A low-budget film or low-budget movie is a motion picture shot with little to no funding from a major film studio or private investor.

Many independent films are made on low budgets, but films made on the mainstream circuit with inexperienced or unknown filmmakers can also have low budgets. Many young or first time filmmakers shoot low-budget films to prove their talent before doing bigger productions. Most low-budget films that do not gain some form of attention or acclaim are never released in theatres and are often sent straight to retail because of their lack of marketability, look, narrative story, or premise. There is no precise number to define a low budget production, and it is relative to both genre and country. What might be a low-budget film in one country may be a big budget in another. Modern-day young filmmakers rely on film festivals for pre-promotion. They use this to gain acclaim and attention for their films, which often leads to a limited release in theatres. Films that acquire a cult following may be given a wide release. Low-budget films can be either professional productions or amateur. They are either shot using professional or consumer-grade equipment.

Some genres are more conducive to low-budget filmmaking than others. Horror films are a very popular genre for low-budget directorial debuts. Jeremy Gardner, director of The Battery says that horror fans are more attracted to how the films affect them than seeing movie stars. This allows horror films to focus more on provoking a reaction than on expensive casting choices. Thriller films are also a popular choice for low-budget films, as they focus on narrative. Science fiction films, which were once the domain of B movies, frequently require a big budget to accommodate their special effects, but low-cost do-it-yourself computer-generated imagery can make them affordable, especially when they focus on story and characterization. Plot devices like shooting as found footage can lower production costs, and scripts that rely on extended dialogue, such as Reservoir Dogs or Sex, Lies, and Videotape, can entertain audiences without many sets.

The money flow in filmmaking is a unique system because of the uncertainty of demand. The makers of the film do not know how well the film they release will be received. They may predict a film will do very well and pay back the cost of production but only get a portion back. Or the opposite may happen where a project that few think will go far can bring in more profit than imaginable. A big gambling variable that is also involved is the use of stars. Frequently stars are brought on to a project to gain the film publicity and fame. This process can be profitable, but it is not a foolproof mechanism to successful funding. Well-known actors may join a low-budget film for a portion of the gross.

Notable low-budget films

Bruce Lee's low-budget 1970s Hong Kong martial arts films were some of the most commercially successful and profitable films of all time. The Way of the Dragon (1972) grossed  worldwide against a $130,000 budget (a % return on investment), while Enter the Dragon (1973) grossed  worldwide against a $850,000 budget (a % return on investment). Another example of a very successful low-budget Asian film from the same decade was the 1975 Bollywood "Dacoit Western" film Sholay, which cost  ($400,000) to produce and grossed  ($67 million), making it Indian cinema's highest-grossing film ever up until then.

Wayne Wang's film Chan Is Missing, set on the streets of San Francisco's Chinatown, was made for $20,000 in 1982. San Francisco Chronicle columnist Herb Caen wrote that the budget would not have paid for the shoelaces in the film Annie.

One of the most successful low-budget films was 1999's The Blair Witch Project. It had a budget of around $60,000 but grossed almost $249 million worldwide. It spawned books, a trilogy of video games, and a less-popular sequel. Another successful low-budget film was 2007's Paranormal Activity, with a budget of only $15,000, the film went on to gross more than $190 million. Possibly an even more successful low-budget film was the 1972 film Deep Throat which cost only $22,500 to produce, yet was rumored to have grossed over $600 million, though this figure is often disputed.

Another film that not only had a major return on its investment but also had a huge cultural impact was Mad Max. Mad Max was made for $200,000 USD but returned over 100 million USD. It also started off a major franchise that resulted in another 3 movies.
Mad Max held the Guinness Book of Records record for most profitable movie for 20 years, eventually beaten by The Blair Witch Project.

Rocky was shot on a budget of $1 million and eventually grossed $225 million worldwide, making Sylvester Stallone a star. Halloween was produced on a budget of $325,000 and grossed $70 million worldwide. Napoleon Dynamite cost less than $400,000 to make but its gross revenue was $46 million. Divisions of major film studios that specialize in such films, such as Fox Searchlight Pictures, Miramax, and New Line Cinema, have made the distribution of low budget films competitive.

The UK film Monsters is a recent successful example of bringing what was once considered the exclusive preserve of the big studios—the expensive, special effects blockbuster—to independent, low-budget cinema. The film's budget was reported to be approximately $500,000, but it grossed $4,188,738 at the box office.

A considerable number of low- and modest-budget films have been forgotten by their makers and fallen into the public domain. This has been especially true of low-budget films made in the United States from 1923 to 1978 (films and other works made in the US during this period fell into public domain if their copyrights weren't renewed 28 years after the original production). Examples include a number of films made by Ed Wood or Roger Corman.

Some low-budget films have failed miserably at the box office and been quickly forgotten, only to increase in popularity decades later. A number of cheaply made movies have attained cult-film status after being considered some of the worst features ever made for many years. The most famous examples of this latter-day popularity of low-budget box-office failures include Plan 9 from Outer Space and Manos: The Hands of Fate.

Additionally, some low-cost films that have had little (or modest) success upon their initial release have later been considered classics. The Last Man on Earth was the first adaptation of the novel I Am Legend by Richard Matheson. Due to budgetary constraints, the vampires in the film were zombie-like creatures instead of fast and agile monsters portrayed in the novel. This approach (and film) was not considered a success at the time, but it inspired George A. Romero's work in his film Night of the Living Dead. Thus, The Last Man on Earth became a precursor to numerous zombie films, and fans of those films later re-discovered the original, making it a cult classic.

The 2017 Indian film Secret Superstar became one of the most profitable films of all time, grossing  () worldwide on a limited budget of , with over % return on investment (ROI).

Micro budget

A micro budget film is that which is made on an extremely low budget, sometimes as little as a few thousand dollars. An example of such would be the popular 1992 film El Mariachi, in which the director Robert Rodriguez was unable to afford second takes due to the $7000 budget. Despite this, it was a success both critically and commercially, and started the young director's career.

Some of the most critically acclaimed micro-budget films were by the Bengali film director Satyajit Ray, his most famous being The Apu Trilogy (1955–1959). The first film in the trilogy, Pather Panchali (1955), was produced on a shoestring budget of Rs.200,000 ($3000) using an amateur cast and crew. The three films are now frequently listed among the greatest films of all time. All his other films that followed also had micro-budgets or low-budgets, with his most expensive films being The Adventures of Goopy and Bagha (1968) at Rs.600,000 ($12,000) and Shatranj Ke Khilari (1977) at Rs.2 million ($40,000).

Another example would be the 1977 cult film Eraserhead, which cost only $10,000 to produce. Director David Lynch had so much trouble securing funds that the film had to be made over a six-year period, whenever Lynch could afford to shoot scenes. In 2014, journalist Kyle Smith estimated the film has grossed over $7 million.

Slacker, a 1991 comedy-drama film written and directed by Richard Linklater, was produced for $23,000. The film was inducted into the National Film Registry in 2012. Influenced by the success of Slacker, Clerks was written and directed by Kevin Smith for $27,575 in 1994 which he paid for on his credit card and grossed $3.2 million in theatres. Clerks launched Smith's career as a director and he has made several considerable higher budget films.

In 1998, Christopher Nolan's first film Following was filmed on a budget of £3,000. Nolan then received another £3,000 to "blow it up to 35mm".

Primer is a 2004 American science fiction film written, directed and produced by Shane Carruth, a former mathematician and engineer, who also starred, and was completed on a budget of only $7,000.

Also in 2004, the documentary Tarnation had a budget of $218.32, but grossed $1,200,000.

In 2007 the Tribeca Film Festival premiered the first film shot in a cell phone. Dutch avant-garde filmmaker Cyrus Frisch shot the 70-minute film, titled Why Didn't Anybody Tell Me It Would Become This Bad in Afghanistan for only $200 on a Sharp 903 cell phone, with its built-in 3.2-megapixel camera.

Paranormal Activity, a 2007 horror film written and directed by Oren Peli, was made for $15,000 and grossing about $193,355,800 (adjusted by inflation: $). Entertainment Weekly critic Owen Gleiberman gave Paranormal Activity an A− rating (A being the highest mark) and called it "frightening...freaky and terrifying" and said that "Paranormal Activity scrapes away 30 years of encrusted nightmare clichés."

One Cut of the Dead (2017), a low-budget Japanese zombie comedy film, was produced on a budget of  ($25,000) and went on to gross over  () at the Japanese box office, where it made history by earning over a thousand times its budget.

Johannes Grenzfurthner's horror films Masking Threshold (2021) and Razzennest (2022) were both made for a budget of EUR 20,000. Both films premiered at Fantastic Fest and were well received. Grenzfurthner talks about his productions and financing in lectures and interviews.

Academic research on low-budget film production (economic)
Only a small amount of academic research has been conducted on the economic impact of low-budget feature-film production. Two studies conducted from a British perspective includes Steve Chibnall's Quota Quickies: The Birth of the British 'B' Film and JC Crissey's doctoral thesis The UK low-budget film sector during the 'digital revolution' between 2000 and 2012: a quantitative assessment of its technological, economic and cultural characteristics.

