this game, firstly, I love the way that you are actually debating this and haven't got it already, but more importantly, I highly recommend not fast travelling, as it might detract from the overall experience you will have with this masterpiece.
When discussing BOTW, it is difficult not to mention the art style and to mention how breath-taking the visuals are. The cel shaded art style was clearly inspired by Wind Waker, however Nintendo didn't want to copy the art style, rather than sticking with the cartoonish graphics that would appeal to a younger audience (and may have actually put a more mature audience off playing it), they wanted the game to be more detailed and realistic, rather than childish. Don't get me wrong, I know that BOTW isn't a photorealistic game, far from it, however the art style used in tandem with the detail of the textures provides this quality almost akin to a painting, the slow methodical swaying of the grass, the intricate runes on the sentinels and the mesmerising sunsets that can cause even the most hardcore of speed-runners to stop for a minute to admire the beauty of this game.
In my opinion, a games art style has a huge impact on the way a player feels, in some cases, more-so than its narrative or even gameplay. For example, in Journey, there is no real narrative, and instead presents this metaphorical 'Journey' of overcoming adversity, but the colours and art style play a huge part in eliciting the emotional response that many people had when playing it. The gentle sway of the travellers' cloak, the way that when you walk through the sand and leave footprints behind you, the light glow of the ribbon when you walk through the shoal of material. All of the small details add up to really giving a sense of character to the game that appeals to the player's emotional side. Personally, when I first played BOTW, I didn't really think much of the art style, but the more I played and the more I saw… wow! I was absolutely flabbergasted by the level of detail and the sense of awe that I felt whenever I reached the top of a tower and looked down over the world: spotting shrines and other places I wanted to visit or scouring the landscape to see if I could see any enemies that I may or may not want to fight.
WORLD DESIGN
The world of Hyrule is vast and has an endless quality due to its diverse environments and possibilities in the vertical traversal. The gigantic mountains and vast lakes pose a challenge to the player, almost inviting them to clamber up or swim across, as there will probably be a shrine or a chest when you reach your goal.
The many regions of Hyrule, each with their own unique feel, allow for the player to become fully immersed and engrossed in what they are actually experiencing. Travelling across Hyrule is not a task, or a chore it's a pleasure to be able to see all the effort that Nintendo went through when designing the world. There is plenty of hilltops and mountains for the player to clamber up and use as a point to start sailing through the air using the paraglider. Each environment, whether it be a luscious green forest or plain; a boggy, swampy marshland that you need to wade through to get to your destination; or even the extreme environments, whether they be insanely hot, bitingly cold or even incredibly windy, all of these conditions add to the challenge and dare the player to see everything the game has to offer.
Breath of the Wild's time also works on an in-game clock that moves forward in five minute steps, this coupled with the weather forecast can heavily influence a players approach when it comes to climbing or attacking an enemy camp, for example, if you plan to attack a settlement at midnight, it may prove to be easier because all the enemies are asleep, or if it is raining, then the pitter-patter of the raindrops could muffle Link's movement when he is sneaking around. The rain can also cause Link to slip when climbing, adding a further challenge to this element of world design, in most cases it's hard enough to reach the top of a mountain without having to deal with torrential weather conditions as it is, getting set back every ten seconds just adds to the challenge. Weather also plays a huge part in weapon selection, if you are travelling through Death Mountain, then the insane temperatures and bubbling lava can cause Link's wooden weapons to ignite and burn up. Also, thunder storms can use Link's weapons to act as a conductor and allow for Link to be hit by lightning, which will probably ruin his day to be honest, as this deals a large amount of damage.
The Great Plateau essentially acts as a tutorial level for the rest of the game, you unlock runes, meet the Old Man, get the paraglider and are allowed to experience the entirety of Hyrule on a much smaller scale, in essence introducing you to all the gameplay mechanics you could possibly need in order to fully understand how to play this game. It is this type of world and game design that sets BOTW apart from all the other open-world games, the way that each mechanic is introduced makes the player feel as if they have figured it out, even if the game has guided you to where you needed to go, or even given you the items needed to survive. For example, the snowy mountains have spices located just outside the archway leading into the winter wonderland, and a cooking pot in close proximity, coincidence? I think not. This isn't a criticism, in fact, I'm praising Zelda's world design and how it makes the player feel like they are really utilizing every aspect and mechanic the game has to offer from the get go. Furthermore, I come back to my previous point about the Great Plateau acting as a smaller version of Hyrule, and I stand by that, you can experience extreme weather, you can experience the shrines and get used to the runes through the clever puzzles, you can experience climbing if you want to reach the snowy area that way, you can meet the first Korok that provides you with a seed and gives you a small amount of exposition about that section of the game, I would carry on, but I think you get the point.
Hyrule is not only beautiful due to the sheer size of the world. However, BOTW's best feature is the story-telling… "Why is this in the 'World Design' section?" I hear you ask, well to you I say that the world is where the true story is. Whenever you ask someone about Breath of the Wild, they will all be able to tell you their own stories about how they managed to overcome adversity and complete a task that they had repeatedly failed by using some cool mechanic or utilizing the cooking system to boost their stats, so they could finally defeat the Lynel they had been struggling with for so long, or how they managed to reach the top of the tallest mountain and sail across Hyrule using their paraglider, taking in every little stunning detail as they went along.
The music in any game is always very important and can have just as much effect on a player as the gameplay itself. This also applies to Zelda: BOTW of course, I was watching a video the other day – "The music of Breath of the Wild | GMTK Extra" and 'Mark Brown', the channel creator, states that "each Zelda game has a very different vibe, and Nintendo has always reflected this in the choice of music. Ocarina of Time is heroic, Wind Waker is optimistic, and Majora's Mask is foreboding. So what about Breath of the Wild? This is a melancholic game and the quite, slow and subdued piano music really fits the bill." I found this video very informative and it really opened my eyes about not only Zelda's OST, but how Nintendo really utilizes their music to fit the mood and atmosphere, like I said previously I was never really into Zelda when I was younger, so I didn't play all that much of the games, so comparing BOTW's music to all the other games would be quite difficult for me. I highly recommend you watch this video if you want to learn more: https://www.youtube.com/watch?v=3FWVKu1gnWs
Breath of the Wild's sound effects and overall design varies based on the time of the day, what you're doing and where you are. For example, if you ride a horse for an extended period of time, then the music "On Horse" will play, and either the day or night version will play depending on what time it is in-game. The differences between the day and night versions of each song may only be small, but the way that each version of the song uses the orchestra in a different way, can either create an upbeat adventurous tone for the day version, or a more calming atmospheric tone for the night edition. My personal favourite song is Rito Village (Day), the NPCs found in Rito Village, are of the Rito species, which is essentially bird-people. They can fly and everything. Anyway, this piece utilizes a woodwind choir, and adds this sense of freedom in a way with the rising melody, mimicking the whole 'bird people' aesthetic. Furthermore, the actual notes get higher as the song progresses, and this can also mimic Link's ascension to the top of the stairs. A beautiful piece of sound design that suits the world around it.
Zelda doesn't hold your hand at all, no map markers, no dotted-line to follow to the objective and no real direction, after all, there is only two compulsory objectives in the whole game, 'Leave the Great Plateau' and 'Defeat Gannon' – everything else is extra. This element of freedom that Nintendo has given the player really lets them experience the world from their own perspective; they're not being given a checklist, unlike in Assassin's Creed, where you unlock an area in the world and you look at the map just to be greeted with a bunch of icons, collectables, points of interest, etc. – none of that nonsense in Zelda. It is an 'open' open-world that doesn't tell you where to go or what to do. It's just as much of a sandbox as Minecraft, yes I know that probably sounds ridiculous, but you cannot deny the similarities, like the huge world and the lack of direction in what the game forces you to do. BOTW even has mining, the similarities are undeniable. Now, I'm not saying that they are the same, far from it; Zelda has much better graphics, gameplay mechanics and systems that keep the player enthralled, rather than the randomly generated world. But the popularity and the similarity of these games must be noticed, and I truly believe that if another game developer wants to create one of the revolutionary games, that I mentioned earlier, then they must stop telling the player what to do and just let them experience the world for themselves.
I truly believe that the Legend of Zelda: Breath of the Wild should be considered to be one of the greatest open-worlds ever created, due to its diverse environments, stunning aesthetics and the way that Nintendo has designed gameplay mechanics and the sound design to suit the world you are living in. If you haven't played Breath of the Wild, then do, it is honestly one of the greatest gaming experiences you will ever have, and it can last you hundreds of hours.
Posted on January 13, 2018 0 By Zak Deacon	Gaming Posted in Gaming Tagged #Breath of the Wild, Critical Essay, Graphics, Hyrule, Link, Nintendo, Switch, Witcher 3, Zelda
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Environment...
Environment (Protection) Act A Special Enactment, Takes Precedence Over CrPC; Bombay HC Dismisses Plea Seeking FIR Against Kumar Mangalam Birla [Read Judgment]
Nitish Kashyap
The Bombay High Court last month dismissed a criminal application filed by one Pratap Teli, seeking registration of FIR against Kumar Mangalam Birla, Chairman Grasim Industries and Hindalco Industries as well as D Bhattacharya, Managing Director of Hindalco and KK Maheshwari of Grasim for allegedly violating the Environment (Protection) Act by commencing construction of a building in...
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The Bombay High Court last month dismissed a criminal application filed by one Pratap Teli, seeking registration of FIR against Kumar Mangalam Birla, Chairman Grasim Industries and Hindalco Industries as well as D Bhattacharya, Managing Director of Hindalco and KK Maheshwari of Grasim for allegedly violating the Environment (Protection) Act by commencing construction of a building in Worli, without obtaining environmental clearance.
In a 34-page judgment uploaded today, Justice Bharati Dangre did not find merit in the applicant's contention that an investigation could be carried out as per Chapter XII of the Criminal Procedure Code and held that provisions of the Environment (Protection) Act would override the provisions of the CrPC as it is a special enactment.
Case Background
Applicant alleged that the respondents started construction of a Commercial building in South Mumbai's Worli area without obtaining the Environmental Clearance from the State Environment Impact Assessment Authority (SEIAA) under the EIA Notification of 2006. He, therefore, filed a complaint under Section 156(3) of the Criminal Procedure Code seeking police investigation for the alleged offences under Sections 420, 120-B and Section 187 of the Indian Penal Code read with Section 15 of the Environment (Protection) Act. The said complaint came to be rejected by the Metropolitan Magistrate in view of the barrier contained in Section 19 of the Environment (Protection) Act. Sessions Court also rejected the subsequent revision application.
Section 19 talks about the conditions under which cognizance of a complaint under the said act can be taken, it states-
No court shall take cognizance of any offence under this Act except on a complaint made by—
(a) the Central Government or any authority or officer authorised in this behalf by that Government; or
(b) any person who has given notice of not less than sixty days, in the manner prescribed, of the alleged offence and of his intention to make a complaint, to the Central Government or the authority or officer authorised as aforesaid.
Applicant's counsel Aditya Pratap submitted that the offence contained under Section 15 of the Environment (Protection) Act, 1986 is non-cognizable whereas it would be liable to be classified as a cognizable offence in view of the provisions of Part-II of Schedule-I of the Criminal Procedure Code. '
Thereafter, he argued that since this special enactment prescribes a penalty which may extend to Rs.5 lakh along with imprisonment of five years, the said case would fall within the ambit of a 'cognizable offence' to be triable by the Magistrate of First Class, but the Act has classified the offence to be 'non-cognizable', Pratap said.
According to the applicant's counsel, any order under Section 156(3) of the Criminal Procedure Code is at the pre-cognizance stage and this is not the initiation of trial and at this stage no cognizance is taken within the meaning of the provisions of Section 190 of the Criminal Procedure Code.
Senior Advocate Amit Desai appeared for Birla and others. He questioned the locus standi of the applicant calling him an uninterested party in property in question with a sole motive to harass the respondents.
The applicant has made false and misleading statements, Desai said. He supported the impugned orders passed by the Metropolitan Magistrate as well as the Sessions Judge in a revision application.
Desai submitted that MCGM was the owner of the said plots (216 and 216A) situated at Dr. Annie Basant Road, Lower Parel Division, Worli, Mumbai and the Company acquired the property from one Rhone Poluc (India) Limited which subsequently merged into Nicholas Piramal India Limited.
Plot No.216-A was mortgaged in favour of Canara Bank and the premises including three theatres were put up for sale by an auction by the Debt Recovery Tribunal and this was purchased jointly by the respondent Companies. Thereafter, the lease of Plot No.216-A was also transferred in the name of the Companies. Then, the existing theatres came to be demolished and construction commenced in Plot No.216-A on sanction of Intimation of Disapproval granted by MCGM, which was followed by a Commencement Certificate.
Desai stated that since the total built up area to be constructed is less than 20000 sq. mtrs. as per the approved plan, no environmental clearance was required as per the Environment Impact Assessment Notification 2006.
Both parties relied on the Supreme Court's judgment in A.R. Antulay v. Ramdas Sriniwas Nayak & Anr.
Court observed-
"In the light of the settled position of law and the provisions contained in the Environment (Protection) Act, 1986 which is a special enactment, I do not wish to delve into the contention of the learned counsel for the Applicant that Section 154 comprised a pre-cognizance stage and when the police proceed to investigate under Section 154 of the Code of Criminal Procedure, the cognizance stage would come at the stage of Section 173 since there is a fetter created in taking cognizance of an offence without the modality set out in Section 19 of the Environment (Protection) Act."
Dismissing the application, Court said-
"The contention of the Applicant that he is a private person and is at liberty to file FIR with the police disclosing cognizable offence by the accused under Section 15 of the Environment (Protection) Act is without any merit and substance."
Click here to download the Judgment

