title: Black Sunday (1960 film)

text: According to producer Massimo De Rita, an oft-repeated story suggesting that Santi approached Bava to make a film based on a story of his own choosing after being impressed with his work on "The Giant of Marathon" is apocryphal; De Rita claims that he was responsible for persuading Santi to allow Bava to make a film of his own and that he also begged Santi to increase the film's budget compared to what he felt would allow the film to turn a profit. Due to the recent success of Terence Fisher's version of "Dracula" for Hammer Film Productions, Bava decided to make a horror film. To compete with "Dracula", Santi wanted the film to be shot in Technicolor, but Bava insisted on shooting in black and white; he justified this as both a stylistic and practical choice, as the makeup transformation sequences required special red and green lights that would have made them impossible to film with color. The shooting budget of "Black Sunday" is unknown. De Rita remembers it being between $50,000 and $60,000, while production manager Armando Govoni recalled the final budget was around $100,000.


title: Black Sunday (1960 film)

text: Bava chose to base his project on Nikolai Gogol's "Viy", first published in the 1835 collection "Mirgorod". The story concerns a group of students' encounter with an old witch capable of transforming into a beautiful woman, whose death summons the Viy, a gnome chieftain with a face made of iron and eyes that are capable of penetrating spiritual barriers, which are covered by heavy eyelids that droop to the ground. Bava frequently read this story to his children before their bedtime. His first outline of the film, a four-page treatment titled "Il Vij", is dated September 1, 1959 and closely follows Gogol's original story. Transposing the story to the present day, it tells the story of a young, married couple who come across a derelict church and encounter an old man who tells them the story of a centurion's daughter who would take the form of a witch by night to harass a philosopher, who eventually beat her to death. The undead witch then called upon the Viy to scare the philosopher's soul from his body. Upon the story's end, it is revealed that the couple are reincarnations of the philosopher and the witch, who declares that she will haunt him forever.


title: Black Sunday (1960 film)

text: Santi deemed Bava's treatment unsatisfactory and hired Galatea's top screenwriter Ennio de Concini, who had co-written both of the "Hercules" films and "The Giant of Marathon", to help the director turn the concept into a workable screenplay. Many of the film's themes bare similarity to de Concini's sword-and-sandal films, including the tarnishing of holy places, the collapse of a decadent sovereign entity, and the casting of one actress in dual roles symbolizing good and evil, as was the case for Silvana Mangano in "Ulysses" (1954). According to Sergio Leone, de Concini "was far better at improvising stories, live, in front of producers, then writing them down"; this, coupled with his highly prolific resume, has led Bava biographer Tim Lucas to believe that while de Concini contributed many ideas to what would become "Black Sunday", he did little of the actual scripting, which Lucas attributes to Marcello Coscia, who co-wrote Bava's early science fiction film "The Day the Sky Exploded" (1958).


title: Black Sunday (1960 film)

text: The film's credits list only de Concini and the film's editor, Mario Serandrei, as the screenwriters; official papers archived at the Centro Sperimentale di Cinematografia (CSC) library in Rome credit Bava, Serandrei, de Concini and Coscia, as well as Dino De Palma. Other papers also credit Fede Arnaud, Domenico Bernabei, Walter Bedogni, Lucia Torelli and Maria Nota. Bava later noted that, "Such was the genius of the screenwriters, myself included, that absolutely nothing remained of Gogol's tale." The references to "Viy" in the resulting film are mostly superficial: the film's characters Andrej Gorobec, Choma Kruvajan, and Javutich are named after the story's characters Gorobets, Khoma Brut, and Yavtukh, while the village of Mirgorod shares its name with the collection Gogol's tale appeared in. A ruined chapel is prominently featured in both works, as is the transformation of a witch into a beautiful young woman; the bronze "Mask of Satan" hammered onto Asa and Javutich's faces is a possible reference to the Viy's iron face and eyelids.


title: Black Sunday (1960 film)

text: During the scripting phase, the film's title was changed from "Il Viy" to "La maschera del demonio" to capitalize on the success of two other horror films — "House of Wax" (1953) (released in Italy as "La maschera di cera") and "The Curse of Frankenstein" (1957) ("La maschera di Frankenstein"). The Ministerial Commission of Revision, through which all Italian film scripts were required to be submitted for review, remarked that "Black Sunday"s script "is so stuffed with witches, vampires, skeletons, ghosts, with its complement of murders and dead bodies, that [Fisher's "Dracula"] looks like a children's show when compared to it."


title: Black Sunday (1960 film)

text: Bava drew extensive storyboards from the film, during which he developed the film's visual style based on his earlier works as cinematographer and co-director. Lucas notes that the film features a recurring motif related to eyes and sight, as well as the impairment of both, such as the subjective shot of Asa looking at the spikes of the "Mask of Satan" as it is brought towards her, Andrej falling for Katia at first sight, as well as Kruvajan being staked through the eye; it also features a circularity in its choice of first and last images, as both are of flames that are to be used to put Asa to death. Drawing on both of the films that he had co-directed with Riccardo Freda, "I Vampiri" (1957) and "Caltiki", Bava used "Black Sunday" to develop his frequent use of backstories to expand the scope of his films beyond their narrative and budgetary constraints; in this case, the death of another of Asa's lookalike descendants, Masha, is used to highlight the power Asa continues to hold over the family even prior to her resurrection. As storyboarded, the hammering of the "Mask of Satan" was originally supposed to include a shot of the nails of the mask piercing through the wood of the stake Asa is tied to, amplifying the violence of the scene.


title: Black Sunday (1960 film)

text: Bava felt that "Black Sunday" needed a British cast to convince the audience that they would be watching a film as strong as "Dracula". Barbara Steele was cast in the dual role of Asa and Katia Vajda. She had appeared in several films for The Rank Organisation, including "Bachelor of Hearts" (1958), "Sapphire" and "Upstairs and Downstairs" (both 1959), before Rank sold her contract to 20th Century Fox. Steele seldom worked in the United States: she was cast opposite Elvis Presley in the Western "Flaming Star", but a falling-out with director Don Siegel led to her being replaced during the first week of shooting by Barbara Eden. After a Screen Actors Guild strike in March 1960 left her free to pursue her own interests, she traveled to Italy, leading to her casting in "Black Sunday". There are two accounts describing how Steele came to be cast in the film: one suggests that Bava, while perusing through head shots of British actors under contract at Fox, selected Steele from these photos. Steele, however, recalled that Bava tracked her down after being captivated by photos of her in a "Life" magazine photoshoot. Bava later commented that Steele "had the perfect face for my films".


title: Black Sunday (1960 film)

text: John Richardson was cast as Katia's love interest Andrej. A colleague of Steele's who had also appeared in "Sapphire" and "Bachelor of Hearts", Richardson's Rank contract was similarly sold to Fox and he had come to Italy searching for film work; by this time, both he and Steele were represented by the same agent from William Morris Endeavor. Among the Italian cast members was Andrea Checchi, who had previously worked in various Italian productions including Michelangelo Antonioni's "The Lady Without Camelias" (1953). Checci later appeared in two other films in 1960: Vittorio De Sica's "Two Women" and Fritz Lang's "The Thousand Eyes of Dr. Mabuse". Arturo Dominici, who had previously appeared as Eurysteus in "Hercules" and as Nieto in "Caltiki", played the role of Javutich; his daughter Germana also portrayed Sonya, the innkeeper's daughter.


title: Black Sunday (1960 film)

text: Ivo Garrani, who portrayed Prince Vajda, was a veteran of earlier films photographed by Bava; the actor reflected that his friend's on-set behavior changed little in his transition to directing full-time, "because Mario was already a director. He had proven this in the movies we had made together before, since he always found himself directing and saving other people's movies. So it was just a natural thing to see him in the director's chair at last. But Mario was also very shy; he always tended to undervalue himself. You could never pay him a compliment. He would always say, 'C'mon Ivo, what the hell are you saying? Be serious. But he was unique, and we all knew it".


title: Black Sunday (1960 film)

text: According to Lucas, principal photography for "Black Sunday" lasted approximately six weeks — an average schedule for a Galatea production, but longer than the three to four weeks normally allotted to Italian films of the time — beginning on March 28, 1960, and ending on May 7. Meanwhile, film historian and critic Roberto Curti has stated that shooting began in June, and ran for seven weeks. Most of the film was shot at the studios of Scalera Film, with exteriors and some interiors shot at Castle Massimo in Arsoli. Despite the film being shot in black and white, Bava permitted numerous production and publicity stills to be photographed in color; these stills are representative of the lighting choices Bava and his crew made for the film, and were not arranged to accommodate the still photographer.


title: Black Sunday (1960 film)

text: Govoni recalled the shoot to be a "very tiring" experience characterized by long work hours. Lucas believes that this was partially the result of the film entering production prematurely, without a thorough revision of the script or consideration for certain filming logistics, prompting Bava to rely on his instincts and improvise; this is evident in Asa and Javutich being variously described or portrayed throughout the film as witches, Satanists and/or vampires. Steele and Dominici were initially outfitted with prop fangs which do not appear in the final film: Bava recalled that he eventually asked the actors to discard them due to their clichéd appearance, while Govoni stated that the fangs were kept during the shoot, but "Serandrei cut around them" during editing. Most of the cast delivered their dialogue in English, with the exception of Checchi and the Dominicis; Govoni recalled that while the translation of the original Italian text the cast was given to work with was crude, they mostly stuck to it.


title: Black Sunday (1960 film)

text: Throughout the shoot, Steele proved to be difficult to work with; Govoni later described her as a "strange, neurotic person" and Bava proclaimed that "Steele was half-crazy, afraid of Italians." The actress frequently missed her call times or refused to arrive on-set due to misunderstandings: one instance of the former resulted in Arturo Dominici fainting under his costume while the crew waited for her arrival, prompting the actor to angrily tell Bava, "Who does she think she is? Marilyn Monroe?". An example of the latter was due to her belief in a rumor that Bava had invented a special film stock that made its subjects appear nude. Critic and editor Martyn Conterio considers many of Steele's recollections of the film's production to be unreliable. This includes her claim that the film was shot in winter, and that everyone on set had worn black and white costumes, neither of which are true. Steele admitted to her misbehavior during the film's shoot later in life and noted that towards the end of the shoot, she and Richardson were prone to nervous fits of laughter due to the stress they had accumulated over the course of filming.