See also
No-budget film

References

Budgets
Film and video terminology

Low-budget film


"Becoming" is the season finale of the second season of the drama television series Buffy the Vampire Slayer, consisting of the twenty-first and twenty-second episodes. The episode aired on The WB was split into two parts which were broadcast separately; "Part 1" first aired on May 12, 1998 and "Part 2" first aired on May 19, 1998. Both episodes were written and directed by series creator Joss Whedon.

The two episodes feature vampire slayer Buffy Summers (Sarah Michelle Gellar) working to prevent Angelus (David Boreanaz) and fellow vampires Drusilla (Juliet Landau) and Spike (James Marsters) from awakening the demon Acathla.

Plot

Part 1
Giles visits a museum to examine a big stone block that it has just acquired; he finds an opening in the rock.

Buffy and Willow find the floppy disk containing Jenny Calendar's reconstruction of the curse that gave Angelus his soul. They are eager to attempt it so they can get Angel back. Giles warns that it will be difficult. Xander prefers to see Angelus killed, rather than risk leaving him alive merely so that Buffy can have a chance to get her boyfriend back.

Drusilla kills the museum curator while Angelus and his minions steal the stone block, which contains the demon Acathla, who came to suck the world into Hell. A virtuous knight had stabbed him in the heart before he could draw a breath, but someone worthy can remove the sword to awaken Acathla. Angelus wants to use Acathla to destroy the world.

Kendra, the new Slayer, returns to Sunnydale bringing a sword blessed by the same knight who stopped Acathla.

Angelus kills a human and uses his blood in an attempt to awaken Acathla, which fails. He then lures Buffy to a battle in the cemetery. In the library, Willow is attempting the curse when vampires attack. During the fight that ensues Xander is injured and Willow is knocked unconscious under a bookcase while Drusilla hypnotizes and kills Kendra, after which she and her fellow vampires kidnap Giles. Buffy arrives too late, and a policeman finds her with Kendra's body.

Flashbacks
Galway, Ireland 1753: Liam, drunk as usual, is sired by Darla, becoming the sadistic vampire known as Angelus.
London, 1860: Drusilla, a pious young woman who has unwanted visions, is psychologically tormented before being sired by Angelus.
Romanian woods, 1898: In revenge for killing an unnamed Kalderash girl, Angelus is cursed with his human soul and becomes Angel.
Manhattan, New York 1996: Angel, now a derelict, meets a benevolent demon named Whistler who invites him to become a hero.
Los Angeles, 1996: As Buffy becomes the Slayer, Whistler points her out to Angel, who is inspired "to be somebody."

Part 2
Angelus tortures Giles for information and entertainment. Buffy finds Whistler in Giles' apartment and they discuss Angel's reversion to Angelus. He reveals that Angel was destined to stop Acathla, not awaken him.

Buffy is nearly arrested, but Spike attacks the policeman and offers a temporary alliance. He has no wish to see the world destroyed, and is jealous of Angelus' attentions to Drusilla; he will help Buffy stop Angelus if she allows him and Drusilla to leave town. Buffy and Spike go to her house to talk, but meet Joyce. Buffy is forced to tell her about her role as a vampire slayer. Joyce tells her daughter not to come back if she leaves the house. Buffy leaves anyway.

Xander sits by the comatose Willow and confesses his love for her. She wakes up, but the first person she asks for is Oz. Willow is determined to try the curse again. She sends Xander to tell Buffy her plans, hoping she can stall until the curse is complete.

Buffy goes to the library to retrieve Kendra's sword. She encounters Snyder, who gleefully announces that she is expelled. Spike returns to the mansion, concealing that he is well enough to walk. To keep Angelus from killing Giles, Spike suggests that Drusilla use hypnosis. She appears to Giles as Jenny, and he tells her that Angelus is the key. He must use his own blood, not someone else's, to awaken Acathla.

Buffy returns to Whistler, who tells her that if Angelus has awoken Acathla, only Angelus' blood can again defeat him, in the process sending both evil beings to hell. On her way to the mansion she meets Xander, who decides not to pass on Willow's message.

In the mansion, Buffy announces her arrival by decapitating a minion. Spike surprises Angelus from behind, knocking him unconscious and proceeding to beat him brutally. To his dismay, Drusilla sides with her sire, defending Angelus and attacking Spike. Xander frees the injured Giles and they escape as Spike and Buffy fight against Drusilla and the remaining minions. Angelus regains his senses and removes the sword from Acathla; he and Buffy swordfight. Spike knocks Drusilla unconscious and escapes with her in his car, leaving Sunnydale. Angelus overpowers Buffy and continues to torment her.

At the hospital, just as Willow appears close to fainting, she suddenly regains strength and begins incanting in Romanian. She succeeds in restoring Angel's soul just as Buffy is about to kill Angelus. Buffy realizes that Angel is back and embraces him. She then sees that Acathla is awake as it opens its mouth and creates an expanding vortex. When Angel, oblivious to the vortex opening behind him, questions what happened and where he is, Buffy kisses him, professes her love and then drives her sword through him into the vortex. Angel is sucked into the closing hellish vortex and the world is saved. Distraught at losing her lover, being kicked out of her home and expelled from school, and now becoming a wanted fugitive in Kendra's death, Buffy departs from Sunnydale on a bus, while her friends regroup at school unsure if or when she will return.

Reception

Reviewing for The A.V. Club in 2008 Noel Murray wrote that the two episodes are "a marvel, weaving together all of the season's major threads...into a concluding chapter as assured and well-realized as any in TV history."

The score to "Becoming" won Christophe Beck  a Primetime Emmy Award for Outstanding Music Composition for a Series.

References

External links

Buffy the Vampire Slayer (season 2) episodes
1998 American television episodes
Television episodes directed by Joss Whedon
Television episodes written by Joss Whedon
Television episodes about abduction
Fiction set in 1753
Fiction set in 1860
Fiction set in 1898
Fiction set in 1996
Television episodes set in London
Television episodes set in Ireland
Television episodes set in New York City
Television episodes set in Romania
Television episodes set in Los Angeles
Television episodes about curses

Becoming (Buffy the Vampire Slayer)


Richard Garratt Wilson (29 November 1928 – January 2011) was an English journalist and writer.

Life and work
Dick Wilson (he used the familiar form of his name throughout his professional life) was born in Epsom, Surrey the son of Ernest Garratt Wilson and Eileen Olive Ruscoe.  The family lived at nearby Sutton but in 1939 moved to Guildford where Dick entered the Royal Grammar School, Guildford. In 1942 he was sent to Cranleigh School where he remained until 1947 when he was called up for National Service and this was followed by his degree course at Oxford.  In 1952 he entered International House, Berkeley California studying law.  In 1953 he followed this with extensive travels in Southeast Asia before returning to live in London.  He worked for the Financial Times for four years before joining the Far Eastern Economic Review in Hong Kong as Editor in 1958. He remained in that post until 1964 in which year he was awarded, jointly with Kayser Sung, the Magsaysay award for journalism.

He returned to live in London and became largely a freelance author.  With his wife Sally he moved into a detached Georgian house in Grove Lane, Camberwell and they adopted two children, Emma and Ben.  The first of his many books on China, A Quarter of Mankind, was published in 1966. In 1975 he also took on the editorship of The China Quarterly, continuing until 1980.
Wilson had suffered a serious illness during his early travelling years and in later life this led to his posture becoming more and more stooped.  However he continued writing well into the 2000s, turning his attention mostly to the Indian subcontinent, but this work appears to remain unpublished.  He died in hospital in January 2011.  His wife Sally was also in hospital at the time (she too died a few months later) and his death passed unnoticed by the media.

Publications

A Quarter of Mankind (1966)
Asia Awakes (1970)
The Long March 1935: the epic of Chinese Communism's survival (1971)
East Meets west – Singapore (1971)
The Future Role of Singapore (1972)
The Neutralization of South East Asia (1975)
Mao Tse-tung in the Scales of History (editor) (1977)
Mao, The People's Emperor (1979)
When Tigers Fight, The Sino-Japanese War 1937–45 (1982)
Chou, The Story of Zhou Enlai 1898–1976 (1984)
Another Bite at the Cherry, The European View of Japan
The Sun at Noon, An Anatomy of Modern Japan (1986)
A Bank for Half the World. The Story of the Asian Development Bank 1966–1986 (1987)
Hong Kong! Hong Kong! (1990)
China's Revolutionary War (1991)
Japan in Britain – Partners and Competitors British Windows on Japan
China: the big Tiger.  A Nation Awakes (1996)
With Luo Zewen, J.P. Drege and H. Delahaye:
The Great Wall (1981)
With Elliott Kulick:
Thailand's Turn: Profile of a new dragon (1992)
With Matthew Grenier:
Chinese Communism (1992)

References

1928 births
2011 deaths
People educated at Royal Grammar School, Guildford
People educated at Cranleigh School
British writers
British journalists
English writers
English journalists
People from Epsom

Dick Wilson (writer)


Péter Polt (born 6 September 1955) is a Hungarian jurist, Chief Prosecutor of Hungary from 2000 to 2006 and since 2010.