redpajama_set_name: RedPajamaCommonCrawl


text:
<?php
namespace Concrete\Controller\Element\Navigation;

use Concrete\Core\Controller\ElementController;
use Concrete\Core\Entity\Express\Entity;
use Concrete\Core\Page\Page;
use Concrete\Core\Page\PageList;

class Menu extends ElementController
{

    protected $currentPage;
    protected $startingParentPage;
    protected $trail = [];
    protected $title;
    protected $wrapperClass;

    /**
     * @param mixed $title
     */
    public function setTitle($title)
    {
        $this->title = $title;
    }

    /**
     * @param mixed $wrapperClass
     */
    public function setWrapperClass($wrapperClass)
    {
        $this->wrapperClass = $wrapperClass;
    }

    public function __construct(Page $startingParentPage, Page $currentPage = null)
    {
        parent::__construct();
        $this->startingParentPage = $startingParentPage;
        if (is_object($currentPage)) {
            $this->trail = array($currentPage->getCollectionID());
            $cParentID = Page::getCollectionParentIDFromChildID($currentPage->getCollectionID());
            while($cParentID > 0) {
                $this->trail[] = $cParentID;
                $cParentID = Page::getCollectionParentIDFromChildID($cParentID);
            }
        }

        // pop off the dashboard node
        array_pop($this->trail);
        $this->currentPage = $currentPage;
    }

    public function getElement()
    {
        return 'navigation/menu';
    }

    public function displayChildPages(Page $page)
    {
        if (!is_object($this->currentPage)) {
            return false;
        }
        if ($page->getCollectionID() == $this->currentPage->getCollectionID()) {
            return true;
        }
        if (in_array($page->getCollectionID(), $this->trail)) {
            return true;
        }
    }

    public function getMenuItemClass(Page $page)
    {
        $classes = [];
        if (is_object($this->currentPage) && $page->getCollectionID() == $this->currentPage->getCollectionID()) {
            $classes[] = 'nav-selected';
        }
        if (in_array($page->getCollectionID(), $this->trail)) {
            $classes[] = 'nav-path-selected';
        }
        return implode(' ', $classes);
    }

    public function displayDivider(Page $page, Page $next = null)
    {
        return false;
    }

    protected function getPageList($parent)
    {
        $list = new PageList();
        $list->filterByExcludeNav(false);
        $list->sortByDisplayOrder();
        $list->filterByParentID($parent->getCollectionID());
        return $list;
    }

    public function getChildPages($parent)
    {
        $list = $this->getPageList($parent);
        $pages = $list->getResults();
        return $pages;
    }