title: Black Sunday (1960 film)

text: Although Bava is credited as the film's cinematographer, Govoni stated that camera operator Ubaldo Terzano was the actual director of photography, and insisted he had lit the sets "so perfectly that Bava seldom had to correct him". Lucas concurs on this point, noting that while Bava would provide storyboards and occasionally adjust lights and lenses, Terzano was largely in control of which takes would be printed.


title: Black Sunday (1960 film)

text: The final week of the shooting schedule was reserved for special effects work and tracking shots, for which Bava was able to use a dolly in one of the few occasions of his directorial career. In a scene in which Javutich appears to float towards Prince Vajda, Dominici was shot in close-up as he was pulled along by another, makeshift dolly. A later scene where Katia and Constantine look over their dead father's face employs a 180° pivot which was accomplished using a specially-customized camera with modifications by Bava's father, Eugenio, which included a rear system of radiating handlebars capable of spinning the camera on its axis. Its movement was so imperceptible that Garrani believed that the pivot was achieved through editing.


title: Black Sunday (1960 film)

text: Eugenio Bava developed several of the practical effects used in the film. These included an articulated wax head with a mechanized interior, used to represent Prince Vajda's head as it is being burned in a fireplace, and a foam latex mask of Asa's face, which he made based on photos of Steele without having to make a lifecast. To create the illusion of Asa's eyes regenerating within the sockets, a section of the character's tomb was built containing a hollow area under the mask, into which tomato soup and rice were used to simulate blood and maggots. These were then substituted with poached eggs, representing the eyes. Eugenio also designed the "Mask of Satan" used in the film. Two versions of each mask were made — one cast in bronze and another being a rubber substitute to be used when worn by the actors. Mario Bava recalled that after the film's release he had received several offers for the mask.


title: Black Sunday (1960 film)

text: Most of the scenes depicting horse carriage rides were shot at Scalera. Due to the small size of the sound stage being used, forests were suggested by filming with glass matte paintings painted with black streaks and augmented with pieces of dead wood and foregrounded bracken. Smoke was filtered through the studio to disguise a cyclorama. These were edited with actual exteriors shot near Castle Massimo to lend credibility to them; because the exteriors were shot day for night, Bava camouflaged the sunlight through dead trees placed in the foreground. When Steele was required to play both Asa and Katia within the same frame, the footage was double-exposed and matted over the jagged edge of Asa's tomb. Other examples of Bava's matte work in the film include an exterior shot of Castle Vajda as a window is illuminated by the moon, and a subjective shot of the pit of spikes over which Andrej and Javutich fight. When Javutich appears to materialize in front of Constantine, Dominici stood off-camera, and his reflection was bounced off a mirror onto a black section of Asa's painting.


title: Black Sunday (1960 film)

text: The scene in which Asa touches Katia and drains her youth reprised an effect Bava had previously employed on "I Vampiri". Wrinkles were drawn on Steele's face with red grease pencil, while rouge was applied around her eyes and on her cheeks to make them appear sullen. These were made to initially appear invisible under red lighting, but became more prominent as green lights were gradually raised in their place. The explosion of Asa's tomb was a miniature effect; pieces of the lid were pulled away by fine wires to reveal a doll of Asa inside.


title: Black Sunday (1960 film)

text: Because Serandrei rarely worked as a writer, Lucas has suggested that his screenplay credit indicates that his responsibilities went beyond cutting scenes together and that he helped Bava correct narrative flaws in post-production. Serandrei's assembly still contains a notable structural flaw — that Asa appears to be powerful enough to destroy her tomb and return Javutich to life, yet remains confined to the tomb even after draining Kruvajan's blood — as well as scenes that exhibit Bava's frequent re-working of the material. These include Katia's irascible dismissal of Sonya's claim that Javutich might be alive, her flirtatious invitation to Andrej to stay in the castle, and her seeing Javutich's reflection while undressing. Lucas believes that these scenes suggest that Javutich was originally intended to kidnap Katia soon after his resurrection, leaving Asa to impersonate her descendant.


title: Black Sunday (1960 film)

text: An English-dubbed version of the film created for international export, titled "The Mask of Satan", was translated from the Italian-language script and directed by George Higgins III and recorded in Rome with the English Language Dubbers Association (ELDA). A scene present in early Italian-language prints was deleted from this version of the film. Depicting a conversation between Katia and Prince Vajda, during which her father notices her melancholy behavior and suggests that the family leave the castle, it was originally intended to take place following her first encounter with Andrej and Kruvajan but was dropped due to the power of the Prince's terrified introduction in a later scene in which Katia plays a piano. The sequence was crudely inserted between Sonya's milking of a cow and Javutich's resurrection without Bava or Serandrei's approval.


title: Black Sunday (1960 film)

text: The music for the Italian and ELDA versions of "Black Sunday" was composed by Roberto Nicolosi and conduced by Pier Luigi Urbini. Lucas notes that both versions used the score sparingly, leaving the creation of much of the soundscape to the sound editor, although key dramatic scenes, such as the climactic fight between Andrej and Javutich, play with no music at all, suggesting the difficulties of creating music for a film in a genre that was in its infancy in Italy. He deems much of the score to be derivative of James Bernard's work on "Dracula", but singles out the romantic "Katia's Theme" motif for praise.


title: Black Sunday (1960 film)

text: Samuel Z. Arkoff and James H. Nicholson of American International Pictures (AIP) had been buying the American distribution rights to Italian films since 1959. In 1960, the two were invited to Italy by their Roman talent agent, Fulvio Lucisano, to view "Black Sunday". Arkoff spoke about this screening in 1997, saying that because they were viewing the Italian version of the film, an interpreter and Lucisano helped to guide them through the plot. Arkoff found the film to be a "picture of a first class horror and suspense director", and was introduced to Bava after the screening, congratulating him. AIP acquired the film for approximately $100,000, recovering its production budget.


title: Black Sunday (1960 film)

text: For the film's release in the United States, AIP re-edited scenes, re-dubbed the soundtrack, and changed several of the characters' names. Arkoff deemed the ELDA version of the film to be "technically unacceptable", and had Lou Rusoff produce a new English version at Titra Studios in New York City, which was directed by Lee Kresel and edited by Salvatore Billitteri. In contrast to the embellishments of the ELDA version, Titra's dubbing was largely faithful to the cast's spoken dialogue, although some phrases were softened, such as Asa's line "You too can find the joy and happiness in Hades!" which became "You too can find the joy and happiness in "hating"!". AIP removed or shortened the more violent and sexual scenes in the film, including the hammering of the "Mask of Satan" onto Asa's face, the scene in which she kisses Kruvajan to drain his blood, and the priest's staking of Kruvajan's eye. Arkoff reasoned that, "All of AIP's films were very clean, so anything that was suggestive of playing around - "fornicating" a corpse, you know what I'm saying? - we wouldn't stand for it." A dialogue exchange between Katia and Andrej that serves to develop their romantic relationship, as well as a climactic exchange between Andrej and the priest in which the former melodramatically laments Katia's apparent death, were also cut, as AIP believed that the juvenile audiences it was targeting would react negatively to these scenes. AIP's editing reduced the film's runtime to 83 minutes, compared to the 87 minute runtime of most Italian prints.


title: Black Sunday (1960 film)

text: Nicolosi's score was replaced with a new one by Les Baxter. Arkoff and Nicholas felt Nicolosi's score was "too Italian" and that American audiences would not like it. Baxter flew to New York City on January 9, 1961, to record the new soundtrack for the film at Titra. Lucas considers the re-score to be a major factor in the success of the American version, noting, "Baxter's score is everything Nicolosi's score is not: boisterous, unsubtle, boldly orchestrated, incessantly busy — musically underlining every footfall, every droplet of dripping blood [...] every smoking undulation of dry ice". Baxter's score incorporates Nicolosi's "Katia's Theme" at several points, although a piano version of the theme representing a piece played by Katia that suggests her mutual feelings for Andrej was re-scored with a dirge that more closely follows Steele's hand movements on the instrument. He also adapted "Katia's Theme" for the title song of his 1961 exotica album "Jewels of the Sea".


title: Black Sunday (1960 film)

text: After being passed uncut by the Board of Censors, "Black Sunday" was theatrically released in Italy as "La maschera del demonio" on August 11, 1960, where it was distributed by Unidis. The film grossed 139 million Italian lira from its domestic release. While Curti has described this financial performance as "rather limited", the film quickly turned Steele into a movie star within Italy. Its popularity influenced other Italian films, such as "I motorizzati" (1962), where Ugo Tognazzi plays an impressionable horror fan who is terrified of "Black Sunday". In France, the film was released that same year as "Les masque du démon" by Comptoir Français du Film.


title: Black Sunday (1960 film)

text: Before its release in the United States, AIP considered renaming the film "Witchcraft", "The Curse" or "Vengeance", before settling on "Black Sunday". AIP premiered the film at the Allen Theatre in Cleveland, Ohio, on February 3, 1961. In its initial release, "Black Sunday" was a double feature with films from smaller independent companies, such as the British comedy "Carry On Nurse" (1959) or Roger Corman's "The Little Shop of Horrors" (1960). "Black Sunday" grossed $14,750 in its first week at the Allen Theatre, which topped AIP's previous record holders by 35%. The film also performed well in San Francisco and Salt Lake City, making it AIP's highest-grossing film in its five-year history, and generated domestic rentals of $706,000.


title: Black Sunday (1960 film)

text: "Black Sunday" was initially banned in the United Kingdom, receiving a single screening at the National Film Theatre in 1961. It did not receive a wide release until June 1968 as "Revenge of the Vampire", a censored version of the ELDA dub, which was released by Border Films. The film was not released uncut in the United Kingdom until 1992.


title: Black Sunday (1960 film)

text: The first official home video release of the AIP version of "Black Sunday" was on LaserDisc in 1991. The Italian owners of the film released it in Japan through Toshiba Video and in the United Kingdom through Redemption Video on VHS. Image Entertainment released it on VHS and DVD for the first time in the United States in 1999. Both the Italian/ELDA and AIP versions were released on Blu-ray in the United States by Kino Lorber in 2012 and 2015, respectively. In the United Kingdom, Arrow Video released both cuts alongside the Italian version of "I Vampiri" on a single Blu-ray in 2013.