Biography
He finished his secondary studies at the Veres Pálné Grammar School in Budapest. He graduated from the Faculty of Law of the Eötvös Loránd University in 1980. Besides that he participated in postgraduate courses in the University of Strasbourg and the Hague Academy of International Law. He worked for the National Institute of Criminology and Forensic. He became an assistant lecturer in the ELTE Department of Criminal Law in 1983. He was promoted to adjunct in 1985. He worked as a lawyer between 1985 and 1995 after completing the professional examination in 1992. He served as an advisor for the Ministry of Justice from 1990 to 1995. He received Ph.D from the Pázmány Péter Catholic University in 2010.

Polt joined Fidesz in 1993. He was a parliamentary candidate during the 1994 general election but did not secure a mandate.

He was appointed general deputy of Katalin Gönczöl, the Ombudsman for Civil Rights in 1995. As a result, he left the Fidesz party. In 2000 he was elected Chief Prosecutor by the National Assembly of Hungary, replacing Kálmán Györgyi. During his 6-year term he has been criticized several times. His response to the interpellations were repeatedly voted down in the plenary sessions. He was replaced by Tamás Kovács in 2006. After that he became Head of the Criminal Affairs Department of the General Prosecutor's Office.

President Pál Schmitt nominated Polt to the position of Chief Prosecutor in 2010. The Fidesz-KDNP parliamentary majority elected him for a 9-year term under the new rules. In 2011 Polt was elected Chairman of an organisation of European Union chief prosecutors. Polt told MTI over the phone that the organisation would provide recommendations to European prosecution offices about what priorities to pursue. He said another aim of the lobby group, set up four years ago, was to debate European issues affecting prosecutors.

Péter Polt was re-elected as Chief Prosecutor for another 9-year term by the Fidesz supermajority of the National Assembly on 4 November 2019. He received 134 votes, 24 MPs voted against him, and there were three invalid votes.

References

Sources
MTI Ki Kicsoda 2006, Magyar Távirati Iroda, Budapest, 2005, p. 1380.
Polt Péter adatlapja az ELTE ÁJK honlapján
Polt Péter 2000-es életrajza az Origo.hu-n
Életrajz a Veres Pálné Gimnázium honlapján

Further reading

1955 births
Living people
Ombudsmen
Hungarian jurists
Academic staff of Eötvös Loránd University
Fidesz politicians

Péter Polt


Mark Harris (January 27, 1779March 2, 1843) was a United States representative from Maine. He was born in Ipswich, Massachusetts on January 27, 1779.  He attended the common schools, then moved to Portland, Maine (then a district of Massachusetts) in 1800.

He engaged in mercantile pursuits.  Harris was a member of the Massachusetts State Senate in 1816.  He held several local offices, and was elected as a Democratic-Republican to the Seventeenth Congress to fill the vacancy caused by the resignation of Ezekiel Whitman. He served from December 2, 1822, to March 3, 1823.  Harris resumed mercantile pursuits, then was elected a member of the Maine House of Representatives in 1830. He served as treasurer of Cumberland County 1824-1832 and 1834–1840.  He also served as Maine Treasurer in 1828 and again in 1832–1834.

He moved to New York City in 1842 and engaged in mercantile pursuits there where he died on March 2, 1843. Harris is believed to have been interred at Eastern Cemetery in Portland, Maine.

References

Members of the United States House of Representatives from Maine
Massachusetts state senators
Members of the Maine House of Representatives
1779 births
1843 deaths
Maine Democratic-Republicans
Massachusetts Democratic-Republicans
Democratic-Republican Party members of the United States House of Representatives
Burials at Eastern Cemetery
State treasurers of Maine
People from Ipswich, Massachusetts

Mark Harris (Maine politician)


The logo of Wikipedia, which is a free, open-source online encyclopedia, that's accessible in many languages, is a picture that shows the following description:

A cut globe made from Jigsaw puzzle pieces with some missing at the top, and has glyphs from many different writing systems. The reason for missing pieces is because there is a never ending amount of information, making Wikipedia never done.

As shown on the top and left corner web pages of the English-language version of Wikipedia, it says "Wikipedia" under it, and there's a text that says "The Free Encyclopedia", in a serif and free open-source font.

Wikipedia
Symbols

Logo of Wikipedia


is the art of using the Japanese weapon kusarigama.

Kusarigamajutsu is featured in several separate martial arts such as Tendō-ryū, Suiō-ryū and Shintō Musō-ryū. The kusarigama is made up of three parts: the kama (a wooden handle with a curved blade (traditionally straight) protruding at a right-angle on one end, and a small loop at the other), and the kusari (a chain attached to the kama) and a weight at the end of the chain. In a confrontation the kusari is swung in wide sweeping arcs to distract and entangle the opponent and the kama is used to deliver a fatal strike.

Popular culture
 Teenage Mutant Ninja Turtles features kusarigamajutsu being used by Michaelangelo and Shini in the 2012 version. It was also used by Karai, the boar assassin Kojima, one of the Triceraton All-Stars, and some of the Foot Ninjas as well as some Karai Bots in the 2003 version.

See also
 Araki-ryū – Koryū that includes the use of the kusarigama
 Suiō-ryū – Koryū that includes the use of the kusarigama via the attached school of Masaki-ryū Fukuhara-ha kusarigamajutsu
 Toda-ha Bukō-ryū – Koryū that includes the use of the kusarigama
 Isshin-ryū kusarigamajutsu – School of kusarigamajutsu found in Shintō Musō-ryū
 Tendō-ryū kusarigamajutsu- School of kusarigamajutsu found in Tendō-ryū bujutsu

Sources

 Pascal Krieger: Jodô – la voie du bâton / The way of the stick (bilingual French/English), Geneva (CH) 1989,

Japanese martial arts
Ninjutsu
Ninjutsu skills

Kusarigamajutsu


In environmental law, the polluter pays principle is enacted to make the party responsible for producing pollution responsible for paying for the damage done to the natural environment. This principle has also been used to put the costs of pollution prevention on the polluter.  It is regarded as a regional custom because of the strong support it has received in most Organisation for Economic Co-operation and Development (OECD) and European Union countries, and has a strong scientific basis in economics. It is a fundamental principle in US environmental law.

Historical basis
According to the French historian of the environment Jean-Baptiste Fressoz, financial compensation (not named "polluter pays principle" at that time) is already the regulation principle of pollution favoured by industrials in the nineteenth century. He wrote that: "This principle, which is now offered as a new solution, actually accompanied the process of industrialisation, and was intended by the manufacturers themselves."

In modern times, the continued adherence to the polluter pays principle is supported scientifically by economics. One condition that must be satisfied in order to maximise Pareto efficiency is the assignment of all costs of a decision, such as the harm resulting from a decision to pollute, to the agent making the decision, effectively removing all externalities.

Applications in environmental law

The polluter pays principle underpins environmental policy such as an ecotax, which, if enacted by government, deters and essentially reduces greenhouse gas emissions. This principle is based on the fact that as much as pollution is unavoidable, the person or industry that is responsible for the pollution must pay some money for the rehabilitation of the polluted environment.

Australia
The state of New South Wales in Australia has included the polluter pay principle with the other principles of ecologically sustainable development in the objectives of the Environment Protection Authority.

Canada
The Canadian Energy Regulator mandates that oil companies must pay for any environmental impacts from a spill. This mandate requires oil companies to pay for damages, regardless of whether or not the spill is their fault.

European Union
The polluter pays principle is set out in the Treaty on the Functioning of the European Union and Directive 2004/35/EC of the European Parliament and of the Council of 21 April 2004 on environmental liability with regard to the prevention and remedying of environmental damage is based on this principle. The directive entered into force on 30 April 2004; member states were allowed three years to transpose the directive into their domestic law and by July 2010 all member states had completed this.

France
In France, the Charter for the Environment contains a formulation of the polluter pays principle (article 4):

Ghana
In Ghana, the polluter pays principle was adopted in 2011.

Sweden
The polluter pays principle is also known as extended producer responsibility (EPR). This is a concept that was probably first described by Thomas Lindhqvist for the Swedish government in 1990. EPR seeks to shift the responsibility of dealing with waste from governments (and thus, taxpayers and society at large) to the entities producing it. In effect, it internalised the cost of waste disposal into the cost of the product, theoretically meaning that the producers will improve the waste profile of their products, thus decreasing waste and increasing possibilities for reuse and recycling.

The Organisation for Economic Co-operation and Development defines extended producer responsibility as: a concept where manufacturers and importers of products should bear a significant degree of responsibility for the environmental impacts of their products throughout the product life-cycle, including upstream impacts inherent in the selection of materials for the products, impacts from manufacturers' production process itself, and downstream impacts from the use and disposal of the products. Producers accept their responsibility when designing their products to minimise life-cycle environmental impacts, and when accepting legal, physical or socio-economic responsibility for environmental impacts that cannot be eliminated by design.