    public function view()
    {
        $pages = $this->getChildPages($this->startingParentPage);
        $this->set('top', $pages);
        $this->set('title', $this->title);
        $this->set('wrapperClass', $this->wrapperClass);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Attorney General Jeff Sessions Offered to Resign as He Clashed With Donald Trump Over James Comey's Russia Investigation
By Harriet Sinclair On 6/6/17 at 10:09 PM EDT
U.S. Attorney General Jeff Sessions. Kevin Lamarque/Reuters
U.S. Jeff Sessions Donald Trump
Attorney General Jeff Sessions has repeatedly clashed with President Donald Trump over Sessions's decision to recuse himself from the investigation into Russia's alleged meddling in the 2016 presidential election, and the bickering has gotten so bad that Sessions offered to resign, according to multiple news outlets.
In March, Sessions decided to recuse himself from the Trump-Russia probe, which is also looking into whether the president's campaign colluded with Moscow, among other allegations.
The attorney general had been at his post for less than a month and was facing calls to step down after it emerged that he had failed disclose his contacts with Russian ambassador Sergey Kislyak, despite having met him multiple times in 2016.
Related: Will Trump fire Jeff Sessions?
Trump did not take his attorney general up on the offer, but the strain between the two comes at a precarious time for the president. On Thursday, former FBI Director James Comey, whom Trump recently fired, is set to speak publicly about the president's alleged request he drop an investigation into former national security adviser Michael Flynn.
Comey is not expected to comment on whether he believes Trump obstructed justice. But he will reportedly shoot down the president's claim that the FBI chief told him multiple times that he was not under investigation.
On Tuesday, The New York Times reported that Comey once asked Sessions not to leave him alone with the president, fearing another inappropriate encounter over Flynn.
He may have had cause for concern. On Tuesday The Washington Post reported that Director of National Intelligence Daniel Coats, the country's top intel official, told associates that Trump had tried to get him to persuade Comey to back off the Flynn investigation.
The bickering between Sessions and Trump comes as the president slammed the Justice Department's handling of his executive order on immigration, which among other things, restricts travel to the U.S. from several Muslim-majority countries.
Indeed, in the aftermath of a deadly Islamic State group attack in London, Trump tweeted: "The Justice Dept. should ask for an expedited hearing of the watered down Travel Ban before the Supreme Court - & seek much tougher version!"
When White House press secretary Sean Spicer was asked whether the president had confidence in the attorney general, Spicer said: "I have not had that discussion with him."
On Monday, The New York Times reported Trump's attitude on the attorney general had "soured" and that the president blamed Sessions for many of his problems in the White House.
Trump 'Fuming' Over Attorney General Sessions: Report
Russia, Comey Investigations Raise Pressure on Sessions
Congress Investigates Possible Sessions-Kislyak Meeting


is a boutique, lifestyle PR and Social Media firm located in Austin, TX. Established in 2010, POM PR specializes in fashion, beauty, retail and events. We primarily serve the burgeoning style set in Austin, with campaigns in Texas markets including Austin, Dallas, Houston and San Antonio, as well as targeted national outreach.
to Form New Lifestyle PR Agency: Breakaway Public Relations!


text:
Trust insiders, not shareholders…and F*$! the Wisdom of Crowds
Dean Baker discusses the buzz saw whiplash coming from following this spin: shareholders can not be trusted to ste CEO copmensation becuas etehy don't have the right interests in mind. OOOOOOOKAYYYYYYYY.
Representative Barney Frank has proposed a law that would require corporations to have non-binding polls of their shareholders on CEO compensation packages. According to Marketplace Radio, the opponents of this measure claim that shareholders have diverse interests and aren't in a position to properly assess CEO compensation.
It would be helpful if the media teased this one out a bit further — the shareholders aren't qualified to determine the pay of their top employee, but the insiders (a corporate board that usually owes their position primarily to the CEO) somehow can be trusted to act in their interest.
The original marketplace story has the full quote from Barney:
BARNEY FRANK: This lack of confidence in shareholders when it comes to CEO compensation greatly contrasts with what we're told we should impute to shareholders on every other issue.
That seems like a polite understatement. Intellectual property strangleholds, rolling back Sarbanes-Oxley, high CEO pay(!), stock options, the "free"trade agenda, and widespread outsourcing for low labor costs are all justified on behalf of shareholder interests.
Baker also rightly calls foul on the notion that this is government interference. Hogwash. Corporations are creatures of government policy, as are all coporate governnace rules. This is a question of the best rules for corporations.
Oh, and the supposed perfection of outcomes in markets of heterogeneous actors (as in, diverse interests), that, you know, wisdom of crowds idea, well, F$#! it.
Excavating Victorians– Virginia's Book Coming Out In November
I am so proud of Virginia! Her book is inches from being released, and she gets this great blurb from another scholar.
SUNY Press :: Excavating Victorians
"This book is a sheer pleasure to read. Zimmerman has crafted an important and genuinely intriguing interpretation of the relationship between literature, geology, and archaeology in the period when these new sciences came into their own as separate disciplines. Zimmerman brings to her interpretations an impressive knowledge of many now forgotten episodes in the history of science. She examines a wide range of works and finds elegant and convincing ways to make them speak to each other." — Robert D. Aguirre, author of Informal Empire: Mexico and Central America in Victorian Culture
Sounds great, yes? Don't you want to buy a copy?
UPDATE; Book is out! Its ranked like 1,320,000 in books! Last week it beat out Victorian Lesbian Erotica in the History and Criticism> Victorian category.
BUY IT.
Filed under Books
Repeating the famous Six Degrees experiment
David Lazer reports some interesting findings from his class when he attempts to recreate the famous Six Degrees experiment by Stanley Milgram.
Complexity and Social Networks Blog
The results: for 25 students (and about 40 attempts) 4 chains were completed, plus a fifth chain completed from a split from one of the completed chains (i.e., one of the students hit the target twice with a single e-mail because one of the recipients down chain sent the e-mail to multiple others). The number of hops varied from 3 (a student in the class who happens to be from North Dakota), to 8), with an average of 5.25.
Interesting points include how three of four completed chains included the prson's profession, how junk mail may have effected participation, how much students relied on string ties (and not weak), and how some people used the message as a justification to back in touch with others.
Why are placesbin the midwest considered "so far" from the east coast? Lazer used Fargo ND as the most faraway and still be in US. Why is Seattle or San Francisco not just as "far away"? Would Fargons (Fargoites?) list Boston as most distant? Wouldn't a someone from a poor neighborhood in Boston be just as far away?
Has Social Networking Gone Too Far?
The headlong rush to embrace and leverage SNS catches up to a(new) old media outlet: USA Today. Of course, they broke ground in teh 1980s trying to be a use-friendly national newspaper (with 4 colors and factoids!).
Has Social Networking Gone Too Far? – Yahoo! News
Over the weekend, USA Today unveiled a Web site redesign that reimagines the online newspaper as the center of a social media community.
The things is, people want authentic communities, both on-line and off, and at the intersection between the two. The article goes on:
Whether the newspaper's readers want a more social media experience is another question entirely, assuming you're willing to overlook the 92% negative reaction to the redesign noted by Don Dodge, director of business development for Microsoft's Emerging Business Team, in his assessment of 130 online comment postings.
Ooops. The lesson they missed reminds me of Barry Wellman's work on community and technology: people adapt technology to their needs, not the other way around. FOr example, there is this article: "How Does the Internet Affect Social Capital?"


text:
Jean-Roger Caussimon est un auteur-compositeur-interprète et acteur français, né le  dans le  de Paris et mort le  dans le . Rendu populaire avec des titres comme  de , Nous deux ou  purs, il est notamment l'auteur de plusieurs chansons mises en musique et popularisées par son ami Léo Ferré telles Monsieur William, Comme à Ostende ou  du tango.

Biographie

Jeunesse (1918-1936)
Jean-Roger Caussimon naît à Paris, en  (c'est un « môme de la permission », son père étant engagé du côté de Verdun à ce moment-là). Son père, Jean Caussimon, médecin, et sa mère Yvonne, s'installent à Bordeaux.

Il grandit et fait ses études à Bordeaux, au lycée Montaigne. Il découvre de grands poètes pendant son adolescence (Albert Samain, Edmond Rostand, Jean Richepin, puis au lycée François Villon, Clément Marot, Arthur Rimbaud, Paul Verlaine, La Fontaine, Dante, Heine, Jacques Audiberti), et c'est dès cette époque que la qualité de poète lui paraîtra à tout jamais inaccessible. Il prend des leçons de diction pendant quatre ans (1930-1934) auprès de Francis Grangier (ancien comédien de l'Odéon), afin de pouvoir dire ces poètes qu'il aime tant, sans son accent bordelais. Il obtient son baccalauréat, ainsi qu'un premier prix au conservatoire d'art dramatique. Sa mère, Yvonne, se suicide en 1936, à l'âge de 43 ans, ce qui le marquera à jamais.

Les années d'apprentissage (1937-1942)
En 1937, il débute comme comédien professionnel et régisseur au petit théâtre Trianon à Bordeaux. Il joue une pièce par semaine. Le comédien Henri Bosc lui conseille de ne pas rester à Bordeaux, car il n'est de consécration qu'à Paris, et le présente aux professeurs du Conservatoire de Paris en 1938 : il est admis comme auditeur dans la classe de Louis Jouvet, qui lui témoigne un intérêt amusé et paternel.