title: Black Sunday (1960 film)

text: Under license from music publisher Creazioni Artistiche Musicali, Nicolosi's score was released, alongside his music for "The Girl Who Knew Too Much" (1963), on CD in the first volume of Digitmovies' "Mario Bava Original Soundtracks Anthology" in 2005. The score was later released as a limited edition LP record (500 copies) by Spikerot Records on July 5, 2019. A suite from Baxter's score were first made commercially available on a 1980s Bax Records LP of his score for "Black Sabbath" (1963); this was later edited to form the basis of a separate soundtrack CD first released by Bay Cities in 1992, which was reissued in 1998 alongside Baxter's score for "Baron Blood" (1972). A CD of the full score, remastered from the original two-track session tapes sourced from MGM's archives, was released in May 2011 by Kritzerland in a limited edition run of 1000 copies.


title: Black Sunday (1960 film)

text: A unique variant of the ELDA cut of the film was aired as part of a Bava retrospective on TCM in October 2002. This version, copyrighted in 2000, was supervised by Bava associate Alfredo Leone of International Media Films as a means of preventing the film from falling into the public domain; it features new, red-colored credit titles in place of the original credits, a newly-recorded opening narration, and cues from Baxter's score for "Baron Blood" that play over scenes that originally lacked music. While noting that Leone created this version in the best interests of preserving Bava's work, Lucas has lambasted it as a "cacophonous, tone-deaf mess".


title: Black Sunday (1960 film)

text: Curti stated that contemporary Italian film critics "ravaged" "Black Sunday", although some noted its cinematography. In France, Fereydoun Hoveida of "Cahiers du Cinéma" praised the film for the extreme mobility of its camera movements, and the way Bava's visual style created a fantastical and poetic dimension; he declared Bava to be an immediate film "auteur" with "the soul of a painter". Jean-Paul Torok of "Positif" also praised the film; Steele was featured on the cover of the magazine's July 1961 issue. On its release in the United Kingdom, Tom Milne of the "Monthly Film Bulletin" declared that "Black Sunday" was "One of Bava's best films, with a fluid visual style and a narrative grip that only weakens towards the end. Some chilling moments of both beauty and terror, he has never surpassed." In his view, the English version of the film was "devastated" by the dubbing, and felt the sound belonged, "not just to a different film, but to a different world from the near-hysterical images on screen".


title: Black Sunday (1960 film)

text: In the United States reviews reflected on the plot, as well as the film's cinematography. Dorothy Masters of the "New York Daily News" found the film gruesome, but proclaimed that "whether this is reprehensible is a personal reaction, but there can be no argument on the general effectiveness of special effects and photography." A review in "Time" declared the film to be "a piece of fine Italian handiwork that atones for its ludicrous lapses with brilliant intuitions of the spectral." "Variety" proclaimed that "There is sufficient cinematography ingenuity and production flair [...] to keep an audience pleasantly unnerved." Eugene Archer of "The New York Times" dismissed the film, declaring it "nonsense" and suggesting that was filmed with "no restraint". In his 1967 book "The Illustrated History of Horror and Science-Fiction Films", Carlos Clarens declared "Black Sunday" was the "best of [Mario Bava's] work" while his later work "rejected chiaroscuro in favor of lush Technicolor and developed the directorial of "Black Sunday" into mannered tricks such as gratuitous abrupt cuts and an unrestrained use of the zoom lens".


title: Black Sunday (1960 film)

text: In a retrospective review, Timothy Sullivan wrote in "The Penguin Encyclopedia of Horror and the Supernatural" (1986) that the film was, "A supremely atmospheric horror film" and was Bava's "first and best directorial job, and the first of the 1960s cycle of Italian Gothic cinema [...] [The film] remains [Bava's] greatest achievement, without a doubt one of the best horror films ever made." Richard Gilliam of AllMovie gave the film a four and a half star rating out of five, opining that with it, Bava created "a visual feast of the strange and forbidden that unleashes an adolescent-like interest in the unreal world" that was "easily among the most influential films of the Italian Gothic horror era".


title: Black Sunday (1960 film)

text: James Marriott praised the film as the "crowning achievement of Italian gothic horror" where "narrative and characterization (perfunctory at best here) take second place to the magnificent atmospheric visuals", noting that "unlike many of the Italian gothic chillers that followed, some sequences here [...] are genuinely creepy". James Blackford of "Sight & Sound" reviewed the film in 2013, concluding that, "Italian horror cinema is known for its intense atmosphere, extravagant visual style and gory scenes, and "Black Sunday" is the film that first pioneered this approach." He also noted the "beautifully composed chiaroscuro cinematography, expressionistic set design and art direction and the grotesquely appealing makeup lend the film a distinct atmosphere; this is cinema at its most grandiose and rich, brimful of high-flown imagery."


title: Black Sunday (1960 film)

text: The film continues to have a popular fan base among horror fans and filmmakers, and placed in a 1996 poll of the Top 25 Favourite Horror Films of All Time conducted by the British fan magazine "Shivers". It appeared in a reader's choice poll conducted by "Fangoria" of the ten greatest horror films made before 1970, where it tied for number seven with Fisher's "Dracula". In the 2010s, "Time Out" polled authors, directors, actors and critics who had worked in the horror genre to vote for their top horror films; "Black Sunday" was listed at number 84 on their top 100.


title: Black Sunday (1960 film)

text: Bava's son Lamberto recalls that after "Black Sunday" was released, producers began asking his father for more genre films. In the late 1960s, producer Lawrence Woolner approached Bava to remake "Black Sunday" in color; the project never materialized. "Viy" would be adapted for screen again in 1967 with Konstantin Yershow and Georgi Kropachoyov's "Viy" and later in 1990 as "Sveto mesto" by Djordje Kadijevic. In 1989, Lamberto Bava directed a made-for-television film also titled "La maschera del demonio"; this was not a remake of "Black Sunday", but an adaptation of Gogol's story in a contemporary setting.


title: Black Sunday (1960 film)

text: Following the release of "Black Sunday", Steele would become what Kim Newman described as an "Italian horror icon", appearing in several horror films, such as Corman's "The Pit and the Pendulum" (1961), Freda's "The Horrible Dr. Hichcock" (1962) and "The Ghost" (1963). Bava asked Steele, through her agents, to portray Nevenka in his film "The Whip and the Body"; they rejected the offer. When asked about this in 2002, Steele said the invite never reached her, but she would have been very happy to accept it. Steele would appear in more comedies and European art films, such as Federico Fellini's "8½" (1963), later reflecting that, "It was very difficult for me, doing all those horror films at that particular period of my life. The difficult thing is that most directors demand excess in acting. They want a very expressive reaction at all times, which is fine for one take but, put together as a whole, looks a little overboard all the time [...] it's hard for a woman to do that." Steele later said that "Black Sunday" "was probably the best of that genre of film I've made, but I don't feel it was the best for me as an actress. Frame by frame, it looks so beautiful ... but anybody could have been playing that girl."


title: Black Sunday (1960 film)

text: The "inquisition"-themed imagery of "Black Sunday"s opening scene was referenced in multiple horror films throughout the 1960s and beyond, including "The Brainiac" (1962), "Terror in the Crypt" (1964), "Bloody Pit of Horror" (1964), "The She Beast" (1966), "The Blood Demon" (1967) and "The Haunting of Morella" (1990). Tim Burton most prominently used imagery from the film in "Sleepy Hollow" (1999), such as in the scene where Lisa Marie emerges from an iron maiden with her face punctured akin to Asa. Burton had singled out Bava as a major influence on his work, saying that "One of the movies that remain with me probably stronger than anything is "Black Sunday"." Burton introduced the film as part of AMC's "Monsterfest" celebration in October 1998.


title: Black Sunday (1960 film)

text: "Black Sunday" marked an increase in onscreen violence in film. Prior to Bava's film, Fisher's early Hammer films had attempted to push the envelope; "The Curse of Frankenstein" relied on make-up to depict the horror of the monster, "Dracula" had its gorier scenes cut by the British Board of Film Censors, and the violence in the backstory of "The Hound of the Baskervilles" (1959) was conveyed mostly through narration. The violence in Alfred Hitchcock's "Psycho" (1960), which was released a week earlier than "Black Sunday", was portrayed through suggestion, as its famous "shower scene" made use of fast cutting. "Black Sunday", by contrast, depicted violence without suggestion. This level of violence would later be seen in other Italian genre films, such as the Spaghetti Western and the "giallo", including Bava's own "Blood and Black Lace" (1964) and the "gialli" of Dario Argento and Lucio Fulci. "Black Sunday" focused on combining eroticism and horror, specifically the eroticism of a tortured body — a trend that other European horror filmmakers like Jean Rollin and Jesús Franco would follow.


title: Louis, Prince of Condé (1530–1569)

text: Louis de Bourbon, Prince of Condé (7 May 1530 – 13 March 1569) was a prominent Huguenot leader and general, the founder of the Condé branch of the House of Bourbon. Coming from a position of relative political unimportance during the reign of Henri II, Condé's support for the Huguenots, and leading role in the conspiracy of Amboise and its aftermath pushed him to the centre of French politics. Arrested in the reign of Francis II then released on his premature death, he would lead the Huguenot forces in the first three civil wars in the French Wars of Religion before his execution after his defeat at the Battle of Jarnac in 1569.


title: Louis, Prince of Condé (1530–1569)

text: Born in Vendôme, he was the fifth son of Charles de Bourbon, Duke of Vendôme. His mother was Françoise d'Alençon, the eldest daughter of René, Duke of Alençon, and Margaret of Lorraine. His older brother Antoine de Bourbon married Jeanne d'Albret (Queen of Navarre). Their son, Condé's nephew, became Henry IV of France. Condé's cousin, through his father - who was the brother of Antoinette de Bourbon - was Mary of Guise.


title: Louis, Prince of Condé (1530–1569)

text: As a soldier in the French army, Condé fought at the Siege of Metz in 1552 where Francis, Duke of Guise successfully defended the city from the forces of Emperor Charles V. He, and his brother Enghien were responsible for the section of walls from Saint-Thibaut gate to the river Seille. He would also fight at the disastrous Battle of St. Quentin in 1557. Despite his military participation, neither he nor his brother would hold significant office during the reign of Henri, the king choosing instead to lavish it on his favourites Anne de Montmorency and Francis, Duke of Guise leaving Condé comparatively poor.