United Kingdom
Part IIA of the Environmental Protection Act 1990 established the operation of the polluter pays principle. This was further built upon by The Environmental Damage (Prevention and Remediation) Regulations 2009 (for England) and the Environmental Damage (Prevention and Remediation) (Wales) Regulations 2009 (for Wales).

United States
The principle is employed in all of the major US pollution control laws: Clean Air Act, Clean Water Act, Resource Conservation and Recovery Act (solid waste and hazardous waste management), and Superfund (cleanup of abandoned waste sites).

Some eco-taxes underpinned by the polluter pays principle include:
 the Gas Guzzler Tax for motor vehicles
 Corporate Average Fuel Economy (CAFE), a "polluter pays" fine.
 the Superfund law requires polluters to pay for cleanup of hazardous waste sites, when the polluters can be identified.

Limitations of polluter pays principle
The US Environmental Protection Agency (EPA) has observed that the polluter pays principle has typically not been fully implemented in US laws and programs. For example, drinking water and sewage treatment services are subsidized and there are limited mechanisms in place to fully assess polluters for treatment costs.

Zimbabwe
The Zimbabwe Environmental Management Act of 2002  prohibits the discharge of pollutants into the environment. In line with the "Polluter Pays" principle, the Act requires a polluter to meet the cost of decontaminating the polluted environment.

In international environmental law
In international environmental law it is mentioned in the principle 16 of the Rio Declaration on Environment and Development of 1992

Exception for excusable ignorance
The polluter pays principle (PPP) has been doubted in cases where no one recognized that a type of pollution posed any danger until after the pollution began.  An example occurs in the history of climate change science which shows that considerable carbon dioxide was emitted into the atmosphere by industrialized countries before there was scientific awareness or consensus that it could be dangerous.

See also

References

Further reading
International Law and Naval War: The Effect of Marine Safety and Pollution Conventions during International Armed Conflict, by Dr. Sonja Ann Jozef Boelaert-Suominen (December 2000).
Doswald-Beck, ICRC Review (1997), No. 316, 35–55; Greenwood, ibid., 65–75.

Environmental economics
Environmental law
Environmental social science concepts
Industrial ecology
Pollution
Waste management concepts
Legal doctrines and principles

Polluter pays principle


Montague Harbour Marine Provincial Park is a provincial park in British Columbia, Canada, located on Galiano Island, one of the Gulf Islands off BC's South Coast in Canada. It is accessible by BC Ferries from Swartz Bay on Vancouver Island or Tsawwassen on the Mainland. The Island's ferry terminal is at Sturdies Bay, about  from Montague.

It is a very popular anchorage in the summer months and mooring buoys are provided by the park for visiting boats. It is also a popular spot for kayakers to stop for a night. The park has great camping with sites overlooking the water, picnic tables and pit toilets. It is on a peninsula with beaches and rock pools to play in and explore. There is a small marina within walking distance from the park which stocks basic supplies.

References

Provincial parks of British Columbia
Galiano Island
1959 establishments in British Columbia
Protected areas established in 1959
Marine parks of Canada

Montague Harbour Marine Provincial Park


The A13 motorway is a motorway in the Netherlands, connecting the cities of The Hague and Rotterdam. The Rotterdam The Hague Airport is located next to the A13.

Route description
The , highly congested motorway is the main motorway connection between these two cities. It is a dual carriageway with three lanes in each direction. Between the junctions Berkel and Delft-Zuid managed motorway is effective, when certain intensities occur the hard shoulder is opened for traffic heading north. The maximum speed on the road is 100 km/h.

European route E19, the route between Amsterdam and Paris, follows the complete A13 motorway between the interchanges Ypenburg and Kleinpolderplein.

Future
To relieve the southern part of A13 motorway from traffic, the plan exists for a major by-pass for the city of Rotterdam, connecting the A13 directly with the A16 motorway. The A16 will be extended from its current terminus at interchange Terbregseplein towards a new interchange with the A13 between exits Berkel en Rodenrijs and Delft-Zuid. The remaining part of the A13, between this interchange and interchange Ypenburg, would then have to be widened.

Exit list

References

External links

Motorways in the Netherlands
Motorways in South Holland
Transport in Rotterdam
Transport in The Hague
Delft
Lansingerland
Rijswijk

A13 motorway (Netherlands)


Franca Obianuju Brown  (born 17 May 1967) is a Nigerian actress and film producer who in 2016 was a recipient of the City People Movie Special Recognition Award  at the City People Entertainment Awards.

Early life and education
Brown began her primary school education in St. Mary's Primary School in Onitsha, Anambra State but migrated to Abia State where she completed her primary school education in St. Maria's Primary School located in Aba, and obtained her First School Leaving Certificate. Brown for her secondary school education moved to Niger State located in the Northern geographical area of Nigeria to Federal Government Girls College in New Bussa, Niger State where she obtained her West African Senior School Certificate.
Brown in bid to obtain a B.Sc. degree applied to Ahmadu Bello University in Zaria, Kaduna State and was accepted and eventually graduated with a bachelor's degree in law. Brown pursued a second degree and applied to the University of Jos in Plateau State where she was accepted and eventually graduated with a Bachelor's Degree in Theatre Arts and a master's degree in law.

Career
Brown's acting career received recognition from her role in the TV series titled "Behind The Clouds" Although Brown had made two cameo appearances before her feature on the "Behind The Clouds" TV soap opera series she had failed to establish herself in the Nigerian movie industry and took acting roles mainly on short stage plays. On one of such stage plays titled "Swam Karagbe" which was written by Dr. Iyorchia, three Nigerian talent scouts namely Matt Dadzie, Peter Igho & Ene Oloja were amongst the audience searching for new talents to feature in a TV movie series and after the stage play had been concluded Brown discussed in an interview that she was approached by the three talent scouts and was asked to come for an audition, of which she eventually did and was given the role of Mama Nosa in the TV soap opera series titled "Behind The Clouds".

Brown is also a movie producer and movie director and has produced & directed a movie titled "Women At Large" of which she was also featured in.

Award
Brown, in 2016, was awarded with the  MovieCity People Special Recognition Award at the City People Entertainment Awards.

Personal life
Brown was a victim of an arson attack perpetuated by her female domestic staff on her property.

Selected filmography
Plane Crash (2008)
Women At Large (2007)
Cross Of Agony (2006)
Deep Bondage (2006)
Desperate Women (2006)
Leap Of Faith (2006)
Serpernt In Paradise (2006)
Clash Of Destiny (2005)
Endless Passion (2005)
My Sister's Act (2005)
Discord (2004)
Mothers-In-Law (2004)
Sunrise (2002)
Tears & Sorrows (2002)
Valentino (2002)
My Good Will (2001)
The Price (1999)
Obstacles (1998)

References

External links

Living people
Nigerian actresses
Igbo actresses
Ahmadu Bello University alumni
1967 births
Nigerian film producers
Actresses from Anambra State
University of Jos alumni
20th-century Nigerian actresses
21st-century Nigerian actresses
Nigerian women film producers

Franca Brown


Louis Jessup Delsarte III (September 1, 1944 – May 2, 2020) was an African-American artist known for what has sometimes been called his "illusionistic" style. He was a painter, muralist, printmaker, and illustrator.

When Delsarte was growing up, he was surrounded by music including jazz, opera, musicals, and the blues.
From this experience, as well as from his knowledge of African history and culture, he has drawn much of the inspiration for his art.  Delsarte was a professor of Fine Arts at Morehouse College in Atlanta, Georgia. For the past 13 years his work has been exhibited around the United States.

Education, exhibitions, and critical recognition
Louise J. Desarte III was born in Brooklyn, New York, to Louis Desarte II and Llewellyn (Johnston) Delsarte, both educators. Delsarte went to high school in Brooklyn's Flatbush neighborhood, received a certificate in Fine Arts Education from Brooklyn College, earned his bachelor's degree in Fine Arts at New York's Pratt Institute, and obtained a master's degree in Fine Arts at the University of Arizona.

Delsarte's work has been featured in solo and group exhibitions at museums, galleries, and other venues throughout the United States, including the Studio Museum in Harlem, the Metropolitan Museum of Art in New York, the Schomburg Center for Research in Black Culture in New York, the Bodley Gallery (also in New York), the California Afro-American Museum, the Camille Hanks Cosby Museum at Spelman College in Atlanta, Georgia, and the Howard University fine arts gallery.  In 2001, Delsarte's work was included as part of a national traveling exhibition entitled "When the Spirit Moves: African-American Dance in History and Art". The traveling exhibition was sponsored by the Smithsonian Institution, having originated as a 1999-2000 exhibition at Spelman College (entitled "When the Spirit Moves: African American Art Inspired by Dance".

In 2001, Delsarte completed a large public mural commissioned by the city of New York. The monumental work, entitled "Transitions", is located at the Church Avenue station, on the Brooklyn IRT line.