Viennent le service militaire et la Seconde Guerre mondiale : Caussimon est incorporé à Saint-Cloud pour le service militaire en , puis est enrôlé en campagne dans les Ardennes en 1939 en tant que soldat. Il est fait prisonnier dans les Vosges en 1940, et part alors au Stalag IV-A en Silésie. Durant sa captivité, il écrit des poèmes, ainsi qu'une pièce en trois actes avec son ami Georges Fagot qui connait un franc succès, Parodie de Faust. En 1942, il est rapatrié sanitaire et revient à Paris en décembre.

Une carrière prolifique (1942-1970)
Dès son retour en , il passe au cabaret du Lapin Agile (ainsi que dans plusieurs autres cabarets parisiens comme Les Trois Baudets) pour des récitals au cours desquels il récitera des poèmes et chantera beaucoup. Jean-Roger faisait régulièrement deux « tours » par soir au Lapin Agile. C'est là qu'il a connu et apprécié la chanson.

Parallèlement, en 1944, il est engagé par Charles Dullin au théâtre de l'Atelier et au théâtre de la Cité à Paris, et participe en outre aux premières émissions expérimentales de télévision. Jean-Roger Caussimon débute au cinéma en 1945 dans le film François Villon d'André Zwobada (aux côtés de Serge Reggiani, Michel Vitold et Jean Carmet). Dès lors, Caussimon mènera une vaste carrière d'acteur au théâtre (une centaine de pièces à Paris et en tournée), au cinéma, à la télévision, ainsi qu'à la radio (il enregistrera près de 250 émissions dramatiques, principalement pour France Culture et France Inter).

C'est au Lapin Agile que Jean-Roger Caussimon rencontre Léo Ferré en 1947, qui met aussitôt en musique le poème À la Seine, puis Monsieur William en 1950. Caussimon devient le parolier contemporain privilégié de Ferré et les deux hommes resteront amis toute leur vie.

En 1948, il entame une longue collaboration théâtrale avec Jean Mercure. La même année, il produit et présente avec François Billetdoux des émissions littéraires pour la Radiodiffusion française (Le Livre d'or du Lapin Agile). En 1949, Jean-Roger Caussimon se produit avec Léo Ferré Aux Trois Mailletz.

Entre 1950 et 1956, le théâtre et le cinéma sont ses activités dominantes. C'est toujours au Lapin Agile que Marcel Carné le repère et décide de lui confier le rôle du châtelain dans son film Juliette ou la Clé des songes (1951), avec Gérard Philipe.

Caussimon continue d'écrire pour Léo Ferré, et ses interprètes se multiplient : Catherine Sauvage, Maurice Chevalier, Les Frères Jacques, Philippe Clay, Serge Gainsbourg. Suivront plus tard Julien Clerc, Silvain Vanot, Arno, Bernard Lavilliers et Catherine Ringer.

Jean-Roger Caussimon hante le Lapin Agile pendant neuf ans, de 1943 à 1952, aux côtés de son ami François Billetdoux qui y dit des monologues.

Il rencontre Paulette Clément à Lyon en , qui devient sa femme en 1956. En 1957 naît son fils Raphaël, puis en 1960 sa fille Céline (qui est également comédienne et auteur-compositeur-interprète).

À partir de 1957, en plus du théâtre et du cinéma, vont désormais s'ajouter de nombreux rôles pour la télévision. En 1961, Caussimon part en tournée internationale pour le théâtre. et il enchaîne les rôles au théâtre, au cinéma, à la radio et à la télévision entre 1962 et 1966.

En 1967, Pierre Seghers lui consacre un volume dans la collection « Poètes d'aujourd'hui ». Ce recueil préfacé par Léo Ferré rassemble quarante-cinq de ses textes.

Un chanteur reconnu (1970-1985)
En 1967, Pierre Barouh, alors jeune créateur du label indépendant Saravah et admirateur de l'œuvre de Jean-Roger Caussimon, apprend par José Artur que le comédien et parolier a chanté durant sa jeunesse au Lapin Agile. Sur les conseils de José Artur, Barouh rencontre Caussimon pour tenter de le convaincre d'enregistrer un disque de ses chansons chez Saravah. Caussimon se montre tout d'abord très réservé (« tu vas perdre de l'argent… », « je ne sais pas chanter… ») mais finit par accepter la proposition, par vaincre son appréhension et prendre goût au métier de chanteur.

Son premier album, enregistré en six jours et publié en 1970, obtient le Grand Prix de l'académie Charles-Cros et marque le début de sa collaboration avec le compositeur et arrangeur Éric Robrecht, sur une quinzaine d'années. Ensemble, ils créent une quarantaine de chansons parmi lesquelles Ma mère, Il fait soleil, Le Vieux Cheval, Mes amis, Les Milices, Enfants, vous n'avez plus de rose, Orly Bar, Le Gauchisme à la mode, Où irez-vous danser ?, Les Copains de mai, Les Cœurs purs, Batelier mon ami, Cueille la fleur, Ubu.

S'il arrive à Jean-Roger Caussimon de mettre ponctuellement en musique certains de ses propres textes, il s'en remet la plupart du temps à des compositeurs plus chevronnés que lui : Éric Robrecht ou Francis Livon et Roger Pouly, mais également Jacques Datin, Jacques Debronckart, Philippe-Gérard, Maurice Jarre, Francis Lai, Pierre Philippe, André Popp, Philippe Sarde, Jean-Marie Sénia, Claude Vence et Gaby Verlor.

La collaboration avec Léo Ferré est différente dans la mesure où Caussimon ne lui demande pas de composer pour lui, mais écrit au départ pour alimenter le répertoire de Ferré. Ce corpus, étalé entre 1946 à 1985, comporte une vingtaine de chansons :

En 1971, Jean-Roger Caussimon enregistre son deuxième album. Jean-Christophe Averty lui consacre alors une émission télévisée entière et Caussimon donne son premier récital au théâtre du Vieux-Colombier pendant une semaine. C'est une vie nouvelle qui commence pour lui. Il chantera dès lors sur scène en tête d'affiche tous les ans, pendant les quinze dernières années de sa vie, sillonnant les routes de France avec sa femme Paulette dans leur caravane.

En 1972, il chante en récital à la Gaîté-Montparnasse. Cette même année, Léo Ferré enregistre la chanson Ne chantez pas la mort.

En 1973, Caussimon chante à Bobino, aux côtés de Nicole Croisille et des Frères ennemis. Jean-Christophe Averty réalise un second show télévisé sur lui. Caussimon part pour sa première tournée en province (Lille, Nantes, Saint-Étienne, Évreux, etc.). Il donne des récitals à la Villa d'Este pendant trois mois, (Jean-Louis Foulquier est au même programme), puis au théâtre Mouffetard avant de repartir en tournée (17 villes).

En 1974, il enregistre son troisième album. En mai de la même année, il chante à l'Olympia pour l'émission Musicorama d'Europe 1, ce qui donnera lieu à un album publié de manière posthume en 1992. Caussimon part en tournée en province (24 villes) et Jean-Christophe Averty réalise un troisième show télévisé, où Caussimon partage cette fois la vedette avec Philippe Clay.

En 1975, il enregistre son quatrième album. La SACEM lui décerne le prix André-Mauprey pour l'ensemble de son œuvre. La même année, il joue dans le film Le Juge et l'Assassin de Bertrand Tavernier, avec Michel Galabru et Philippe Noiret, et écrit trois chansons pour le film (La Commune est en lutte, Complainte de Bouvier l'éventreur et Sigismond le Strasbourgeois). Il commence à rédiger ses mémoires, qui s'intituleront La Double Vie.

En 1976, il écrit la chanson Le voyage est bien long, générique radiophonique pour l'Histoire d'un paysan sur une musique de Jean-Marie Sénia. Il part en tournée (22 villes) et fait du théâtre et de la radio.

En 1977, sort son cinquième album. Il écrit la chanson du générique du film Des enfants gâtés de Bertrand Tavernier, interprétée par Jean-Pierre Marielle et Jean Rochefort. Il part en tournée (44 villes, dont dix jours à Lyon) et passe 25 jours au théâtre de la Renaissance à Paris.

En 1978, Caussimon quitte Paris avec sa femme pour s'installer à la campagne dans les Yvelines, puis part en tournée (78 villes). À l'initiative de Jean Mercure, il chante dix jours en novembre au théâtre de la Ville à Paris. Une captation du spectacle est publiée en album la même année. Ce sera le seul album en public publié de son vivant.

En 1979, il part en tournée (26 villes) et sort son sixième et dernier album studio. Son père meurt en  à Bordeaux, à l'âge de 84 ans. Il chante seize jours à la Gaîté-Montparnasse.