title: Louis, Prince of Condé (1530–1569)

text: The sudden death of Henri II changed the landscape of French politics overnight, and Condé was present at his brother's negotiations with the House of Montmorency and House of Bourbon-Montpensier as they sought to negotiate who would be the powerbroker for the young king. Ultimately the family would be outmanoeuvred by the Guise, who bought Condé off with a promise that he would receive the governorship of Picardy which his family claimed as a hereditary right, and a cash gift of 70,000 livres. Despite this bribe, opposition would grow to the new Guise administration from various factions, and Condé would find himself drawn to it. When his brother declined the Amboise conspirators' request for him to be their prince of the blood figurehead, they turned to Condé's weaker claim as a junior prince of the blood, hoping he would lead them. As rumours of a conspiracy began to reach their ears, the Guise quickly came to suspect Condé's involvement, and his governorship of Picardy failed to materialise.


title: Louis, Prince of Condé (1530–1569)

text: In February the Guise finally had the proof of conspiracy they'd been looking for, from a conspirator who had got cold feet, and they moved the court to the secure castle of Amboise, and summoned the senior nobility to the castle including Condé, so that they might aid in the defence. As the conspirators were crushed over the following days, Condé could do little but watch from the battlements. Eager to avoid suspicion, Condé lingered at the court in the following days, angrily denouncing the rumours of his involvement that were swirling as the product of 'scum.' He followed this up by calling anyone who would accuse him a liar, a serious rebuke in aristocratic circles, and offering to duel anyone who would dare accuse him to his face. While convinced of his guilt, the duke of Guise was conscious for the moment he lacked the necessary evidence, and assured Condé that no one doubted his honour. During his reassurance, his brother, Charles, Cardinal of Lorraine studiously looked at the floor. On 18 April, while Condé was attending the King's levée, the Guise had his apartments raided for evidence, but, finding nothing, made no move against him. Very much aware of how much suspicion he was under, Condé took the opportunity to depart from court.


title: Louis, Prince of Condé (1530–1569)

text: Despite the failure of the attempt to seize the king at Amboise, disorder continued throughout the kingdom, as independent armies raised in support of the effort marauded in a guerrilla war. Condé continued to intrigue, planning to send troops to Lyon to seize the city and use it as a nucleus of opposition to the Guise. The uprising in Lyon was however discovered before it could begin, and the Guise suspicions of Condé and Navarre's involvement was seemingly confirmed when the Guise captured an agent of Condé's with papers that implicated him. Furious, and at last holding firm evidence, the brothers were invited to attend the upcoming Assembly of Notables. Conscious that they would certainly be arrested if they came, Navarre and Condé remained in the family powerbase of Vendôme. Hoping to isolate the Bourbon-Vendòme from their prince of the blood cousins, the Guise created two super-governorships controlling much of the country, giving one to Charles, Prince of La Roche-sur-Yon and the other to Louis, Duke of Montpensier. They they began assembling an army of 40000, warning the renegade brothers of what was to come if they did not present themselves at court for the Estates General of 1560-1. Possessing only 6000 foot soldiers between them, the two travelled north without a fight, and Condé was promptly arrested on 31 October.


title: Louis, Prince of Condé (1530–1569)

text: The Guise set about arranging a trial for Condé on the charge of treason. Condé tried various methods to filibuster the proceedings, refusing to recognise the authority of his judges and demanding a trial by his peers. Despite this, he would be found guilty, and given an indeterminate prison sentence likely at the dungeons of Loches. Condé would not however languish in prison long, and soon the death of the young Francis II would sever the Guise's link to political authority, opening the way for a regency government under Catherine de Medici. Conscious that the estates might prefer Navarre's rights to the regency, Catherine used the leverage of Condé's imprisonment to buy him off, promising to release him and annul his sentence in return for his support of her governance.


title: Louis, Prince of Condé (1530–1569)

text: Condé was released from his captivity 15 days after the death of Francis II, on 20 December 1560. Navarre argued virulently on his behalf in council, making coded implications that revolt would break out if his brother was not restored to favour. Catherine managed to get him to withdraw his threat, and he submitted his recognition of her regency, excusing himself as only wishing to protect his brother from the charges of the Guise. Condé meanwhile, on parole, was waiting up in Picardy for news related to his case, keenly desiring revenge for his prosecution. Catherine oversaw the reconciliation of Navarre and Guise, and informed them that their personal reconciliation would be valid for their whole families. This accomplished, Catherine invited Condé to court. Condé set off with a force of 600 horse, however he was ordered by Catherine to disperse his retinue and come with no more than 25 horse. He arrived at Fontainebleau on the evening of 9 March. Not quite appreciating his situation, he immediately caused an incident by saying he would refuse to meet with the king until the duke of Guise was dismissed from his presence. Eventually he agreed to meet with them on the condition he need not say anything to Guise. On 13 March Condé swore in front of the court that he had never conspired against the king and the council formally absolved him, with an ordinance by Charles denoting this fact to be registered in "Parlement".


title: Louis, Prince of Condé (1530–1569)

text: The court hoped this would be sufficient for Condé, however he remained curt with Guise, and sought a further validation of his innocence, a formal judgement from the "Parlement" that had convicted him, and a denunciation of his accusers. On 17 March he left Fontainebleau still threatening vengeance on his accusers and proceeded to Paris. On 1 April with a large retinue of 500 he attended a Calvinist service in the apartments of Coligny. The "Parlement" was consumed in its opposition to the Ordinance of Orléans and the Edict of 19 April and did not come to address the matter of Condé's guilt until 13 June, when, under pressure, it declared his innocence. Catherine used the occasion to force the Duke of Guise and Condé to reconcile publicly.


title: Louis, Prince of Condé (1530–1569)

text: The religious direction of Catherine's government increasingly isolated it among the grandees of the kingdom, with first Guise and Montmorency alienating themselves from the crown and departing court, and then Navarre entering opposition after the publishing of the landmark Edict of January. In this tense political moment, the duke of Guise, while travelling back to Paris at the request of Navarre to aid in his opposition, oversaw a massacre at Wassy. Continuing on to Paris with his retinue of 1000 men he crossed paths with Condé, accompanied by a retinue of 500, on his way back from a service in the suburbs. Catherine, conscious of the dangers of both being in the city, and angry at Guise for his troops conduct at Wassy, ordered both to vacate the city, but only Condé complied.


title: Louis, Prince of Condé (1530–1569)

text: While Catherine appealed to Condé for support he departed to Orléans, allowing Guise to take possession of the young king and regent. There, he seized the city on 2 April, and issued a manifesto in which he denounced the "cruel and horrible carnage wrought at Vassy, in the presence of M. de Guise". Several days later the Calvinist synod in the city proclaimed him the protector of all churches in France.


title: Louis, Prince of Condé (1530–1569)

text: Condé's strategy was to seize strategic towns across France, and leverage them for a favourable settlement. To this end local Huguenots across France were encouraged to rise up, and successfully did so in Tours, Rouen, Montpellier and Blois among other cities. Condé failed to seize on the initial momentum however, and was in Orléans in May when Catherine sent François de Scépeaux to negotiate with him, offering the deprival of Guise and Montmorency of their offices and the sole command of the French army by his brother. Condé, confident in his position, rejected these terms, demanding instead full religious freedom for Calvinists. Catherine was unwilling to entertain these terms and withdrew the marshals.


title: Louis, Prince of Condé (1530–1569)

text: When in June the royal army was at last assembled, it marched on Orléans, seeking to pin Condé's forces in the city. Condé, eager to avoid a siege, dispersed his forces into the surrounding country, ending his threat to the city of Paris. With a free hand, the royal army subdued first Bourges, and then upon hearing of Condé's negotiations with Elizabeth I in the Treaty of Hampton Court exchanging Le Havre for military support, moved on Rouen to stop the English linking with Condé. While his brother Navarre would be killed at the siege, the city would be subdued. In an attempt to reduce his numerical inferiority, mercenaries were recruited in Germany and brought into France to supplement Condé's forces. The royal command tasked Marshal Saint André with intercepting them before a linkup was established, he was however unable to do so and, troops in hand Condé began a march on Paris.


title: Louis, Prince of Condé (1530–1569)

text: His drive on the city would be frustrated, and he was brought to battle as he retreated north at the Battle of Dreux. Condé led the Huguenot forces throughout much of the battle, however during a retreat of his cavalry he was captured, and after his forces lost the battle, he would be the Duke of Guise's captive. Guise, magnanimous in victory, offered even his bed to the captive prince. However with the death of the duke, assassinated as he tried to subdue Orléans, the crown which had seemed on the precipice of total victory would lose all momentum. Condé would be summoned, along with Montmorency, by Catherine to negotiate a peace. The Edict of Amboise would confirm a degree of toleration, though more restricted than the sweeping Edict of Saint-Germain in 1562. It largely favoured the aristocratic elements of the Huguenot party, with provisions allowing freedom of worship on the estates of the nobility.


title: Louis, Prince of Condé (1530–1569)

text: With the end of the civil war, the matter of the English occupation of Le Havre and Dieppe became a concern for the crown. Catherine decided that a combined army retaking these cities would help heal the wounds of the previous year. While Coligny and Francois de Coligny d'Andelot refused to participate against their former ally, Condé joined in the crown's effort. The forces under the command of Condé, Charles de Cossé, Count of Brissac and other leaders brought the cities back into submission by August 1563.


title: Louis, Prince of Condé (1530–1569)

text: Meanwhile a feud had been developing between the Guise and Montmorency family, the former of whom blamed Montmorency's nephew Coligny for the assassination of the duke of Guise, the latter of whom had brought his nephew under his protection. Seeking advantage in this quarrel the Cardinal of Lorraine reached out to Condé aiming to build a non-confessional basis of support. This was buoyed by the death of his wife in July 1564, which severed his kinship ties to the Montmorency. The two had a friendly meeting at Soissons where the Cardinal offered him a Guise princess as a new wife. Failing in this, but assured of his goodwill, the cardinal planned to enter Paris in force, his retinue clashing with those of the Montmorency on the streets of Paris in January 1565. Coming out the worse, the Cardinal and the young Henri Guise were forced to flee. Turning to the war of words the Guise proclaimed to Condė and the other princes that they were the protectors of men of true rank, against the upstart house of Montmorency.