Delsarte received further national recognition in August 2005 when the United States Postal Service issued a stamp featuring a Delsarte painting. The stamp depicts the march from Selma to Montgomery, Alabama, taken from a Delsarte painting created in 2000.

Also in 2005, Delsarte completed another monumental public mural, this one entitled "Spirit of Harlem". The 30 ft X 11 ft glass mosaic was assembled in Munich, Germany, and is located at North Fork Bank on 125th Street in New York City.

In January 2010, Delsarte's 125-foot-long Martin Luther King Jr. Memorial Mural was dedicated at Peace Plaza in Atlanta, Georgia.

Significant critical recognition of Delsarte's contribution to American art has included discussion of his work in Samella Lewis's African American Art & Artists: a history of African American art from the seventeenth-century to the 1990s

His painting "Greenwood Lake", inspired by summers spent at Greenwood Forest Farms, where Langston Hughes also lived for a time,  was made into an oversized 6'6" square panel for inclusion in the Greenwood Lake Mural Project by curator Melanie Gold.  It can be viewed by the general public at 673 Jersey Ave in Greenwood Lake.  The project also includes works by other artists, and was featured in a New York Times article

Style and technique: a synthesis of chaotic abstraction and disciplined figuration
Delsarte's paintings are generally figurative and notable for their complex, layered look, enlivened with rapidly executed strokes in strong colors, as Adrienne Klein notes in an interview with the artist available online at the Union College website. Delsarte describes how he often creates a painting "over 10 to 12 sessions", sometimes laying the canvas on the floor and applying colors from every direction, "without even looking at the drawn image." Next, he allows the paint to dry and then works on the canvas vertically again for another phase of "disciplined drawing" — often going back to the floor for yet more work "when they [the images] have become too literal". Thus, Delsarte's technique reflects a concern for synthesizing the chaotic, unpredictable, irrational aspects of art-making with the tradition of making disciplined, representational images.

Klein draws a connection between these stylistic and technical features, taken together, and the influence of music on the artist's work: "In his paintings, the relationship between the figure and ground – the painted space outside of the figure – shifts and alters. The patterned liveliness of this space draws our eye and suggests the enveloping sound of music. The figures are woven into this vibrant atmosphere."

He died May 2, 2020.

Monographs and solo shows
[Main sources for this list: (1) Worldcat; and (2) African American Visual Artists Database

 Atlanta (GA). Modern Primitive Gallery. LOUIS DELSARTE. 2001. Solo exhibition.
 Brooklyn (NY). Dorsey Gallery. LOUIS DELSARTE: Recent Works. 1993. Solo exhibition.
 Harris, Michael D.. The Spiritual and Mystical World of LOUIS DELSARTE, 1998.
 Los Angeles (CA). California Afro-American Museum. LOUIS DELSARTE: Gallery of Greats. 1991. Solo exhibition.
 Miami (FL). Frances Wolfson Art Center, Miami-Dade Community College. The Art of LOUIS DELSARTE. February 12 - March 13, 1987. Solo exhibition. [Smithsonian Archives of American Art].
 New Orleans (LA). Amistad Research Center. LOUIS DELSARTE. 1999. Solo exhibition.
 New Orleans (LA). Stella Jones Gallery. LOUIS DELSARTE: Reflections. 1998. Solo exhibition.
 New York (NY). Bodley Gallery. LOUIS DELSARTE. 1980.
 New York (NY). Gallery 62, National Urban League. LOUIS DELSARTE: New Visions. February 7-March 11, 1982. Solo exhibition.
 New York (NY). Gallery 62, National Urban League. LOUIS DELSARTE: No Place Like Home. 1991. Solo exhibition.
 New York (NY). NoHo Gallery. LOUIS DELSARTE: Between Heaven and Earth. 1990. Solo exhibition.
 Washington (DC). Curtis Lewis Gallery. LOUIS DELSARTE: Recent Works. 1998. Solo exhibition.
 Wichita (KS). African American Museum. LOUIS DELSARTE. 2005. Solo exhibition.

References

Citations

Books
Alkalimat, Abdul; Elaine Westbrooks. African American history and culture on the Web: a guide to the very best sites (Wilmington, Del.: Scholarly Resources ; London: Eurospan, 2003) ; ; ;  Worldcat link: )
Childs, Adrienne L.; University of Maryland (College Park, Md.). Art Gallery. Successions : prints by African American artists from the Jean and Robert Steele collection (College Park, MD : Art Gallery, University of Maryland, 2002) ;  (Worldcat link: )
Delsarte, Louis;  Bodley Gallery (New York, N.Y.) Louis Delsarte [solo exhibition catalogue] (New York : Bodley Gallery, 1980) OCLC 55522158 (Worldcat link: )
Delsarte, Louis;  Gallery 62. New visions : paintings and drawings by Louis Delsarte, February 7 - March 11, 1983, Gallery 62 (New York, NY : National Urban League, 1983) OCLC 38160393 (Worldcat link: )
Delsarte, Louis;  John Riddle;  Eloise E Johnson;  Stella Jones Gallery. Dream variations (New Orleans, La. : Stella Jones Gallery, 2001) OCLC 55673120 (Worldcat link: )
Frances Wolfson Art Gallery. "Louis Delsarte : paintings and drawings : February 12, 1987-March 13, 1987 : Frances Wolfson Art Gallery, Mitchell Wolfson New World Center Campus, Miami-Dade Community College" ( Miami : Frances Wolfson Art Gallery, 1987) ;  (Worldcat link: )
Glazer, Fred; illustrated by Louis Delsarte. A dream of music (Mad River Press, 1971) OCLC 3499658 (Worldcat link: )
Henderson, Ashyia N. Contemporary Black biography, profiles from the international Black community (Farmington Hill, MI : Gale, 2002) ;  (Worldcat link: )
Jackson, Donna;  Parish Gallery.Fifteen years : Parish Gallery 1991 to 2006 ([Washington, D.C.] : Parish Gallery, 2006) OCLC 81148594 (Worldcat link: )
Lewis, Samella S. African American art and artists (Berkeley : University of California Press, 1990)     (Worldcat link: )
Lewis, Samella ; Stella Jones Gallery (New Orleans, La.). Ebony soliloquy : a five year retrospective (1996–2001) (New Orleans : Stella Jones Gallery, 2001) OCLC 52642493 (Worldcat link: )
McWorter, Gerald A. The African American Experience in Cyberspace (London ; Sterling, Va. : Pluto Press, 2004) (orig. Pluto Press, 1994) ;  ;  ;   (Worldcat link: )

External links
 Official website

1944 births
2020 deaths
20th-century American painters
American male painters
21st-century American painters
21st-century American male artists
American muralists
American illustrators
Artists from Atlanta
Pratt Institute alumni
University of Arizona alumni
Painters from New York City
20th-century American printmakers
Brooklyn College alumni
Morehouse College faculty
African-American printmakers
20th-century African-American painters
21st-century African-American artists
20th-century American male artists

Louis Delsarte


Muhammad Assem Qanso (, born 1937 in Baalbek) is a Lebanese politician. He is a former leader of the Lebanese Ba'ath Party.

Political career
Qanso joined the Lebanese Ba'ath in 1953. During the Lebanese war, the Lebanese Ba'ath was divided into two hostile groups: a pro-Iraqi group and a pro-Syrian group. Qanso is staunchly pro-Syrian.

Relations between the Kataeb Party and the Ba'ath Party improved when on the orders of Karim Pakradouni (the leader of the Kataeb Party) and Qanso agreed to establish a committee between the two parties to discuss Lebanese and Arab politics. Relations improved further when the Syrian Ba'athist government increased its contacts with the Kataeb Party. During the Lebanese civil war, the Lebanese parliament formed the National Dialogue Committee in 1975; Qanso was a National Dialogue Committee representative. Qanso opposed the notion that the resignation of Suleiman Frangieh, the President of Lebanon, would end the conflict.

Following the death of Hafez al-Assad in 2000, notable figures such as Abdul Halim Khaddam and Ghazi Kanaan, supported Rafic Hariri against Émile Lahoud, the then sitting President of Lebanon, during the 2000 general election. Qanso supported Khaddam and Kanaan's position, and declared during a parliamentary session "there is no zaim [leader] but Rafik Hariri." On a later occasion, he stated: "It was a message to Lahoud that, if he tried to break Hariri, Kanaan would break Lahoud." He later changed his position and supported to extend Lahoud's mandate, and Qanso began criticising the opposition. Qanso warned Walid Jumblat that "you are not out of reach of our militants". Jumblat replied by stating it was the Ba'ath Party which had ordered the assassination of his father, Kamal Jumblatt.