En 1980, il passe une semaine chez Léo Ferré en Italie pour travailler de nouveau ensemble à un projet d'album Ferré chante Caussimon. Puis il part à nouveau en tournée dans plus d'une trentaine de villes. Il chante durant douze jours au théâtre du Petit Champlain à Québec, où Félix Leclerc et Raymond Lévesque (son ami depuis les années 1950) viennent assister à son spectacle.

En 1981 sort le recueil de ses textes Mes chansons des quatre saisons. Il part en tournée (36 villes, dont 12 jours à Lyon). Il enregistre en juillet un 45 tours deux titres (Un soir de mai et Les Dom-Tom de l'Amérique). Il est hospitalisé en , puis repart en tournée (6 villes).

Caussimon est à nouveau hospitalisé en , mais repart en tournée (39 villes, dont 3 jours à Genève). Le , il rencontre Federico Fellini, qui prépare son film Et vogue le navire..., mais il refuse à regret le rôle principal, à cause des nombreux engagements de récitals déjà signés.

En 1983, il part en tournée (37 villes), chante 11 jours à Nanterre, donne des récitals en Suisse puis en Belgique et retourne chanter 15 jours au Petit-Champlain à Québec.

En 1984, il part à nouveau en tournée (25 villes), puis passe quelques jours chez Léo Ferré pour finaliser les neuf chansons inédites de leur disque Ferré-Caussimon, intitulé Les Loubards. Ferré enregistre cet album en . Caussimon est fait officier des Arts et des Lettres par Jack Lang en avril. Il repart ensuite en tournée dans 10 villes, avant d'être à nouveau hospitalisé le .

Jean-Roger Caussimon meurt en  à l'hôpital de la Pitié-Salpêtrière à Paris d'un cancer du poumon. Il est incinéré au columbarium du Père-Lachaise et ses cendres sont répandues dans l'océan à la pointe des Poulains, à Belle-Île-en-Mer le .

Théâtre
 1946 : Winterset de Maxwell Anderson, mise en scène André Certes, théâtre des Carrefours
 1947 : Le Voyage en calèche de Jean Giono, mise en scène Alice Cocea, théâtre du Vieux-Colombier
 1948 : Maître après Dieu de Jan de Hartog, mise en scène Georges Douking, théâtre Verlaine
 1949 : Les Gaités de l'escadron de Georges Courteline, mise en scène Jean-Pierre Grenier, théâtre de la Renaissance
 1950 : Les Gueux au paradis de Gaston-Marie Martens, théâtre de la Porte-Saint-Martin
 1951 : Maître après Dieu de Jan de Hartog, mise en scène Jean Mercure, théâtre de la Gaîté-Montparnasse
 1952 : Sur la terre comme au ciel de Fritz Hochwälder, mise en scène Jean Mercure, théâtre de l'Athénée
 1953 : Sur la terre comme au ciel de Fritz Hochwälder, mise en scène Jean Mercure, théâtre des Célestins
 1954 : Un nommé Judas de Pierre Bost et Claude-André Puget, mise en scène Jean Mercure, Comédie-Caumartin
 1955 : Le Mal d'amour de Marcel Achard, mise en scène François Périer, théâtre de la Michodière
 1956 : L'Hôtel du libre échange de Georges Feydeau, mise en scène Jean-Pierre Grenier, théâtre Marigny
 1957 : La Visite de la vieille dame de Friedrich Dürrenmatt, mise en scène Jean-Pierre Grenier, théâtre Marigny
 1958 : La Tour d'ivoire de Robert Ardrey, mise en scène Jean Mercure, théâtre des Bouffes-Parisiens
 1959 : Trésor-party de Bernard Régnier,  d'après le roman Valeurs en coffre () publié en 1946 par P. G. Wodehouse, mise en scène Christian-Gérard, théâtre La Bruyère
 1960 : La Logeuse de Jacques Audiberti, mise en scène Pierre Valde, théâtre de l'Œuvre
 1960 : Château en Suède de Françoise Sagan, mise en scène André Barsacq, théâtre de l'Atelier
 1962 : Frank V, opéra d'une banque privée de Friedrich Dürrenmatt, mise en scène André Barsacq, théâtre de l'Atelier
 1962 : Trencavel de Robert Collon, mise en scène Jean Mercure, théâtre Montparnasse
 1963 : Le Complexe de Philémon de Jean Bernard-Luc, mise en scène Christian-Gérard, Comédie des Champs-Élysées
 1963 : Le Paria de Graham Greene, mise en scène Jean Mercure, théâtre Saint-Georges
 1966 : Laurette ou l'Amour voleur de Marcelle Maurette et Marc-Gilbert Sauvajon, mise en scène Pierre Fresnay, théâtre de la Michodière
 1968 : Adieu Berthe de John Murray et Allen Boretz, mise en scène Jacques Charon, théâtre des Bouffes-Parisiens
 1969 : La Contestation et la Mise en pièces de la plus illustre des tragédies françaises Le Cid de Pierre Corneille, mise en scène Roger Planchon, théâtre de la Cité de Villeurbanne
 1972 : Mesure pour mesure de William Shakespeare, mise en scène Jaromir Knittl, Festival du Marais
 1973 : Nom : Stuart, prénom : Marie de Jaromir Knittl, mise en scène de l'auteur, théâtre des Deux-Portes
 1974 : Antigone de Jean Anouilh, mise en scène Gérard Dournel, Festival de Vaison-la-Romaine
 1977 : Le Barbier de Séville de Beaumarchais, mise en scène Teddy Bilis, théâtre des Célestins

Filmographie

Cinéma

 1945 : François Villon de André Zwobada: le grand écolier
 1945 : Le Jugement dernier de René Chanas
 1946 : Pétrus de Marc Allégret : Milou
 1947 : La Fleur de l'âge de Marcel Carné(inachevé)
 1947 : Le destin s'amuse de Emil-Edwin Reinert : Marcel
 1947 : Capitaine Blomet de Andrée Feix : Clodomir
 1948 : Le Mannequin assassiné  de Pierre de Hérain : Jérôme
 1948 : Clochemerle  de Pierre Chenal : Samotras
 1948 : L'assassin est à l'écoute de Raoul André : l'inspecteur
 1949 : Bonheur en location de Jean Wall : Julien
 1950 : Juliette ou la Clé des songes de Marcel Carné : le châtelain / M. Bellanger
 1950 : L'Homme de la Jamaïque de Maurice de Canonge : le docteur Van Boeken
 1951 : La Rose rouge de Marcel Pagliero : l'homme du bar
 1951 : L'Auberge rouge de Claude Autant-Lara : Darwin
 1952 : Milady et les Mousquetaires   de Vittorio Cottafavi : le bourreau
 1954 : La Reine Margot de Jean Dréville : le gouverneur de la prison
 1955 : French Cancan de Jean Renoir : le baron Walter
 1955 : Le Port du désir  de Edmond T. Gréville : M. Black
 1956 : Villa sans souci de Maurice Labro : 'Jarewski
 1956 : Fernand Cow-boy de Guy Lefranc : Castor Prudent
 1957 : Bel Ami de Louis Daquin : Charles Forestier
 1957 : Trois de la marine de Maurice de Canonge : Éric Bergen
 1957 : Et par ici la sortie de Willy Rozier : Picatellos
 1957 : Ce joli monde de Carlo Rim : Joseph
 1958 : Un homme se penche sur son passé de Willy Rozier : Stopwell
 1958 : Le Train de 8h47 de Jack Pinoteau (inachevé)
 1958 : Le Sicilien de Pierre Chevalier
 1958 : Quand sonnera midi de Edmond T. Gréville : Don Gaspar
 1958 : Le Gorille vous salue bien de Bernard Borderie : Léon
 1958 : Les Jeux dangereux de Pierre Chenal : Bourdieux
 1958 : Maxime de Henri Verneuil
 1959 : Le Petit Prof de Carlo Rim : le proviseur
 1960 : Le Saint mène la danse de Jacques Nahum
 1961 : La Fayette (film) de Jean Dréville : Maurepas
 1961 : Le Retour du docteur Mabuse de Harald Reinl : Küster
 1962 : A fleur de peau de Claude Bernard-Aubert : M. Brémont
 1964 : Hardi ! Pardaillan de Bernard Borderie : Ruggieri
 1964 : L'Amour à la chaîne de Claude de Givray: le prêtre
 1965 : Thomas l'imposteur de Georges Franju : l'évêque
 1965 : Dis-moi qui tuer  de Étienne Périer : Kopf
 1965 : Deux heures à tuer de Yvan Govar : Gabriel Damerville
 1965 : Les Baratineurs de Francis Rigaud : l'héraldiste
 1965 : Le Trésor des Aztèques ou Les Mercenaires du Rio Grande de Robert Siodmak : Marshall Bazaine
 1965 : La Pyramide du dieu Soleil de Robert Siodmak : Marshall Bazaine
 1965 : Pleins feux sur Stanislas de Jean-Charles Dudrumet : le faux conservateur en chef
 1967 : La Fantastique Histoire vraie d'Eddie Chapman de Terence Young : général de l'Armée de l'air
 1967 : Fantômas contre Scotland Yard de André Hunebelle : Lord MacRashley / Fantômas avec parfois les traits dudit Lord
 1971 : Les Assassins de l'ordre de Marcel Carné : le commissaire Lagache
 1972 : Tout le monde il est beau, tout le monde il est gentil de Jean Yanne : le père Derugleux
 1972 : Le Trèfle à cinq feuilles de Edmond Freess: Vampirus
 1973 : Moi y'en a vouloir des sous de Jean Yanne : l'évêque
 1974 : Que la fête commence... de Bertrand Tavernier : le cardinal
 1976 : Le Juge et l'Assassin de Bertrand Tavernier : le chanteur des rues
 1976 : Deux Imbéciles heureux de Edmond Freess : Albert Breux
 1978 : Au hasard de la nuit, court métrage de Jean-Luc Darmon (voix)
 1979 : Le Gendarme et les Extra-terrestres de Jean Girault : l'évêque
 1981 : Signé Furax de Marc Simenon : le jardinier
 1982 : Les Misérables de Robert Hossein : le Conventionnel
 1982 : La Baraka de Jean Valère : le clochard
 1986 : La Rose de Paracelse, court métrage de Thierry Bourcy