title: Louis, Prince of Condé (1530–1569)

text: Condé would however drift away from the Guise in the coming years, as they abandoned their non-religious approach and began championing the Catholic ultras in pursuit of their vendetta. In particular modifications to the Edict of Amboise which reduced its terms, and a meeting between Catherine and the Duke of Alba were met with disquiet by Condé and Coligny. When a further modification was made to the edict of Amboise in 1567, expanding the ban on Protestantism in Paris to the Ile de France region, at the same time as Alba began marching north to the Netherlands, Condé got into a shouting match with the king, and then decided to withdraw from court. Writing from his estates he protested to Catherine about the hiring of Swiss mercenaries to protect France from Alba's troops, seeing them as a tool of Huguenot extermination. Catherine tried to reassure him and invite him back to court but he was uninterested.


title: Louis, Prince of Condé (1530–1569)

text: Away from the centre of power, the leading Huguenot nobility began plotting what course of action to take, meeting at Coligny's chateau to discuss details. Condé, Coligny and the Count of Montgomery were in attendance among others. Eventually it was settled on to kidnap the king and the queen mother at Meaux, and assassinate members of the court who opposed them, specifically the Cardinal of Lorraine. The conspiracy was a better kept secret than that of Amboise, and when they struck on 28 September the court was caught off guard. It was able to recover however and quickly make for Paris; Condé, surprised by the speed of its withdrawal, gave pursuit with only 1/3 of the forces he had intended to assemble. He charged three times, but the phalanxes of Swiss mercenaries were able to repel him and the court made it to Paris.


title: Louis, Prince of Condé (1530–1569)

text: With their coup a failure, Condé and the other leading plotters decided to besiege Paris, hoping to starve the king out before the crown could assemble the full force of its army against them. Much as with the first civil war, they were aided by subsidiary risings across France, which took the cities of Orléans, Valence and Auxerre among others. Condé negotiated aggressively with those sent out to meet him, demanding a free exercise of religion, the expulsion of Italian financiers and the repeal of all taxes created since the time of Louis XII. The crown rejected these demands, and slowly began building up its forces, and seizing bridges. Misjudging his situation, Condé sent off subsidiary forces to take nearby towns, leaving his encirclement of Paris thin. This done, Montmorency struck out from Paris in November, besting Condé in the bloody battle of Saint-Denis though dying on the field himself. Condé withdrew from Paris, making his way east, conscious that his position was critical, but that the death of Montmorency had bought him some time while the royal army reorganised. Having successfully linked up with mercenaries and other Huguenot armies in the country, he turned back, and decided to besiege Chartres seeing it as a rich target to pay his restless troops. The siege dragged on, in part due to Condé's poor placement of the cannons, but before it could conclude, negotiations between the two sides brought a truce on 13 March. Peace was signed at Longjumeau on 23 March 1568.


title: Louis, Prince of Condé (1530–1569)

text: The Peace of Longjumeau largely represented a repeat of the terms agreed in Amboise several years prior. It would be uneasy, neither side holding much faith in its survival. The balance at court shifted from the moderates who had negotiated the peace, towards hardliners who desired its overturning. Meanwhile Condé and the Huguenot leadership disregarded the prohibition on foreign alliances, coming to terms with Protestant rebels in the Spanish Netherlands to aid each other against 'wicked counsel'.


title: Louis, Prince of Condé (1530–1569)

text: By September Lorraine had a majority on the council for the overturning of the peace, eager to take up Pius V offer of financial assistance in return for a war on heresy. Condé, Coligny and the Huguenot leadership, having been warned of a plan to arrest them by Gaspard de Saulx, sieur de Tavannes fled from the court southwards, making their way to the safe haven of La Rochelle where they took arms to defend themselves. On 28 September the Edict of Saint-Maur revoked Longjumeau and declared Catholicism the only religion of France. On 6 October the Duke of Anjou took the field.


title: Louis, Prince of Condé (1530–1569)

text: Not having the benefit of uprisings in northern cities, Condé and Coligny would reorientate the axis of the third civil war to a defence of the Huguenot heartlands in the south. His forces, and those of Tavannes, circled Loudun in late 1568, seeking to find good ground to attack the other. Eventually the Crown's forces broke off to winter, and the Huguenot forces, after trying and failing to seize Saumur likewise settled into camp. In March 1569, hearing reports that Condé intended to lunge south and seize Cognac, Tavannes decided to take advantage, crossing the Charente on the night of 12 March, and coming upon the Huguenot rear. The royal vanguard, under Montpensier, fell upon the Huguenot rear-guard under Condé, and he was unhorsed. Though unarmed and under guard, there would be no gentlemanly capture for him this time and he was executed on the duke of Anjou's orders. While the majority of the Huguenot army got away unscathed, Condé's corpse would be paraded through Jarnac on the back of a donkey to the jeers of the populace.


title: Louis, Prince of Condé (1530–1569)

text: Condé married in 1551, to Eléanor de Roucy de Roye (1536–1564), heiress of Charles de Roye. She brought as her dowry the château and small town of Conti-sur-Selles, southwest of Amiens, which would pass to their third son, progenitor of the princes de Conti. They had:


title: Louis, Prince of Condé (1530–1569)

text: On 8 November 1565, a widower, he married Francoise d'Orleans, Mademoiselle de Longueville, they had:


title: Louis, Prince of Condé (1530–1569)

text: He allegedly fathered a son by his mistress Isabelle de Limeuil, who served as Maid of Honour to Catherine de' Medici and was a member of her notorious group of female spies known at the French court as the "Flying Squadron". He vigorously denied paternity much to Isabelle's chagrin.His son, Henri, also became a Huguenot general and fought in the later wars of religion.


title: Louis, Prince of Condé (1530–1569)

text: Louis Condé is played by British actor Sean Teale in the TV show "Reign". He has an affair with Mary, Queen of Scots and leads a coup against the monarchy.


title: Maplewood, New Jersey

text: Maplewood is a township in Essex County in the U.S. state of New Jersey. The township is an inner-ring suburban bedroom community of New York City in the New York metropolitan area. As of the 2020 United States census, the township's population was 25,684. As of the 2010 United States census, the township's population was 23,867, reflecting a decline of 1 person (0.0%) from the 23,868 counted in the 2000 Census, which had in turn increased by 2,216 (+10.2%) from the 21,652 counted in the 1990 Census.


title: Maplewood, New Jersey

text: When surveying the area now known as Maplewood, Robert Treat found several trails used by Lenape tribes of Algonquian Native Americans, though there was only sparse pre-European settlement. These paths form the basis for what are the township's main thoroughfares today.


title: Maplewood, New Jersey

text: The first European settlers arrived around 1675, primarily English, Dutch and French Puritans who had earlier settled Hempstead, Long Island, and Stamford, Connecticut, via Newark and Elizabeth. They had acquired most of today's Essex County from the Native Americans and followed three trails that roughly correspond to South Orange Avenue, Springfield Avenue and Ridgewood Road. These three routes resulted in the development of three separate communities that coalesced to become Maplewood and South Orange. Those who came from Newark on the trail that now corresponds to South Orange Avenue settled the area that became South Orange village.


title: Maplewood, New Jersey

text: Six families (with last names of Smith, Brown, Pierson, Freeman, Ball and Gildersleeve) came up today's Ridgewood Road and established scattered farms around a center that became Jefferson Village, named after Thomas Jefferson. This settlement, which roughly corresponds to downtown Maplewood today, developed several mills and orchards. John Durand, the son of Hudson River School painter Asher Brown Durand (who was born in Maplewood in 1796), describes the place as a picturesque but slightly backward community with close ties to Springfield. The apple harvest was apparently quite impressive and included the "Harrison" and "Canfield" varieties. By 1815, there were approximately 30 families in the community. Although the residents of the area were predominantly Presbyterian, the first house of worship was a Baptist chapel in 1812. This was in use until 1846 and fell into disrepair until 1858, when it was taken into use as a Methodist Episcopal church.


title: Maplewood, New Jersey

text: Those who came up today's Springfield Avenue settled on a hill crest near today's intersection between Tuscan and Springfield Avenue and established a hamlet known as North Farms. Over time, this community became known as the Hilton section. It became a stagecoach stop between Newark, Jersey City (then Paulus Hook), and Morristown and thereby a center for trade and light manufacturing. The village changed its name from North Farms to Middleville in 1830, and then to Hilton in 1880 when it was granted a post office. In 1855, Seth Boyden settled in what was then Middleville to retire but innovated a number of agricultural products, especially berries. Boyden also built and put into operation the first steam engines to service the railroad through Maplewood. The area became known for its orchards and related industries, including cider mills and rum distilleries, as well as honey and livestock.


title: Maplewood, New Jersey

text: The three communities developed and functioned independently, each establishing their own school associations: South Orange established the Columbian School in 1814, which would form the basis of Columbia High School; North Farms established the North Farms Association in 1817; and Jefferson Village the Jefferson Association in 1818. In 1867, when the State of New Jersey established public education through the School Law, the newly appointed County Superintendent merged the three associations into one school district, which was formalized in 1894 as the South Orange-Maplewood School District. James Ricalton, a teacher born in New York of Scottish parents who became the school district's first permanent teacher, helped set the high standard of education that persists in the school district to this day.


title: Maplewood, New Jersey

text: Maplewood was originally formed as "South Orange Township", which was created on April 1, 1861, from portions of Clinton Township and what was then the Town of Orange. Portions of the township were taken to form South Orange village (established May 4, 1869, within the township and became fully independent on March 4, 1904) and Vailsburg borough (formed March 28, 1894, and annexed by Newark on January 1, 1905) The name of the township was changed to Maplewood on November 7, 1922.


title: Maplewood, New Jersey

text: When the Morris and Essex Railroad from Newark was extended to the area in 1838, a land speculator by the name of John Shedden built a railroad station in Jefferson Village and named it "Maplewood". This name came to comprise areas known as Hilton, Jefferson Village, and areas previously part of Springfield. In 1868, farms were subdivided into parcels for residential housing and the area became a commuter suburb.


title: Maplewood, New Jersey

text: Edward C. Balch (1858–1934) was a homebuilder who envisioned Maplewood as a suburban community and starting around 1900 developed a total of 176 homes in the township, earning him recognition by "The New York Times" as the "Father of Maplewood."


title: Maplewood, New Jersey

text: According to the United States Census Bureau, the township had a total area of 3.88 square miles (10.04 km), including 3.87 square miles (10.03 km) of land and <0.01 square miles (0.01 km) of water (0.08%). A pond is in Memorial Park, the Rahway River runs through the township and there is a municipal pool club with four man-made pools of water; the remainder of the area is land.


title: Maplewood, New Jersey

text: The township shares a border with West Orange and South Orange to the north, Newark and Irvington to the east, Union (in Union County) to the south, and Millburn to the west.