2009 election and parliamentarian
There were discussions within the Ba'ath Party if Qanso was to give up his candidacy in the Baalbek-Hermel electoral district to Fayez Shukr, the leader of the Ba'ath Party. Qanso announced his candidacy for a seat in the Baalbek-Hermel electoral district in April 2009. In the 2009 parliamentary election, the Ba'ath Party won two seats as part of the March 8 Alliance; Qanso and Kassem Hachem. Qanso was elected to parliament in the Baalbek-Hermel district. The United States Government led by Barack Obama announced an extension of its travel ban and asset freeze against those seeking "to undermine Lebanon's legitimate and democratically elected government." Qanso was amongst those effected by the extension of sanctions. The Ba'ath Party which supports Najib Mikati, the then Prime Minister of Lebanon, claimed, through Qanso, that it "should have been represented in the [Mikati] government, just like the Syrian Social Nationalist Party".

Syrian Civil War

Qanso supports the position of the United Nations Security Council which condemned the use of violence by the Ba'athist government, but which also called for ending the violence and holding those of fomenting the violence accountable. The decision to expel Syria from the Arab League was, according to Qanso, an American plot against Syria. Qanso condemned the Arab League sanctions towards Syria, and compared them to "complementary to the US plot against Syria, which targets its oil wealth." In an interview with MTV Lebanon Qanso accused a conspiracy centered around Lebanon First bloc MP Okab Sakr, Hani Hammoud, and Saad Hariri, former Prime Minister of Lebanon, of fomenting the uprising in Syria. He further claimed that there was no good reason for the Assad government to resign.

Qanso tried to persuade Mikati to expel Maura Connelly, the United States Ambassador to Lebanon, from the country in late 2011 because of the United States position towards Syria during the ongoing war. In the beginning of January 2012 Qanso claimed that al-Qaida had infiltrated more than 20 political organisations in Lebanon, this was in deep contrast to what Mikati stated when he claimed that Lebanon was "al-Qaida free". Qanso further claimed that "If Syria falls, the last resistance bastion will turn into a state similar to that of Egypt or Libya and will become a breeding ground for Salafis and [the Muslim Brotherhood]. On 30 January Qanso stated his believes that "The vast majority of [Syrian] people are with the Ba'ath Party that is tasked with protecting Syrian President Bashar Assad." At the same time he announced that the Lebanese Ba'ath Party would hold a conference on 7–8 February 2012 in Syria to discuss and approve the reform package which is planned to be introduced by Bashar al-Assad's government.

References

1937 births
Living people
Arab Socialist Ba'ath Party – Lebanon Region politicians
Members of the Parliament of Lebanon
Lebanese Shia Muslims
Government ministers of Lebanon
Lebanese Arab nationalists
People of the Lebanese Civil War

Assem Qanso


Figurative language is when a writer describes something by comparing it with something else. It is writing that goes from the actual meaning of words at face value to get a special meaning. The figurative meaning is different from the literal meaning. For example, consider the sentence, "When she heard the news, she was over the moon and jumped for joy". The meaning is that she was very happy, but not flying above the Moon nor jumping up and down.

Figurative language is a difference in fields of language analysis. Literal language is about words that do not go away from their meaning.  Non-literal or figurative language refers to words, and groups of words, that change the normal meanings of the words. A literal usage is the "normal" meanings of the words. It has the same meaning regardless of the context. The intended meaning is the same as the real meaning of the individual words. Figurative use of language is the use of words or phrases in a manner where the literal meaning of the words is not true or does not make sense. It "implies a non-literal meaning which does make sense or that could be true".

References

Writing
Literary terms

Figurative language


Charles Columbus "Count" Campau (October 17, 1863 – April 3, 1938) was an American professional baseball outfielder. He played in Major League Baseball (MLB) from 1888 through 1894 for the Detroit Wolverines, St. Louis Browns, and Washington Senators. He was the American Association's home run leader in 1890 and was also the Browns' manager for 41 games that season.

Campau was also a player and sometimes a manager in minor league baseball for 19 years, including stints with the New Orleans Pelicans (1887, 1892–94, 1903), Kansas City Blues (1888, 1896, 1898), Detroit Tigers/Detroit Wolverines (1889–90, 1894–95), Seattle Yannigans/Rainmakers (1896), Grand Rapids Bob-o-links (1897), Rochester Bronchos (1899–1900), and Binghamton Bingoes (1901, 1903–05).  Although minor league records from the 1880s and 1890s are incomplete, Campau is known to have tallied at least 2,115 hits, 1,305 runs, 597 stolen bases, 157 triples, and 125 home runs in his minor league career.

Early years
Charles Columbus Campau was born in Detroit in 1863.  He was a descendant of the French-Canadian Campau family that was among the founders of the City of Detroit.  Like other members of his family, Campau was educated at Notre Dame (in the 19th century, Notre Dame included primary as well as college education).  Campau stated that he first played baseball while attending Notre Dame in 1875, at which time he would have been 11 years old.  After leaving Notre Dame, Campau helped Detroit's Cass Club team win several Michigan championships.

Professional baseball career

Power and speed
Campau's success as a baseball player is largely attributed to two talents: power and speed.  He is probably most referenced in baseball's record books for having won the American Association's home run championship in 1890.  Although minor records from the 1880s and 1890s are incomplete, he hit at least 135 home runs in his professional baseball career, including a high of 20 home runs in 1894.  This he accomplished during a deadball era before the home run became a major offensive weapon in baseball.  His power was surprising, too, given his slight build at 5 feet, 11 inches, and 160 pounds.  In its obituary of Campau, the 1939 Spalding Guide wrote that, despite his slight build, Campau "seemed to get extraordinary power from his wrists and arms".

Although less well reported, Campau also played the game with exceptional speed.  While records were not kept for stolen bases during some of his minor league seasons, Campau is known to have stolen at least 660 bases during his career, including 100 stolen bases in 1887.  According to at least one account, Campau and two other players held the world record for the fastest time, 14 seconds, in rounding the bases on a baseball diamond.  In 1891, Campau began competing for money in foot races against other players and never lost a race.  In a race against Tom Messitt, Campau won with a time of 11 seconds.

The best evidence of Campau's speed and base-running intelligence may lie in a 1906 historical account by sportswriter Revere Rodgers. In an article on remarkable incidents in baseball history, Rodgers wrote that Campau once scored a home run on an infield pop-up. According to Rodgers, Campau hit a high pop fly about  in front of home plate. The pitcher and catcher converged on the ball, but in what was described by Rodgers as "an Alphonse and Gaston act", no one took control. Campau saw their confusion and rounded first base. The ball fell between them, took a "sudden twist", and rolled into foul territory. Campau kept running and crossed home plate one foot ahead of the player with the ball.

Early years in the minors
Campau began his professional baseball career with the Erie, Pennsylvania team in the Interstate League. Campau later recalled that he had caught "western fever" and planned to travel west, but he remained in Detroit until Al Buckenberger, a prominent Detroit baseball man, secured a post as the manager in Erie and advised Campau to head east with him. Campau joined Buckenberger in Erie for the 1884 season and helped lead Erie to the Interstate League pennant.

In 1885, Buckenberger was hired as the manager of an independent baseball team in Guelph, Ontario, and Campau followed him there.  The following year, Campau played for a team in London, Ontario that won the Canadian championship in 1886.

Savannah and New Orleans
In 1887, Campau signed with Charlie Morton, who had managed the Detroit Wolverines in 1885 and was in 1887 the manager of the Savannah team in the Southern League.  Campau joined Morton in Savannah, but the team disbanded in June 1887.  Before the collapse, Campau appeared in 29 games for Savannah and compiled a .379 batting average with five doubles, six triples, three home runs, and 17 stolen bases.

After the Savannah team collapsed, Campau joined the New Orleans Pelicans mid-season. In 84 games with New Orleans in the second half of the 1887 season, Campau compiled a .398 batting average and .626 slugging percentage with 19 doubles, 12 triples, 14 home runs and 83 stolen bases.  Combining his season totals from Savannah and New Orleans, Campau stole 100 bases and had 59 extra base hits (17 of them home runs).

With Campau's help, New Orleans won the Southern Association pennant.  Campau's best game in New Orleans was on June 7, 1887, when he hit three home runs in one game. He later recalled his favorable treatment by the fans in New Orleans

I will say that my luck commenced from this city. I was kindly treated by the people.  I had the pleasant experience of having $90 thrown to me from the grand stand for making three home runs.

Detroit Wolverines
After his outstanding performance in Savannah and New Orleans, Campau had an opportunity to sign with Philadelphia, but he later recalled that he did not think he was "strong enough" and accepted an offer from Jim Manning, manager of the Kansas City team in the Class A Western Association.  Campau appeared in 42 games for Kansas City, compiling a .227 batting average but showed great speed with seven triples and 17 stolen bases.

Kansas City released Campau in June 1888, and he then signed with the Detroit Wolverines, a team that had won the National League pennant in 1887 but had lost its star right fielder, Sam Thompson, to injury.  Campau made his major league debut on July 7, 1888, and appeared in 70 games in the outfield for Detroit.  Campau proved to be a capable defensive replacement, compiling a .933 fielding percentage (16 points higher that the National League average) and contributing 10 outfield assists and 3 double plays.  At the plate, Campau's major league debut was less auspicious as he compiled a .203 batting average.  His speed continued to help his cause, as he stole 27 bases and had three triples and a home run.  His 27 stolen bases led the team, and he was the recipient of a prize from a local business as the team's leading base-runner.  Campau later expressed his gratitude to Detroit first baseman Dan Brouthers who he recalled was "like a father to me" in Campau's first major league season.