Télévision

 1957 : En votre âme et conscience, épisode : L'Affaire Allard de  Jean-Paul Carrère
 1959 : Marie Stuart de Stellio Lorenzi : Burleigh
 1960 : La caméra explore le temps, épisode Qui a tué Henri IV ? : De Harlay
 1960 : Le Lien de Guy Lessertisseur : le baron Sprengel
 1960 : Les Joueurs de Marcel Bluwal
 1961 : Le Trésor des treize maisons
 1961 : La Petite Dorrit : Jérémy
 1961 : Le Rouge et le Noir de Pierre Cardinal : M. de Rênal
 1962 : La Caméra explore le temps, épisode Crime sous Louis-Philippe : le docteur Simon
 1962 : Vincent Scotto : Fragson
 1964 : La Chambre : M. Dardébat
 1965 : La caméra explore le temps, épisode L'affaire Ledru : Hébert
 1965 : Drame à un personnage : le président
 1965 : Les Jeunes Années, épisode 20 de Joseph Drimal : Mr Flaminien
 1968 : Ambroise Paré : maître Turpin
 1968 : Les Dossiers de l'agence O, épisode L'Homme tout nu de Marc Simenon
 1969 : Le Chandelier : maître André
 1970 : Tout spliques étaient les Borogoves  de Daniel Le Comte : le docteur Rennert
 1970 : Au théâtre ce soir : Adieu Berthe d'Allen Boretz et John Murray, mise en scène Jacques Charon, réalisation Pierre Sabbagh, théâtre Marigny : Choubert
 1972 : Mandrin : le ministre d'Argenson
 1972 : Comme il vous plaira : le duc Frédéric
 1973 : Le Bleu d'outre-tombe : le directeur
 1973 : Le Jeune Fabre : Chadoun
 1973 : Magie rouge : le mendiant
 1973 : L'Alphomega
 1973 : Monsieur Émilien est mort : Émilien de Maldozenne
 1974 : Au théâtre ce soir : Les Voyageurs égarés de Guillaume Hanoteau, mise en scène Michel Roux, réalisation Georges Folgoas, théâtre Marigny
 1974 : De Béthune au Chat noir : Marcel Legay / lui-même
 1975 : Le Péril bleu : le professeur Le Tellier
 1976 : Le Château des Carpathes : le berger Frik
 1976 : Les Roses de Manara : le pèlerin
 1980 : Le Séquestre : le recteur
 1980 : Les Cinq Dernières Minutes, épisode Du côté du bois de Boulogne de Claude Loursais
 1981 : Ce monde est merveilleux : Fournier-Marcenat
 1982 : Les Longuelune : l'accordeur
 1984 : Le Château Discographie
 Albums studio

1980: Intégrale 1970-1980  chez Saravah. (2 volumes)

Album posthume
 1994 : La Double Vie (enregistrements inédits de Caussimon et de ses interprètes, 1946-1981)

 Albums live
 1978 : Au théâtre de la Ville (en public)

Albums posthumes
 1992 : En public à l'Olympia 74 2003 : Jean-Roger Caussimon au cabaret du Lapin Agile (inédits en public, 1946-1949)

 Vidéographie
2008 : Chansons en images (2 DVD)

 Voir aussi
 Bibliographie
 Recueil de 45 textes de chansons, préface de Léo Ferré, collection Poètes d'aujourd'hui, éditions Seghers, 1967
 Mes chansons des quatre saisons, préface de Léo Ferré, éditions Plasma, 1981
 La Double Vie - Mémoires, préface de José Artur, postface de Claude Nougaro, Le Castor astral, 1994
 Le Vagabond d'automne, textes inédits choisis par Raphaël Caussimon, Le Castor astral, 2003

 Publications
 À la Seine : Caussimon-Ferré, frères du hasard, Cahiers d'études Léo-Ferré 10, éditions du Petit Véhicule, Nantes, 2007
 Chorus, les cahiers de la chanson 9, automne 1994 : dossier de 22 pages consacré à Caussimon
 Paroles et Musique,  : numéro consacré à Caussimon

 Articles connexes
 Léo Ferré
 Les poètes chantés par Léo Ferré
 Éric Robrecht

 Liens externes

 Biographie et chansons de Jean-Roger Caussimon sur le Hall de la chanson
 Jean-Roger Caussimon sur chansonrebelle.com''

Notes et références

Naissance dans le département de la Seine
Chanteur français du XXe siècle
Chanteur libertaire
Auteur-compositeur-interprète français
Auteur-compositeur-interprète francophone
Acteur français de cinéma
Artiste libertaire
Poète libertaire
Lauréat de l'Académie Charles-Cros
Élève du conservatoire à rayonnement régional de Bordeaux
Entourage de Léo Ferré
Mort d'un cancer du poumon
Mort d'un cancer en France
Naissance dans le 14e arrondissement de Paris
Naissance en juillet 1918
Décès en octobre 1985
Décès dans le 13e arrondissement de Paris
Décès à 67 ans
Anticlérical
Antimilitariste français
Anarchiste français
Personnalité française incinérée

redpajama_set_name: RedPajamaWikipedia


Sift flour with cornmeal. baking powder. salt and sugar; set aside. Combine eggs,milk and oil in a large bowl; beat until smooth. Add yams; beat until blended. Add flour mixture, stirring only until flour mixture is, moistened. Spoon into 2 greased 8 inch square baking pans. Bake at 425 degrees for 35 to 40 minutes or until bread test done. Cut into squares. Serve warm with butter and enjoy. "Bon Appetite"


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Home / Speakers / Mark Penn | The Rise of the Fringe Voter at TEDxHarvardCollege
Mark Penn | The Rise of the Fringe Voter at TEDxHarvardCollege
Every day, we see that the media and populus of the US become more and more fragmented as extreme polar forces continually gain power. In his talk, Mark Penn explains how current campaigns' rising appeal to couch potato voters has led to divisiveness within the nation. Mark Penn is Managing Partner and President of the Stagwell Group. In addition to serving as Executive Vice President and Chief Strategy Officer at Microsoft, Mark Penn has served as both White House Pollster and chief strategist to Hillary Clinton. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at
https://www.leadingauthorities.com/speakers/video/mark-penn-rise-fringe-voter-tedxharvardcollege
Mark Penn
President & Managing Partner, The Stagwell Group
Asia: $75,001 and up*
Mark Penn's career spans 40 years in market-research, advertising, public relations, polling, and consulting, and he has advised top world leaders, led companies, and written best-selling books. Currently, Penn is the president and managing partner of The Stagwell Group, a private equity fund that invests in marketing services companies and reinvents the traditional holding company model. Before founding The Stagwell Group, he served in senior executive positions at Microsoft, where as executive vice president and chief strategy officer, he was responsible for working on core strategic issues across the company, blending data-analytics with creativity to help set the company on a new course.
Marketing Business Strategy Disruption & Digital Transformation Generations & Demographics Authors CEOs Media Pollsters & Public Opinion Experts