title: Maplewood, New Jersey

text: Unincorporated communities, localities and place names located partially or completely within the township include Hilton and Valley View.


title: Maplewood, New Jersey

text: The Census Bureau's 2006–2010 American Community Survey showed that (in 2010 inflation-adjusted dollars) median household income was $101,463 (with a margin of error of +/− $6,610) and the median family income was $122,102 (+/− $9,324). Males had a median income of $83,656 (+/− $10,885) versus $57,422 (+/− $5,551) for females. The per capita income for the borough was $47,404 (+/− $2,404). About 1.5% of families and 2.8% of the population were below the poverty line, including 1.5% of those under age 18 and 3.1% of those age 65 or over.


title: Maplewood, New Jersey

text: As of the 2000 United States Census there were 23,868 people, 8,452 households, and 6,381 families residing in the township. The population density was 6,207.1 people per square mile (2,393.6/km). There were 8,615 housing units at an average density of 2,240.4 per square mile (864.0/km). The racial makeup of the township was 58.78% White, 32.63% Black, 0.13% Native American, 2.86% Asian, 0.03% Pacific Islander, 1.56% from other races, and 4.01% from two or more races. Hispanic or Latino of any race were 5.23% of the population.


title: Maplewood, New Jersey

text: There were 8,452 households, out of which 40.6% had children under the age of 18 living with them, 58.2% were married couples living together, 13.3% had a female householder with no husband present, and 24.5% were non-families. 20.4% of all households were made up of individuals, and 9.8% had someone living alone who was 65 years of age or older. The average household size was 2.81 and the average family size was 3.27.


title: Maplewood, New Jersey

text: In the township, the age distribution of the population shows 28.0% under the age of 18, 5.6% from 18 to 24, 30.2% from 25 to 44, 24.0% from 45 to 64, and 12.1% who were 65 years of age or older. The median age was 38 years. For every 100 females, there were 90.6 males. For every 100 females age 18 and over, there were 86.1 males.


title: Maplewood, New Jersey

text: The median income for a household in the township was $79,637, and the median income for a family was $92,724. Males had a median income of $57,572 versus $41,899 for females. The per capita income for the township was $36,794. 4.4% of the population and 3.4% of families were below the poverty line. 4.9% of those under the age of 18 and 6.0% of those 65 and older were living below the poverty line.


title: Maplewood, New Jersey

text: In 2018 Brooke Lea Foster of "The New York Times" described Maplewood as one of several "least suburban of suburbs, each one celebrated by buyers there for its culture and hip factor, as much as the housing stock and sophisticated post-city life."


title: Maplewood, New Jersey

text: The township owns and operates the Burgdorff Center for the Performing Arts at 10 Durand Road. The Center, a former Christian Science Church, was donated to the town by Jean Burgdorff, a local real estate entrepreneur. The building was transferred to the town on October 15, 1988. In 2008, the township committed to a $130,000 plan to improve the building.


title: Maplewood, New Jersey

text: Every year, on the weekend following the weekend closest to July 4, there is a concert in town called Maplewoodstock. The free concert consists of local and national bands performing alongside various stalls showcasing local businesses.


title: Maplewood, New Jersey

text: Many of the more recognizable buildings and spaces were the work of famous architects and landscape designers. Most of the schools and the Municipal Building were the work of Guilbert & Betelle. The center of town is dominated by Memorial Park, a design of the Olmsted Brothers. The Olmsted firm was also responsible for the landscaping at Ward Homestead, designed by John Russell Pope, and now known as Winchester Gardens, located on Elmwood Avenue. On the opposite side of town is another Olmsted work, South Mountain Reservation. The Maplewood Theater, designed by William E. Lehman, was where Cheryl Crawford first revived "Porgy and Bess".


title: Maplewood, New Jersey

text: Maplewood is governed under the Township form of government, one of 141 municipalities (of the 564) statewide that use this form. The governing body is a Township Committee, which is comprised of five members who are elected directly by the voters at-large in partisan elections to serve three-year terms of office on a staggered basis, with either one or two seats coming up for election each year as part of the November general election in a three-year cycle. At an annual reorganization meeting, the Township Committee selects one of its members to serve as Mayor for a one-year term, and another to serve as Deputy Mayor. The Mayor has the responsibility of Chair for the Township Committee meetings with voice and vote. The Mayor is considered the head of the municipal government.


title: Maplewood, New Jersey

text: The Township Committee is the legislative body of the municipality and is responsible for enacting the township's laws. The Township Committee is also an executive body. Under this form of government, the elected Township Committee sets policy and overall direction for the Township. The Township staff, under the direction of the Township Administrator, carries out Committee policy and provides day to day services. The Township Administrator serves as the chief administrative officer and is accountable to the Township Committee.


title: Maplewood, New Jersey

text: , members of the Maplewood Township Committee are Mayor Dean Dafis (D (D, term on committee ends December 31, 2023; term as mayor ends 2022), Deputy Mayor Victor De Luca (D, term on committee ends 2023; term as deputy mayor ends 2022), Nancy J. Adams (D, 2024), Jamaine L. Cripe (D, 2024) and Frank McGehee (D, 2022).


title: Maplewood, New Jersey

text: Maplewood is located in the 11th Congressional District and is part of New Jersey's 27th state legislative district.


title: Maplewood, New Jersey

text: As of March 23, 2011, there were a total of 16,399 registered voters in Maplewood, of which 9,306 (56.7%) were registered as Democrats, 1,439 (8.8%) were registered as Republicans and 5,645 (34.4%) were registered as Unaffiliated. There were 9 voters registered as Libertarians or Greens.


title: Maplewood, New Jersey

text: In the 2012 presidential election, Democrat Barack Obama received 84.4% of the vote (10,007 cast), ahead of Republican Mitt Romney with 14.9% (1,764 votes), and other candidates with 0.8% (91 votes), among the 11,924 ballots cast by the township's 17,391 registered voters (62 ballots were spoiled), for a turnout of 68.6%. In the 2008 presidential election, Democrat Barack Obama received 81.9% of the vote (10,649 cast), ahead of Republican John McCain with 16.6% (2,156 votes) and other candidates with 0.7% (90 votes), among the 13,003 ballots cast by the township's 16,523 registered voters, for a turnout of 78.7%. In the 2004 presidential election, Democrat John Kerry received 76.3% of the vote (9,113 ballots cast), outpolling Republican George W. Bush with 22.7% (2,709 votes) and other candidates with 0.6% (90 votes), among the 11,943 ballots cast by the township's 15,289 registered voters, for a turnout percentage of 78.1.


title: Maplewood, New Jersey

text: In the 2013 gubernatorial election, Democrat Barbara Buono received 69.0% of the vote (4,833 cast), ahead of Republican Chris Christie with 29.6% (2,074 votes), and other candidates with 1.4% (97 votes), among the 7,116 ballots cast by the township's 17,502 registered voters (112 ballots were spoiled), for a turnout of 40.7%. In the 2009 gubernatorial election, Democrat Jon Corzine received 72.2% of the vote (5,871 ballots cast), ahead of Republican Chris Christie with 20.3% (1,650 votes), Independent Chris Daggett with 6.2% (507 votes) and other candidates with 0.8% (65 votes), among the 8,135 ballots cast by the township's 16,202 registered voters, yielding a 50.2% turnout.


title: Maplewood, New Jersey

text: Maplewood is a diverse and family-friendly community. The township has a downtown area alternatively known as "the village" or "Maplewood Center" with a movie theater, several upscale and mid-scale restaurants, a small supermarket, independent café, two liquor stores, a toy store and an independent bookstore. The structure of the downtown is largely unchanged since the 1950s. Maplewood won "New Jersey Monthly" magazine's Downtown Showdown in 2015, with the editor's noting the community's "myriad boutiques, art galleries and notable restaurants".


title: Maplewood, New Jersey

text: Maplewood is home to a gay village or "gayborhood." In June 2018, Maplewood unveiled permanently rainbow-colored crosswalks to celebrate LGBTQ pride across the full year.


title: Maplewood, New Jersey

text: Maplewood counts among its residents a large number of theater professionals working in Broadway and off-Broadway productions, owing to the town's convenient rail access and relatively short commute via train into Manhattan. In 2010, a group of 32 of these actors and technicians formed their own repertory theater company and named it Midtown Direct Rep, after the NJ Transit line on which they all commuted.


title: Maplewood, New Jersey

text: Maplewood is part of the unified South Orange-Maplewood School District, together with the neighboring community of South Orange. The district has a single high school (located in Maplewood) two middle schools a central pre-school and neighborhood elementary schools in each municipality. As of the 2019–2020 school year, the district, comprised of 11 schools, had an enrollment of 7,353 students and 576.1 classroom teachers (on an FTE basis), for a student–teacher ratio of 12.8:1. Schools in the district (with 2019–2020 school enrollment data from the National Center for Education Statistics) are


title: Maplewood, New Jersey

text: , the township had a total of of roadways, of which were maintained by the municipality, by Essex County and by the New Jersey Department of Transportation. Two nearby controlled-access highways serve Maplewood: the Garden State Parkway, which runs north–south, and Interstate 78, which runs east–west.


title: Maplewood, New Jersey

text: There are approximately 226 streets within Maplewood. Springfield Avenue is a state highway (Route 124, from Irvington to Morristown), and four thoroughfares are Essex County roads (Valley Street, Millburn Avenue, Irvington Avenue, Wyoming Avenue).


title: Maplewood, New Jersey

text: NJ Transit provides passenger rail service to Maplewood station on the Morristown Line and Gladstone Branch to Newark Broad Street Station, Secaucus Junction and New York Penn Station, with connecting service to Hoboken Terminal.


title: Maplewood, New Jersey

text: NJ Transit bus service to Newark on the 25, 37 and 70, and to the Port Authority Bus Terminal in Midtown Manhattan on the 107 route. Independent Bus provides bus service on its 31 route.


title: Mr. Hooper

text: Mr. Harold Hooper (played by Will Lee) was one of the first four human characters to appear on the television series "Sesame Street". Created by producer and writer Jon Stone, Mr. Hooper is the original proprietor of Hooper's Store, the neighborhood variety store and combination diner/corner store that serves as a place for Muppets and humans to meet and interact. Lee, a character actor and instructor was "perfectly cast" as Mr. Hooper. Mr. Hooper ranked first of all human characters of the show in recognition by young viewers. Mr. Hooper, who has been described as "slightly cranky but good-hearted" and "curmudgeonly", bridges the gap between the older generation and its young audience. Hooper's Store, "an idealized social institution", is an extension of his personality. He had a close relationship with the Muppet Big Bird.