At the end of the 1888 season, the Detroit Wolverines left the National League, and most of the players were sold to other clubs.  A new Detroit Wolverines team was formed for the 1889 as part of the International League.  Campau joined the new Detroit club, appeared in 111 games in left field and stole 69 bases.  The 1889 Detroit club was, according to Campau, "one of the greatest minor league teams gathered" and "won the flag so easy that fans stopped going out to see the games."

Campau began the 1890 season in Detroit.  He appeared in 39 games, primarily in right field, and compiled a .310 batting average with three home runs.

St. Louis Browns

After beginning the 1890 season with Detroit, Campau returned to the major leagues with the St. Louis Browns of the American Association.  He appeared in 75 games for the Browns, all but one in the outfield.  Campau led the league with nine home runs and was among the league leaders with a .513 slugging percentage (2nd), .322 batting average (9th), 12 triples (8th), and 75 RBIs (9th).  He also stole 36 bases, contributing to his having the best sabermetric power-speed number in the league.  During the month of July, Campau established a major league record (still intact) with 15 consecutive multi-hit games.

In July 1890, Campau was named player-manager.  In late July, team owner Chris von der Ahe praised Campau as "the best captain I have ever had", "a general on the field and a gentleman off of it."  Camapu compiled a 27-14 record as the team's manager but was stripped of the title in late August.  According to an account published at the time in the Sporting Life, Campau took seriously his responsibility to look after the players while they were off the field.  He stayed up late, watching over the club, and fined several players heavily for violations of the rules.  The fines caused dissent, and ultimately Campau's "resignation was asked for, more to make peace in the family than anything else."  At least one baseball writer perceived the unfairness of von der Ahe's removing Campau for enforcing rules established by von der AheThere is gratitude for you. Von der Ahe tells his manager to do certain things and because he does it he is humiliated by being removed and a more 'agreeable' man put in his place. I know Charley Campau, and a bigger-hearted or more honorable man never lived.

Shortly after being removed as manager, Campau hit an inside-the-park grand slam against the first-place Louisville Colonels that prompted a tremendous show of support from the St. Louis crowd.  When Campau stepped to the plate a fan called out for a home run, and Campau smiled and complied.  A fan threw a cigar to Campau, and "then the fun commenced."  The crowd of 13,000 showed their appreciation as it "rained cigars steadily for ten minutes.  Long ones, short ones, thin ones, thick ones, good ones and bad ones were all mixed up on the grass together."  Campau joked that he would pack them away and start a store of his own.

After the season ended, St. Louis team owner von der Ahe released Campau in an attempt to cut costs, leading the Sporting Life to write

The St. Louis Club has released that excellent player, Count Campau, to reduce expenses. Von der Ahe can't reach first place now, and is cutting off his highest salaried men. With Fuller, McCarthy and others missing next year, he'll regret letting such a man as Campau go.

Three weeks later, Campau announced that he had secured a job as a brakeman with the Michigan Central Railroad.

Return to the minors
Campau returned to the minor leagues in 1891.  He spent the season as player/manager of the Troy Trojans in the Eastern Association.  In 122 games for Troy, Campau hit .236 with 18 doubles, 10 triples, three home runs and 45 stolen bases.  Although he had already shown great speed (100 stolen bases in 1887), Campau wrote that it was while playing at Troy that he "developed as a fast runner", often competing in foot races against other players.  Campau recalled that he won all his races and backed himself in bets on the races.

In 1892, he signed with Gus Schmelz to play for the Columbus Reds and won the Western League championship.  In 46 games for Columbus, he hit .262 with eight doubles, seven triples, two home runs and 35 RBIs.

In November 1892, Campau entered the fray in the debate over moving the pitcher's box.  Campau sided with those advocating moving the pitcher back by five feet.  Campau argued that batting averages had suffered and that moving the pitcher back would "electrify" the crowds and "enliven" the game with more hitting.  Campau's side prevailed, and the pitcher's box was moved back for the 1893 season.

In 1893, Campau was back in New Orleans with the Pelicans.  In 96 games, he hit .337 and scored 98 runs.

In 1894, Campau returned to his hometown of Detroit, this time playing for the Detroit Tigers in the Western League.  He also appeared in two games in the major leagues in July 1894 season for the Washington Senators, but spent most of the 1894 season with the Detroit club.  He remained in Detroit for two seasons and had one of the best seasons of his career in 1895.  That year, he hit .359, scored 115 runs and had 40 doubles, seven triples, 13 home runs and 44 stolen bases.

In 1896, Campau moved to the west coast as the player/manager of the Seattle Yannigans/Rainmakers in the New Pacific League.  In 32 games at Seattle, Campau had career highs in batting average (.403) and slugging percentage (.887) with 55 runs, 13 home runs and 19 stolen bases.  The league folded before the season ended, and Campau was the league leader in slugging percentage, runs and home runs.

Campau returned in 1897 to the Western League with the Grand Rapids Bob-o-links.  He batted .303 in 130 games, scored 109 runs, and had 26 doubles, 10 triples, 12 home runs and 25 stolen bases.

In 1898, Campau was reunited with Gus Schmelz, who was then managing the Minneapolis Millers.  He was released by Minneapolis in June and immediately signed with Charles Comiskey, owner of the St. Paul Apostles.  He played only two months at St. Paul before he was released and then signed by the Kansas City Blues.  Kansas City won the Western League championship that year.  Campau's fielding error in the second game of the three-game championship series nearly cost Kansas City the championship.  Campau later recalled that the costly error occurred when the sun was directly in his eyes in right field, and he had not even seen the ball until it was past him.

Rochester and Binghamton
In 1899, Campau was reunited with his first manager, Al Buckenberger.  Buckenberger had taken over as manager of the Rochester Bronchos and persuaded Campau to play for him.  Campau played the 1899 and 1900 seasons in Rochester, appearing in 243 games, scoring 164 runs and stealing 61 bases.

In 1901, Campau became a player/manager for the Binghamton, New York team in the New York State League.  In 1902, he led Binghamton to a disputed pennant.  At the end of the season, Binghamton was ahead in a tight pennant race, but the Albany team played and won an extra, unscheduled game and thereupon claimed it had won the pennant.  With the exception of 64 games with the New Orleans club in 1903, Campau spent the rest of his career at Binghamton, finally retiring after the 1905 season.  His brief excursion to New Orleans in 1903, however, resulted in a lawsuit by the Binghamton team seeking to enjoin him from playing for the Pelicans.  He was lured to sign with New Orleans with a promise of part ownership of the club.  The Binghamton team alleged that, although there was not a signed contract, it had personal letters from Campau agreeing to manage the team in 1903.  In the end, Campau played nine games for New Orleans in 1903 and returned to Binghamton for the 1904 and 1905 seasons.

Umpire

In December 1905, after his playing career ended, Campau signed to become an umpire in the Eastern League.  He was released by the Eastern League and hired by the Southern League.  In August 1906, he was attacked by "an angry army of fans" during a game in Memphis, Tennessee.  Three fans were arrested, but then released "when no one appeared to prosecute them". Campau initially announced he would be tendering his resignation shortly after his escape, but reconsidered and reported for his umpiring assignment the next day.  It is unknown how many more games Campau umpired, but his umpiring career ended in 1906.

Later years
After his baseball career ended, Campau became involved in the horse racing business.  Between 1906 and 1910, he handled the finances of horse racing tracks in Texas, Havana, Seattle, Jacksonville, Florida, and Salt Lake City.  He later moved to New Orleans, where he worked as a "clerk of scales and placing judge" at local race tracks.  Campau died in New Orleans in 1938 at age 74. He was interred at Metairie Cemetery.

See also

List of Major League Baseball player-managers

References

External links

Major League Baseball outfielders
Major League Baseball player-managers
Detroit Wolverines players
St. Louis Browns (AA) players
St. Louis Browns (AA) managers
Washington Senators (1891–1899) players
Minor league baseball managers
Erie (minor league baseball) players
London Cockneys players
New Orleans Pelicans (baseball) players
Savannah (minor league baseball) players
Kansas City Blues (baseball) players
Detroit Wolverines (minor league) players
Troy Trojans (minor league) players
Columbus Reds players
Wilkes-Barre Coal Barons players
Milwaukee Brewers (minor league) players
Detroit Creams players
Detroit Tigers (Western League) players
Seattle Yannigans players
Seattle Rainmakers players
Grand Rapids Bob-o-links players
Minneapolis Millers (baseball) players
St. Paul Apostles players
St. Paul Saints (Western League) players
Rochester Bronchos players
Binghamton Bingoes players
University of Notre Dame alumni
19th-century baseball players
American people of French-Canadian descent
Baseball players from Detroit
1863 births
1938 deaths
Count

Count Campau


Diario Frontera is a Venezuelan regional newspaper, headquartered in Ejido, in the state of Mérida. Founded in 1978, its slogan is "El diario del occidente del país" (The Daily of the occident of the country).