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Uruguay: Farming sector booming in the north, despite adverse weather
The farming sector in north Uruguay "appears to be booming despite some very harmful adverse weather conditions, and has seen a growth in the acreage for planting, which in the case of protected crops has been sustained for about 10 years," affirmed Eduardo Tenca, rural coordinator at the municipality of Salto. Regarding open field crops, which are the ones most exposed to the weather, the acreage in 2012 is similar to that in 2011.
"Farms have difficulties in the north just like in the south, in concentration of production, for example, but lots of people are working very hard anyway, even young people," said Tenca.
It was recently announced by the Ministry of Livestock, Agriculture and Fisheries (MGAP) that protected crop planting this year is expected to be 10% higher than in 2011, as estimated by the Bureau of Economic Research in Agriculture (DIEA).
DIEA explained that this increase is due to the expansion in the acreage for tomatoes and strawberries, while the surface for red bell peppers will decrease slightly.
On another note, open field crop planting is expected to take 1,595 hectares, keeping the prevalence of the three main crops (sweet potato, onion and carrot), which take 71% of the total.
Regarding sweet potatoes, 565 hectares are expected to be planted, which would mean a 17% increase compared to last year's figures; the acreage for onions was estimated at 327 hectares, similar to last year's acreage, which was of 346 hectares. And for carrots, plans are for 233 hectares to be planted; fewer than in 2011 (294 hectares).
DIEA states that this part of the country was affected by strong rainfall, wind and even hail, which caused losses in protected and open field crops, with onions and carrots being most affected.
In this regard, Tenca said that the winter brought uncommon frosts that caused big damages to open field crops like strawberries and courgettes and slightly less severe to protected crops, such as tomatoes and red bell peppers, but later, between 7 and 9 October, there was an excess of rainfall, "of 400 to 450 mm in three days, which caused damages especially to carrots and onions."
2011 production cycle results
DIEA pointed out that the total acreage of protected crops for the 2011 production cycle was estimated at 403 hectares, with a total production volume coming very close to 42,000 tonnes.
Regarding open field crops, 1,433 hectares were planted with a total production of 20,000 tonnes. Sweet potatoes, onions and carrots took more than 80% of the acreage.
The area researched by DIEA includes the main agricultural regions of Artigas and Salto (Bella Unión, Tomás Gomensoro, Constitución, Belén and Salto).
Source: El Observador
2023-01-27 Market with cheap vegetables and fruits to be launched in Omsk, Russia
2023-01-27 Russia and Turkey intend to strengthen control over the supply of fruits and vegetables
2023-01-27 The fruit and vegetable department determines consumer preference for the store and drives the sales
2023-01-27 France is preparing a law allowing the industry to better negotiate with retailers
2023-01-27 Concern over governmental intention to withdraw support for exporters and importers
2023-01-26 "Shift toward vegan nutrition offers new opportunities to add more variety to the product portfolio"
2023-01-26 'Increasing shipments from South Africa and slightly weakening grape imports from Peru'
2023-01-26 China-Latin America and Caribbean strengthen ties
2023-01-26 "Persistent load shedding is a key factor that will influence growth prospects in agriculture'
2023-01-25 New Zealand: Countdown expects price of seasonal produce to drop
2023-01-25 Bangladesh importers for lower Letters of Credit margin
2023-01-25 Centre of Excellence in Horticulture inaugurated in Gignau
2023-01-25 Produce prices in Wisconsin up due to rains and flooding in California
2023-01-25 Queensland horticulture farm to expand thanks to a state government agritourism grant
2023-01-24 Food crisis looms as South African growers struggle without power
2023-01-24 Imperial county braces for less water as Colorado River runs dry
2023-01-24 Ministry of Agriculture in Belize intent on expanding local production
2023-01-24 "Oranges and apples are our most demanded fruits by UAE importers"


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Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011
Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011: revoked (after expiring on the close of 1 July 2015), on 19 April 2016, by section 146(2) of the Greater Christchurch Regeneration Act 2016 (2016 No 14).
At Wellington this 31st day of October 2011
This order is administered by the Department of Internal Affairs.
Pursuant to section 71 of the Canterbury Earthquake Recovery Act 2011, Her Excellency the Administrator of the Government makes the following order, acting—
on the recommendation of the relevant Minister following the Canterbury Earthquake Recovery Review Panel's review of the draft order.
5 Application of clause 6
6 Council may choose not to prepare 2012/22 long-term plan
7 Modification of requirement to adopt long-term plan
2009/19 long-term plan
8 Requirements for 2009/19 long-term plan
2012/13 annual plan
9 Modification of requirements for 2012/13 annual plan
10 Modification of section 97 of Act
2012/13 annual report
11 Modification of requirements for 2012/13 annual report
This order is the Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011.
This order comes into force on the 28th day after the date of its notification in the Gazette.
This order expires on the close of 1 July 2015.
In this order, unless the context otherwise requires,—
2009/19 long-term plan means a council's long-term plan for the 10 or more financial years starting on 1 July 2009
2012/13 annual plan means a council's annual plan for the financial year starting on 1 July 2012
2012/13 annual report means a council's annual report for the financial year starting on 1 July 2012
Act means the Local Government Act 2002
Amendment Act means the Local Government Act 2002 Amendment Act 2010
council means the Canterbury Regional Council, the Selwyn District Council, or the Waimakariri District Council
long-term plan means a long-term plan adopted under section 93 of the Act.
The modifications to the Act made by this order do not affect the text of the Act but require it to be read as if it had been amended in the manner indicated in this order.
Clause 4(1) council: amended, on 22 March 2013, by clause 5 of the Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011 Amendment Order 2013 (SR 2013/40).
Clause 6 applies to the Canterbury Regional Council, the Selwyn District Council, and the Waimakariri District Council.
Clause 5: amended, on 22 March 2013, by clause 6 of the Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011 Amendment Order 2013 (SR 2013/40).
A council may decide not to adopt a 2012/22 long-term plan in 2012.
If a council makes a decision under subclause (1) not to adopt a 2012/22 long-term plan, clauses 7 to 11 apply to the council.
Section 93(1) of the Act does not apply to a council from 1 July 2012 until the close of 30 June 2013.
Section 93(3) of the Act does not require the council to adopt a long-term plan in 2012, but applies to the council's long-term plan to be adopted in 2015 and later years.
Instead of complying with section 93(3) of the Act in 2012, the council must prepare and adopt a long-term plan before 1 July 2013 covering a period of not less than 9 years starting on that date.
The long-term plan adopted under subclause (3) continues in force until the close of the second consecutive year to which it relates.
Section 93 of the Act, other than subsections (1), (3), and (7)(a), applies to the long-term plan prepared and adopted under subclause (3).
The provisions of the 2009/19 long-term plan specified in subclause (2) continue in force until the close of 30 June 2013.
The provisions are those that address the requirements of clauses 4, 5, and 6 of Schedule 10 of the Act as it was before it was amended by the Amendment Act.
The amendments made by the Amendment Act to section 85(2)(a) and Schedule 10 of the Act do not apply to a 2012/13 annual plan.
The 2012/13 annual plan must include the information specified in clause 2(2) of Schedule 10 of the Act (as it was before it was amended by the Amendment Act) for the year covered by the 2012/13 annual plan.
Section 97(2) of the Act does not apply to a decision described in section 97(1) of the Act.
A council may make a decision described in section 97(1) of the Act only if the circumstances in subclause (3) or (4) apply.
The council may make a decision if the decision—
is expressly provided for in the 2012/13 annual plan; and
was included in the statement of proposal prepared under section 85 of the Act in relation to the 2012/13 annual plan.
The council may make a decision if it has used the special consultative procedure in considering whether to make the decision.
The amendments made by the Amendment Act to Schedule 10 of the Act do not apply to a 2012/13 annual report.
The amendments made by the Amendment Act to section 99 of the Act do not apply to the auditor's report on the 2012/13 annual report.
Clause 15(e) of Schedule 10 of the Act (as it was before it was amended by the Amendment Act) applies to the 2012/13 annual report as if the reference in subparagraph (i) to the long-term council community plan in respect of that year were a reference to the 2012/13 annual plan.
for Clerk of the Executive Council.
Date of notification in Gazette: 3 November 2011.
This is a reprint of the Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011 that incorporates all the amendments to that order as at the date of the last amendment to it.
Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011 Amendment Order 2013 (SR 2013/40)
Canterbury Earthquake (Local Government Act 2002) Order (No 2) 2011 (SR 2011/402): clause 3


G Plate front bumper skid and scrape protection for Lamborghini LP550-2 & LP560-4. 2-piece design, 1-piece for each corner of the front bumper. CNC Machined from 1/8" thick UHMW, high performance black plastic. Factory mounting points integrated into the back portion of these G Plates to aid installation, overall fit and future service of the car. Holes must be drilled into the bumper for installation of supplied plastic rivets. Includes pre-installed 3M double sided tape to aid in mount strength of the G Plate and to prevent debris from getting in between the G Plate and the bumper.
The blue Lamborghini had experienced skids and scrapes prior to G Plate installation. However, the picture of the bumper prior to G Plate installation shows the type of damage a G Plate can protect your front bumper from.
This video is of G Plates on an LP570. However, the LP550 & LP560 front bumper and G Plates are very similiar.