title: Mr. Hooper

text: After Lee's death on December 7, 1982, instead of recasting the role, or explaining his departure by saying he had moved, quit or retired, the writers and producers of "Sesame Street" decided to have the character of Mr. Hooper die. Then they used the episode to teach their young audience about the difficult topic of death. Research was conducted to ascertain the messages they wanted to convey about the topic, as well as the effect the episode would have on the young children who watched it. They were advised by experts in the fields of child psychology, child development, and religion. Studies conducted after the episode was produced showed that most children understood its messages about death, and that they experienced no long-term ill effects.


title: Mr. Hooper

text: The episode, written by head writer Norman Stiles, aired on Thanksgiving Day 1983. The cast and crew reported that filming it was an emotional and touching experience, with Bob McGrath listing it as one of his two favorites. Setting the standard for dealing with difficult topics on children's television, the show was called heartbreaking yet affirming, and remains one of the proudest moments in the show's history.


title: Mr. Hooper

text: Mr. Hooper, played by Will Lee from the premiere of "Sesame Street" in 1969 until his death in 1982, was one of the first four human characters that appeared on the show. Created by producer and writer Jon Stone, the role of Mr. Hooper was the first to be cast. Lee came to Stone's attention through writers Bruce Hart and Carole Hart. Mr. Hooper was inspired by the Bob Keeshan character Captain Kangaroo; Stone previously worked on the "Captain Kangaroo" program, which greatly influenced him as he developed "Sesame Street". Mr. Hooper is the original proprietor of Hooper's Store, the neighborhood variety store and combination diner/corner store that serves as a place for Muppets and humans to meet and interact. Stone's original conception of Mr. Hooper was that he would be, like most owners of such establishments at the time, older, male, and Jewish.


title: Mr. Hooper

text: Lee was a character actor and acting instructor with a range of roles in the theater. Lee had been blacklisted from many mainstream acting roles for about five years during the McCarthy era, for refusing to cooperate with the House Un-American Activities Committee's investigation of Communist influence in show business. According to writer Michael Davis, Lee played Mr. Hooper, known for his bowtie and hornrimmed glasses, "with such certainty and naturalness he made adults suspend their sense of disbelief". Writer Louise A. Gikow stated that Lee was "perfectly cast" as Mr. Hooper. According to fellow cast member Bob McGrath, who also appeared in "Sesame Street"'s first episode with Lee, "Will had a broader dimension to his character than perhaps the rest of us did ... He convinced me that no matter how simple the scene was with a child, you had to bring a tremendous integrity and an honesty and credibility to it". Joan Ganz Cooney, "Sesame Street" co-creator and president of the Children's Television Workshop (CTW), said, "He gave millions of children the message that the old and the young have a lot to say to each other". "The New York Times" reported that Mr. Hooper ranked first of all human characters of the show in recognition by young viewers.


title: Mr. Hooper

text: Davis described Mr. Hooper as "slightly cranky but good-hearted". Gikow called Mr. Hooper "curmudgeonly". Davis stated that since Mr. Hooper's appearance in the first episode of "Sesame Street", he had become many things to many young children, "... the guy in the apron at the far side of the generation gap, his half-lens glasses slipping down his nose". Davis also stated that Hooper's Store, which he called "an idealized social institution", is an extension of Mr. Hooper's personality. Mr. Hooper has a special relationship with the Muppet character Big Bird, who would often come into Hooper's Store for a birdseed milkshake and a chat. A running gag in the show was that Big Bird would often mispronounce Mr. Hooper's name, although most attempts ended in "ooper", such as "Looper" or "Cooper". Mr. Hooper's first name, Harold, was not revealed until the character earned a GED during night school.


title: Mr. Hooper

text: Mr. Hooper's last appearances on "Sesame Street" aired in 1983, but Lee's last segments for the show were taped in November 1982. Lee participated in the Macy's Thanksgiving Day Parade with other "Sesame Street" characters a few days before he died of a heart attack on December 7, 1982.


title: Mr. Hooper

text: When Will Lee died on December 7, 1982, instead of recasting the role for the character (replacing Will Lee with a new actor so Mr. Hooper could still be in the show), explaining Mr. Hooper's departure (by saying that he had retired and/or moved away), or simply dropping him from the show without explanation, the producers of "Sesame Street" decided to have the character pass away and use the episode to teach their young audience about the difficult topic of death. According to CTW researcher Rosemarie Truglio and her colleagues, the episode was one of the many social issues relevant to preschoolers the show has dealt with throughout its history. Executive producer Dulcy Singer reported that they followed their instincts to be "honest and straightforward" and to "deal with it head-on".


title: Mr. Hooper

text: The "Sesame Street" episode (#1839) in which the death of Mr. Hooper was discussed, was structured as all episodes were structured at the time, with individual segments that took place on the main brownstone set interrupted by inserts, or puppet skits, short films, and animations. The episode begins with a scene between Gordon (Roscoe Orman) and the Muppet Forgetful Jones (Richard Hunt). Gordon helps Forgetful remember something that had made him happy; as Davis states, "Later, Big Bird forgets something that makes him sad". After several inserts, Big Bird walks backward with his head between his legs; when Gordon asks him why, he answers, "Just because". Later, Big Bird listens to the adults talking about a new baby who is due to visit Sesame Street with his mother.


title: Mr. Hooper

text: Two segments later, Big Bird interrupts the adults—Maria (Sonia Manzano), David (Northern Calloway), Bob (Bob McGrath), Susan (Loretta Long), Gordon, Luis (Emilio Delgado), and Olivia (Alaina Reed Hall)—discussing politics by giving them pictures he had drawn of each of them. He gets to Mr. Hooper's picture, saying that he will give it to him when he returns. The human characters explain the irreversibility of death to Big Bird, who reacts by getting upset, expressing his confusion and sadness. The adults reassure him that they love him and will take care of him. David reveals that he will take over the store, Mr. Hooper having left it to him in his will, and that he is going to serve milkshakes to Big Bird, like Mr. Hooper used to do. Big Bird asks, "Why does it have to be this way? Give me one good reason!" and after a long silence Gordon answers, "Big Bird, it has to be this way... because." Looking at Mr. Hooper's picture, Big Bird says, mispronouncing his name as he had done many times in the past, "I'm going to miss you, Mr. Looper." Maria tearfully corrects Big Bird and everyone gathers around him, hugging him in support.


title: Mr. Hooper

text: The episode ends with Big Bird hanging Mr. Hooper's picture near his nest. Luis knocks on his door to introduce the new baby, followed by the entire grown-up cast. Big Bird says, "You know what the nice thing is about new babies? One day they're not here, and the next day, here they are!" The cast collectively show affection to the baby as the show closes.


title: Mr. Hooper

text: Similar to what they had done with other social issues and in developing their curriculum, the CTW researched the topic of death and how preschoolers understand it. The first step in their research process was to assemble a team of experts, led by CTW research director Lewis Bernstein, in the fields of child psychology, child development, and religion. The team advised the show's writers and producers how to handle the topic, in what they called "a curriculum bath"; Bernstein described it in this way: "We bring in the experts to allow the writer to soak in expertise. We in Research bring in people to provide the information, and then the artistry of the writer takes over, as they integrate what they've heard". The experts advised the producers to provide their viewers with a sense of closure about Mr. Hooper's death. They decided not to focus on how Mr. Hooper died, since explaining that he was old and ill might increase children's fears about death. They chose to deal with his death in a single episode, and convey simple messages like: "Mr. Hooper is dead; Mr. Hooper will not be coming back; and Mr. Hooper will be missed by all". Gikow stated that the episode they created was an example of the writers and producers' skills as educators as well as entertainers.


title: Mr. Hooper

text: Before the episode aired, the CTW conducted a series of studies to guide the writers and producers in creating the episode. Their goal was to answer four key questions: (1) Will children understand the messages they wanted to convey about death? (2) How attentive will they be to the storyline? (3) How will parents respond to the treatment of such a sensitive topic? and (4) Will children be disturbed by the messages, and if so, for how long? The researchers broke up children into three groups: children who only watched the scenes in which the storyline was played out and who were interviewed afterwards; children who watched the entire episode and whose attention was recorded while they viewed it; and children who watched the episode without the inserts, with their parents, who were interviewed 9 or 10 days later.


title: Mr. Hooper

text: The researchers found that 73% of 4- and 5-year-olds in their study understood that Mr. Hooper was dead and that 88% of this group understood that he was not coming back, although only about one-fourth of the 3-year-old viewers responded correctly. Most of the 4- and 5-year-olds understood that Big Bird and the adults were sad. Most children (80%) were attentive during the episode. The parents interviewed had "overwhelmingly positive" reactions to the show, and that half reported that they had discussed death with their children after viewing it. None of the parents reported negative reactions from their children, either immediately after watching the episode or at a later time.


title: Mr. Hooper

text: "Sesame Street" head writer Norman Stiles was chosen to write the segments about Mr. Hooper's death. The episode focused on the life cycle of birth and death by also mentioning the birth of a baby, and by remembering Mr. Hooper. Stiles said, "We decided to say that while Mr. Hooper was not here anymore, we will always have that part of him that lives within the heart, that we have our love and that it will always stay". Stiles wanted to convey that expressing grief for someone who had died was difficult for both adults and children. Instead of providing an explanation, the adults of "Sesame Street" tell Big Bird, when he asked why Mr. Hooper had died, that there was no real reason, that it happened, as Gordon tells Big Bird, "Just because". The show's outside experts advised Stiles and the producers to remove the line because they were concerned that an open-ended explanation would not be enough for children, but Stiles kept the line because it was an acknowledgement, as Gikow stated, that there is never a good explanation about why people die.


title: Mr. Hooper

text: The episode aired on Thanksgiving Day 1983, a year after Lee's final appearance as Mr. Hooper at the Macy's Thanksgiving Day parade. The producers chose to air it the first week of the new season in order to explain Mr. Hooper's absence as soon as possible, for maximum exposure, and to ensure that parents were at home with their children in order to discuss it. The illustrations used for the episode were drawn by Caroll Spinney, who performed Big Bird. Mr. Hooper's picture remained on the set from then on, as a continuing memorial to Lee and Mr. Hooper. Spinney, speaking of the scene in which the pictures were passed out, reported, "When we finished that scene there wasn't one of us whose face wasn't streaked with tears", even Spinney underneath his costume. Jon Stone, who directed the episode, wanted to do another take, although Spinney later said, "There was nothing wrong with that take. It was perfect." Cameraman Frankie Biondo was touched by the performance.