Features
The newspaper is distributed as standard colored format. It contains regional, national, and international news. It has two supplements, issued every Sunday: Aquí entre Nos magazine, and a supplement for children, Chipilín. It has special editions for occasions like Feria del Sol and Día del Trabajador.

History
Diario Frontera was founded by José Benedicto Monsalve, along with the writer Rafael Ángel Gallegos, who was the first director, on 12 August 1978. At the beginning, it was printed in black and white using a rotary owned by Diario Critica.

In the 1980s, Diario Frontera became a generalist newspaper, printed in black and white, and with 20 pages. Since 1989, it has printed a page or a section dedicated to the University of the Andes, due to the high number of students and the importance of the university in the life of the city.

In June 2005, it printed an inquiry about a student of the university killed by the police. Diario wrote that the student had been hit by the policemen, but also revealed his belonging to an armed political group. The headquarters of the newspaper was attacked by groups of students; it was the beginning of riots that then spread all over the city. The pleas of Reporters Without Borders remained unheard.

In 2008, on the occasion of the thirtieth anniversary, Diario has revamped graphics (logo, typeface).

Directors
Rafael Ángel Gallegos
Alcides Monsalve

See also
List of Venezuelan newspapers

References

External links
Diario Frontera website

1978 establishments in Venezuela
Newspapers published in Venezuela
Newspapers established in 1978
Spanish-language newspapers

Diario Frontera


Plínio Marcos de Barros (29 September 1935 — 19 November 1999) was a Brazilian writer, actor, journalist and playwright, author of several stage plays adapted into film. Called a "Poète maudit" by some, his work features the life and struggles of underground characters, touching themes such as violence, prostitution and homosexuality, and was censored by the military government.

Early life
Marcos was born in 1935, in Santos, into a poor family.  He finished only the primary school before dropping out. Marcos worked as coppersmith, served the Brazilian Air Force and played football for Portuguesa Santista, but he found his way into acting working as a circus clown when he was 17 years old. He also acted in the radio and television, in Santos.

In 1958, influenced by the writer and journalist Pagu, he got into a Santos amateur theater company. That same year, impressed by the true story of a young man gang-raped in prison, he wrote his first play, Barrela. Because of its crude language, the play was prohibited from being staged for 21 years.

In 1960, at the age of 25, he went to São Paulo, where he initially worked as a street vendor. Later, he worked in theater, as an actor (appearing in the TV Tupi series O Falcão Negro), administrator and handyman, in theater companies like Arena, Cacilda Becker and Nydia Lycia. From 1963, he produced texts for the TV Tupi show TV de Vanguarda, where he also worked as a technician. In 1964, year of the military coup, he made the script for the show Nossa gente, Nossa Música. In 1965, he managed to stage Reportagem de um tempo mau, a collage of texts by several authors, and that was only one day in the theaters.

In 1968, he participated as an actor in the telenovela Beto Rockfeller, as the driver Vitório. He reprised that role in the movies and also in the 1973 telenovela, A Volta de Beto Rockfeller, with less success. Still in the cinema, during the movement of the cinema marginal, the director Braz Chediak adapted two of its plays, Navalha na Carne (1969) and Dois Perdidos Numa Noite Suja (1970), both with the actor Emiliano Queiroz. In the 1970s, Plinio Marcos returned to the stage, getting himself to sell tickets at the theaters entrance. At the end of the play, he would take the stage and chat personally with the audience.

Marcos also wrote for newspapers such as Folha de S. Paulo, Última Hora and O Pasquim.

 Death
Marcos died on 29 November 1999, after suffering two strokes and having the left side of his body paralyzed. His body was cremated and the ashes were scattered to the ocean in Santos.

 Personal life
Marcos was married to the actress Walderez de Barros, with whom he had three children, and with the journalist Vera Artaxo.

 Works

 Adult plays
 Barrela, 1958
 Os fantoches, 1960
 Jornada de um imbecil até o entendimento (1ª version)
 Enquanto os navios atracam, 1963
 Quando as máquinas param (1ª version)
 Chapéu sobre paralelepípedo para alguém chutar (2ª version of Os fantoches)
 Reportagem de um tempo mau, 1965
 Dois perdidos numa noite suja, 1966
 Dia virá (1ª version of Jesus-homem), 1967
 Navalha na carne, 1967
 Quando as máquinas param (2ª version of Enquanto os navios atracam), 1963
 Homens de papel, 1968
 Jornada de um imbecil até o entendimento (3ª version of Os fantoches)
 O abajur lilás, 1969
 Oração de um pé-de-chinelo, 1969
 Balbina de Iansã (musical), 1970
 Feira livre (opereta), 1976
 Noel Rosa, o poeta da Vila e seus amores (musical), 1977
 Jesus-homem, 1978 (2ª version of Dia virá, 1967)
 Sob o signo da discothèque, 1979
  Querô, uma reportagem maldita (adaptation of the 1976 novel of same name), 1979
 Madame Blavatski, 1985
 Balada de um palhaço, 1986
 A mancha roxa, 1988
 A dança final, 1993
 O assassinato do anão do caralho grande (adaptation of the novella with the same name), 1995
 O homem do caminho (monologue, originally titled Sempre em Frente), 1996
 O bote da loba, 1997
 Chico Viola (unfinished), 1997

 Children's plays
 As aventuras do coelho Gabriel, 1965
 O coelho e a onça (história dos bichos brasileiros), 1998
 Assembléia dos ratos, 1989
 Seja você mesmo (unfinished)

 Books
 Navalha na carne (play), 1968
 Quando as máquinas param (play), 1971
 Histórias das quebradas do mundaréu (short stories), 1973
 Barrela (play) (1976)
 Uma Reportagem Maldita - Querô (novel), 1976
 Inútil canto e inútil pranto pelos anjos caídos (short story), 1977
 Dois perdidos numa noite suja (teatro), 1978
 Oração para um pé-de-chinelo (teatro), s/data
 Jesus-homem (teatro), 1981
 Prisioneiro de uma canção (contos autobiográficos), 1982
 Novas histórias da Barra do Catimbó (contos), s/d
 Madame Blavatski (teatro), 1985
 A figurinha e os soldados da minha rua - histórias populares (relatos autobiográficos), 1986
 Canções e reflexões de um palhaço (textos curtos), 1987
 A mancha roxa (teatro), 1988
 Teatro maldito teatro (contém as peças Barrela, Dois Perdidos Numa Noite Suja e O Abajur Lilás), 1992
 A dança final (teatro), 1994
 Ns triha dos saltimbancos (conto),  data imprecisa
 O assassinato do anão do caralho grande (noveleta policial e peça teatral), 1996
 Figurinha difícil - Pornografando e subvertendo (relatos autobiográficos), 1996
 O truque dos espelhos (contos autobiográficos), 1999
 Coleção melhor teatro (com as peças Barrela, Dois perdidos numa noite suja, Navalha na carne, Abajur lilás, Querô), 2003

References

 External links
  Official Site (in Portuguese)
 "Marcos, Plínio (1935 - 1999)", biography in Enciclopédia Itaú Cultural - Teatro''

Actors from São Paulo (state)
20th-century Brazilian dramatists and playwrights
1999 deaths
1935 births
20th-century Brazilian male writers
Brazilian male dramatists and playwrights

Plínio Marcos


Louis I, Duke of Bourbon (c. 1270 – c. 1342) was a French prince, the son of Robert, Count of Clermont and Beatrice (Beatrix) of Bourbon and the grandson of Louis IX of France. The House of Bourbon is descended from him in the male line through his younger son Jacques I, Count of La Marche.

Life
He took part in several military campaigns, including those at Courtrai (1302) and Mons-en-Pévèle (1304), and two times was put in charge of proposed crusades that never actually occurred. He became the Grand Chamberlain of France in 1310 and became the Duke of Bourbon in 1327 thanks to Charles IV of France. He had two sons, Peter I, Duke of Bourbon, and Jacques I, Count of La Marche, from whom the later French Kings from the House of Bourbon (starting from Henry IV of France in 1589) descend in the male line.

References

1270s births
1342 deaths
French princes

Louis I, Duke of Bourbon


Advance can also mean:

Advance, an offensive push in sports, games, or military combat
Advance payment for goods or services
USS Advance was the name of several ships in the United States Navy.
Advance magazine, the magazine published by the Church of Scientology's Advanced Organization of Los Angeles
Game Boy Advance, one generation of Nintendo's Game Boy

Places in the United States
Advance, Arkansas
Advance, California
Advance, Illinois
Advance, Indiana
Advance, Michigan
Advance, Missouri
Advance, North Carolina
Advance, Ohio
Advance, Oregon
Advance, Pennsylvania
Advance, Wisconsin
Advance Township, North Dakota

Advance