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Return to Reformation Resources
IN EDUCATION, "NEW" ISN'T ALWAYS BETTER
Gregg Strawbridge, Ph.D.
[For the Laurel Leader-Call (4/97)]
A silent revolution is brewing in America's education vats. With 1980's reports like A Nation at Risk, abounding reform efforts in public education, private school proliferation, and the upheaval of the establishment by home schoolers—education as we know it is at risk. What's the latest wave? Classical and Christian Education. This movement, though not a household phrase now, will surely be as familiar as "voucher system," "school choice," or "Goals 2000" in the coming years.
The new wave of Classical and Christian Education is not entirely different from what we all know about schooling. The classrooms are not in Medieval Monasteries or under water, you know. There's still the perennial three W's (Wreading, Writing, and Writhmatic). As it turns out, the distinctives are not really new at all. The Classical approach recaptures an educational method that is a thousand years old. "New" subjects, that are two millennia old, are taught, like Latin (beginning even in the elementary grades), Logic (in Jr. High), and Rhetoric (in High School). The Classical approach brings character development, as well as the content of Western civilization together, while equipping students with the proven tools of learning.
Why this "new" approach? In a series of articles over the next few weeks we hope to answer that more fully. But to start, one can hardly think of the past without being impressed with those who were schooled with just such an approach. Take one example from early America, Jonathan Edwards. Now Edwards was a prodigy, but his education was not nearly so special (then). At home under his father's care he was schooled in "the basics." When he entered Yale in 1716 before the age of thirteen he had a thorough knowledge of Greek, Hebrew, and Latin. Not only was he instrumental as a preacher in the Great Awakening (1740-1742), recognized as America's greatest philosopher, and called as the first president of Princeton—among his direct descendants are found three college presidents, 65 professors, 100 lawyers, 33 judges, 66 physicians, eight public officials, three senators, three governors, and one Vice President. If you can't relate to an Edwards, just consider the common letters of the "uneducated" in the last century which would pass for our most eloquent literature (for example in Ken Burns Civil War series).
Little response is required when the critic asks, "But with so many new things to try, why go back to the education ideas of the past?" . . . Over the next few weeks we will discuss more fully Classical and Christian Education and its relevance to public, private, and home school arenas, as well as overview the key books and resources on the subject. On the evening of June 15th, Father's Day, a nationally known speaker on the subject, Douglas Wilson, will be in Laurel addressing the topic. For more information call 649-8570.
© Gregg Strawbridge. All Rights Reserved.


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The 2016 Bluestocking Film Series: Everything a Film Festival Should Be, and More!
July 14-16, 2016 in Portland Maine, the Bluestocking Film Series celebrated its 6th year. The weekend was a busy one, and included panel discussions, 22 films, parties, networking events, a youth program and more.
While I've been to plenty, it's always interesting to me to experience different film festivals. I've found that each festival has its own unique vibe. The New Hampshire Film Festival strives to bring a little bit of Hollywood to New Hampshire by bringing in celebrities, having a red carpet to walk down and having groups of photographers take your picture...
2016 Bluestocking Film Series Highlights Women in Film
Posted by Leah on 7/11/2016 12:52:07 PM
In the world of film festivals there is truly something for everyone. There are Jewish festivals, African American festivals, children's festivals, independent festivals, horror festivals; I could go on and on! The number and types of film festivals out there are as diverse and plentiful as the films they showcase, and the upcoming 2016 Bluestocking Film Series is no different.
The Bluestocking Film Series is the brain child of Kate Kaminski, and showcases only films that have female protagonists and main characters who don't spend all of their time talking about men...
The Filmmaker's Journey or What Nobody Tells You about the Industry Book Review
There are many people out there, myself included), who think to themselves "I have so much experience to share with the world in (insert career field of choice). Maybe I should write a book!" And then would come the inevitable, "Nah. No one would read it." I've thought those things many times.
When reading articles and books about writing there is one thing that always seems to come up: write what you know. If you know a lot about gardening and plants, write about that. If skiing is your thing, write about that. The trouble with this advice is the "No one would r...
First Ever Independent Film Showcase at Starlite Cinemas is a Wrap!
On Friday May 20 and Saturday 21 Starlite Cinemas in Rochester, NH held its first Independent Film Showcase. The showcase featured 16 films over the course of the two days, including both feature length films and shorts, and running the gamut from drama, to comedy, to horror to documentary.
The showcase kicked off on Friday evening with two screenings of the film Food Fight: Inside the Battle for Market Basket. Although the house wasn't packed to the gills for the first screening, the theater was very full. Because of Market Basket's popularity in Rochester, the crowd ...
The Trip Audiobook Review
As I touched on in my review of the film Life After Beth, there is no shortage of zombie related materials out there right now. There are countless films, TV shows and books, among other things, that have flooded the market with all things zombie apocalypse. With an overcrowded sub-genre such as this, how is an artist to stand out from the others and have their work be seen and appreciated?
Although each and every artist, of any kind, has their own personal methods of putting a unique touch on their work in order to stand out from the crowd, there do seem to be some g...
Starlite Cinema to Hold Independent Film Showcase!
Andrew Bemis and Roger Froilan of Starlite Cinemas The movie theater near me has had quite the rocky past. Over the past 20 years it's been closed more than it's been opened and has changed hands at least four times. That's why, when a few months ago the theater was renovated and reopened, I was so excited. Looking at how much work the new owner, Roger Froilan, has put into revamping the theater and bringing it back to life I can't help but have high hopes this time around. Back in April I had spoken to Roger, both on the phone and by email, about setting up a...
Tales of Bacon, a Satisfyingly Refreshing Period Series
Posted by Leah on 5/4/2016 11:45:29 AM
I don't usually review TV or web series, but when the creators of the new web series Tales of Bacon contacted me asking me to check out their show I knew I had to give it a look. Tales of Bacon is "a medieval road trip comedy featuring a Pardoner, a Young Noblewoman and a Mysterious Knight." So far they've only released the pilot episode, but from what I've seen this series is going to be a great one!
Gemma Shelton, Adam Elms and Ted the Ox on the set of Tales of Bacon (Photo courtesy Natalie Roe)
Set in 1300's England, the series follows Elfrida Deverwyck and Tha...
Beloved Actress Doris Roberts Passes at the Age of 90
Actress Doris Roberts died peacefully in her sleep at her home in Los Angeles Monday April 18, 2016, at the age of 90.
Roberts was a true Hollywood legend, with a total of 158 acting credits to her name. She began her career at the age of 25 in 1951 on the TV show Starlight Theater. After that appearance her career took off. Over the course of her 65 year career she appeared in 72 TV shows including the 90's series Dream On, The Boys, Remington Steele, and Barney Miller. She was best known recently as the doting, yet finicky Marie Barone on the TV show Everybody Loves...
Mad Max: Fury Road: Deconstructing the Hype
Article Originally Published on FilmDebate.co.uk
I originally covered the topic of my dislike of Mad Max: Fury Road in an earlier article, which you can find here. Mad Max: Fury Road is the last film I discussed in that article.
It's no secret by now that I absolutely hated Mad Max: Fury Road. I had originally come to the conclusion that I didn't need to write anything about it since everyone else already had, and for some reason everything they wrote was positive. I figured I'd leave well enough alone and that I wouldn't bother wasting any mor...
Actor and Advocate Ken Howard Passes Away at the Age of 71
Actor Ken Howard died Wednesday, March 23, 2016, at the age of 71. He was a giant, both physically (at a height of 6' 6") and in the entertainment industry. He began his career in 1968 as many in entertainment do, with a role on Broadway in Promises, Promises. After appearing in several other Broadway roles, including 1776 and Child's Play, he made the jump to television and film.
His 47 year career and 109 acting credits included 50 TV show roles, including The White Shadow, Murder She Wrote, The Colby's, Dynasty, Melrose Place, The West Wing, Crossing Jordan and, most...