title: Mr. Hooper

text: A book, entitled "I'll Miss You, Mr. Hooper" and based upon the script for the episode, was published in 1984. The book was also written by Stiles. According to Renée Cherow-O'Leary, Stiles and the editorial staff of the CTW's book division worked with the show's research staff and used the same educational content information and research the show's producers used to create the episode.


title: Benjamin Diokno

text: Benjamin Estoista Diokno (born March 31, 1948) is a Filipino economist currently serving as the 32nd Secretary of Finance under the administration of President Ferdinand "Bong Bong" Marcos Jr. since June 30, 2022. He previously served as Secretary of Budget and Management under the administration of President Rodrigo Duterte from 2016 to 2019, and under President Joseph Estrada from 1998 until the latter's ouster in 2001. He also served as the governor of the Bangko Sentral ng Pilipinas and "ex officio" chairman of the Anti-Money Laundering Council from 2019 to 2022 under President Duterte and undersecretary for Budget Operations of the Department of Budget and Management from 1986 to 1991 under President Corazon Aquino.


title: Benjamin Diokno

text: From 2020 to 2021 during the COVID-19 pandemic, Diokno became the highest paid public officer in the Philippines.


title: Benjamin Diokno

text: Diokno is the son of Taaleños Leodegario Badillo Diokno (lived from c. 1898-August 24, 1982) and Loreta Estoista, Leodegario's second wife after the passing of his first spouse. Benjamin Diokno was born on March 31, 1948, in Taal, Batangas. His oldest brother Bayani Diokno (1943-2018), became a member of the US Navy for nearly three decades. His other siblings are Lucilo, Felipe, Emilio, Lydia (born 1942), Leonor, Amada, and Eduvijis. Leodegario Diokno was the son of Gregorio Diokno (born 1870) and grandson of Ángel Diokno (born c. 1830), the patriarch of the Taaleño surname. Diokno is the second cousin once removed (through common ancestor Ángel Diokno) of Atty. Jose Manuel "Chel" Diokno of the Free Legal Assistance Group (FLAG) and is six degrees apart from the attorney Sen. Jose W. Diokno, who is Atty. Chel Diokno's father and is considered as the father of human rights. Though they are under the large Diokno family that hails from Taal, the main Diokno branch represented by Chel ran against the Duterte administration in the 2019 and 2022 Senate election, the administration Benjamin Diokno served.


title: Benjamin Diokno

text: The young Benjamin finished his bachelor's degree in a bachelor of arts program in Public Administration from the University of the Philippines (UP) Diliman in 1968, and earned his master's degree in Public Administration (1970) and Economics (1974) from the same university. Diokno was later awarded an honorary degree from UP. He also holds a Master of Arts in Political Economy (1976) from the Johns Hopkins University in Baltimore, Maryland, USA and a Ph.D. in Economics (1981) from the Maxwell School of Citizenship and Public Affairs, Syracuse University in Syracuse, New York, USA. His dissertation "Public Sector Resource Mobilization through Local Public Enterprises in Developing Countries : Issues, Practices and Case Studies" looked at using local public enterprise as alternative means of mobilizing funds for public purposes.


title: Benjamin Diokno

text: During the Aquino administration, Diokno provided technical assistance to several major reforms such as the design of the 1986 Tax Reform Program, which simplified income tax and introduced the value-added tax (VAT), and the 1991 Local Government Code of the Philippines.


title: Benjamin Diokno

text: During the Estrada administration, Diokno initiated and instituted several reforms that would enhance transparency and improve the efficiency of the delivery of government services. The first major reform instituted was the "what you see is what you get" or WYSWIG policy that is a simplified system of fund release for the General Appropriations Act (GAA). This allowed agency heads to immediately plan and contract out projects by just looking at the GAA, which is available in print and at the DBM website, without waiting for the issuance of an allotment authority. Diokno initiated the reform of the government procurement system (GPS) through the adoption of rapidly improving information and communications technology. He secured technical assistance from the Canadian International Development Agency (CIDA) to help the GPS develop an electronic procurement system along the lines of the Canadian model. By August 1999, the DBM had two documents necessary to initiate reforms in public procurement. In early 2000, Diokno and USAID successfully concluded a substantial technical assistance program for the DBM's budget reform programs, which now included procurement reform. Other budget reforms instituted by Diokno concerned procedures for payment of accounts payable and terminal leave/ retirement gratuity benefits. The release of cash allocation were programmed and uploaded to the department's website while payments were made direct to the bank accounts of specific contractor.


title: Benjamin Diokno

text: Diokno is a Professor Emeritus of the School of Economics of the University of the Philippines-Diliman. He served as Fiscal Adviser to the Philippine Senate. He also served as Chairman and CEO of the Philippine National Oil Company (PNOC) and Chairman of the Local Water Utilities Administration. He was also Chairman of the Board of Trustees of the "Pamantasan ng Lungsod ng Maynila" (City University of Manila).


title: Benjamin Diokno

text: In his third tour of duty as Budget Secretary, Diokno intended to pursue an expansionary fiscal policy to finance investments in human capital development and public infrastructure. In addition, he seeks for the passage of a Budget Reform Bill to ensure the compliance of future budgets with the pertinent laws of the land. He also aims to re-organize and professionalize the bureaucracy with a Government Rightsizing Act. On March 4, 2019, President Duterte appointed Diokno as the fifth governor of the Bangko Sentral ng Pilipinas (BSP), of which he will finish the unexpired term of his late predecessor, Nestor Espenilla Jr. which will end in July 2023.


title: Benjamin Diokno

text: But on May 26, 2022, then President-elect Bongbong Marcos announced that he would nominate Diokno as the next Finance Secretary in his incoming administration, replacing Diokno in the role of the governor of BSP, with Felipe Medalla, who will finish Diokno's unexpired term. Diokno subsequently took his oath at the Malacañang Palace on June 30, 2022 following the Inauguration of Bongbong Marcos as President.


title: Game Genie

text: Game Genie is a line of video game cheat cartridges originally designed by Codemasters, sold by Camerica and Galoob. The first device in the series was released in 1990 for the Nintendo Entertainment System, with subsequent devices released for the Super NES, Game Boy, Genesis, and Game Gear. All Game Genie devices temporarily modify game data, allowing the player to do things unintended by developers such as, depending on the game, cheating, manipulating various aspects of games, and accessing unused assets and functions. Five million units of the original Game Genie products were sold worldwide, and most video game console emulators feature Game Genie code support. Emulators that have Game Genie support also allow a near-unlimited number of codes to be entered whereas the actual products have an upper and lower limit, between three and six codes.


title: Game Genie

text: In 1993, Codemasters began development on a "Game Genie 2", with Galoob to market and distribute the device in North America, but no Game Genie devices were released for the fifth generation of consoles. Other companies have produced similar hacking devices such as the Code Breaker, Action Replay, and Game Shark. The Game Genie brand was later revived by the company Hyperkin, who released cheat systems for newer consoles.


title: Game Genie

text: The original Game Genie systems were pass-through devices that attached between a cartridge and the console. Upon starting the console, the player is presented with a menu to enter a series of characters, referred to as a "code", that reference addresses in the ROM of the cartridge. Each code contains an integer value that is read by the system in place of the data actually present on the cartridge.


title: Game Genie

text: Because the Game Genie patches the program code of a game, the codes are sometimes referred to as patch codes. These codes can have a variety of effects. Most published codes give the player some form of invulnerability, infinite ammunition, level skipping, or other modifications that allow the player to be more powerful than intended by the developers. In other cases, codes can make the game more difficult or even unlock game features that developers had scrapped and rendered unreachable in normal play.


title: Game Genie

text: The Game Genie was packaged with a booklet of codes that could be used across various games. However, this booklet became outdated as Galoob developed new codes and new games were released. In response to this, Galoob created a paid subscription service where subscribers would receive new code booklets quarterly. In addition, Galoob also ran advertisements in certain gaming publications, such as "GamePro", that featured codes for newer games.


title: Game Genie

text: To create new codes, it is possible to enter random codes into a Game Genie. This evolutionary approach is equivalent to using random POKE operations. Usually, entering random codes will result in no noticeable change in the game or freezing the game and possibly corrupting save data, but a useful difference may appear in the game if this process is repeated many times. Once a useful code is discovered, making slight modifications to this code has a much higher probability of producing additional useful codes. With ROM files, emulators, and compilers for these games and systems, it has become possible to reverse engineer games to find specific ROM data to modify. This information can be directly converted into Game Genie codes.


title: Game Genie

text: The Game Genie is covered by US Patent #5112051, "Interfacing device for a computer games system", filed May 30, 1990. This patent expired on May 30, 2010, according to current US patent law.


title: Game Genie

text: The NES Game Genie attaches to the end of the NES cartridge, causing the cartridge to protrude from the console when fully inserted, making the depression impossible. Therefore, the Game Genie was designed in such a way that it did not need to be depressed in order to start the game. This design put even more stress on the LIF socket than standard game insertion, bending pins and eventually causing units to be unplayable without the Game Genie present.


title: Game Genie

text: The Game Genie's shape made it difficult to insert into a New-Style NES without applying excessive force. Galoob addressed this problem by creating an adapter with was offered to Game Genie owners for free.


title: Game Genie

text: There also exists a version of the Game Genie for the Family Computer, distributed by Realtec and sold in areas where Famiclones were common.


title: Game Genie

text: The Super NES edition is incompatible with certain games, such as "Star Fox" and "", as these games use pins that went unused in most games. It also has problems with the SNS-101, as only two codes can be used at a time. There are three known versions of the SNES Game Genie (v1, v1.1, v2). When comparing the PCBs of v1 and v2, v2 has much fewer components. All three versions look exactly the same on the outside, but when v1.1 is booted up, it will have dashes present before any code is entered. The only way to tell v1 and v2 apart is by opening the case and checking the PCB.


title: Game Genie

text: The Game Boy edition similarly has a slot for cartridges while itself needing to be inserted into the console's game slot. It has two face buttons for toggling codes on/off or to return to the code input screen. This edition also houses a compartment to contain a very small code booklet in the back.