Terminology.

Origin of the term "legendarium".

A "legendarium" is a literary collection of legends. This medieval Latin noun originally referred mainly to texts detailing legends of the lives of saints. A surviving example is the Anjou Legendarium, dating from the 14th century. Quotations in the "Oxford English Dictionary" for the synonymous noun "legendary" date from 1513. The Middle English "South English Legendary" is an example of this form of the noun.

Tolkien's use of the term "legendarium".

Tolkien used the term "legendarium" with reference to his works in four letters between 1951 and 1955, a period in which he was attempting to have his unfinished "Silmarillion" published alongside the more complete "The Lord of the Rings":

Use of the phrase "Tolkien's legendarium".

"Tolkien's legendarium" is defined in the analytical work "The History of The Hobbit" by John D. Rateliff, as the body of Tolkien's work consisting of:  All of which comprise the different "phases" of Tolkien's Elven legendary writings, posthumously edited and published in "The Silmarillion" and in their original forms in the series "The History of Middle-earth".  While other Tolkien scholars have not seen fit to define their use of the term, it is used in the following contexts:

History of development.

Unlike "fictional universes" constructed for the purpose of writing and publishing popular fiction, Tolkien's legendarium for a long period was a private project, concerned with questions of philology, cosmology, theology and mythology. It has been considered a "pure mythopoeia".  Tolkien first began working on the stories that would become "The Silmarillion" in 1914, intending them to become an English mythology that would explain the origins of English history and culture, and to provide the necessary "historical" background for his invented Elvish languages. Much of this early work was written while Tolkien, then a British officer returned from France during World War I, was in hospital and on sick leave. He completed the first story, "The Fall of Gondolin", in late 1916.  He called his collection of nascent stories "The Book of Lost Tales". This became the name for the first two volumes of "The History of Middle-earth", which include these early texts. Tolkien never completed "The Book of Lost Tales"; he left it to compose the poems "The Lay of Leithian" and "The Lay of the Children of Húrin".  The first complete version of "The Silmarillion" was the "Sketch of the Mythology" written in 1926 (later published in Volume IV of "The History of Middle-earth"). The "Sketch" was a 28-page synopsis written to explain the background of the story of Túrin to R. W. Reynolds, a friend to whom Tolkien had sent several of the stories. From the "Sketch" Tolkien developed a fuller narrative version of "The Silmarillion" called "Quenta Noldorinwa" (also included in Volume IV). The "Quenta Noldorinwa" was the last version of "The Silmarillion" that Tolkien completed.  When Tolkien did publish "The Hobbit" in 1937 (which was itself not originally intended for publication but as a story told privately to his children), the narrative of the published text was loosely "influenced" by the context of the legendarium, but not designed to be part of it.  In 1937, encouraged by the success of "The Hobbit", Tolkien submitted to his publisher George Allen & Unwin an incomplete but more fully developed version of "The Silmarillion" called "Quenta Silmarillion", but they rejected the work as being obscure and "too Celtic". The publisher instead asked Tolkien to write a sequel to "The Hobbit". Tolkien began to revise "The Silmarillion", but soon turned to the sequel, which became "The Lord of the Rings". Writing "The Lord of the Rings" during the 1940s, Tolkien was attempting to address the dilemma of creating a narrative consistent with a "sequel" of the published "The Hobbit" and a desire to present a more comprehensive view of its background. He renewed work on "The Silmarillion" after completing "The Lord of the Rings", and he greatly desired to publish the two works together. When it became clear that would not be possible, Tolkien turned his full attention to preparing "The Lord of the Rings" for publication.  With the success of "The Lord of the Rings", Tolkien in the late 1950s returned to "The Silmarillion", planning to revise the material of his legendarium into a form "fit for publication", a task which kept him occupied until his death in 1973. Much of his later writing from this period was concerned more with the theological and philosophical underpinnings of the work than with the narratives themselves. By this time, he had doubts about fundamental aspects of the work that went back to the earliest versions of the stories, and it seems that he felt the need to resolve these problems before he could produce the "final" version of "The Silmarillion". During this time he wrote extensively on such topics as the nature of evil in Arda, the origin of Orcs, the customs of the Elves, the nature and means of Elvish rebirth, and the "flat" world and the story of the Sun and Moon. In any event, with one or two exceptions, he wrought little change to the narratives during the remaining years of his life.

Ælfwine framing device.

The stories in "The Book of Lost Tales" employ the narrative device of a mariner named Eriol (in later versions, Ælfwine) who finds the island of Tol Eressëa, where the Elves live; and the Elves tell him their history. Tolkien envisaged Ælfwine as an Anglo-Saxon who visited and befriended the elves and acted as the source of later mythology. Thus, he is given as the author of the various translations in Old English that appear in "The History of Middle-earth" series. The unfinished "The Lost Road" was intended as a tale of "time travel" where descendants of Ælfwine experience memories or visions of their ancestors, connecting the present time with the mythological, back to the fall of Númenor.  In the continuity of "The Book of Lost Tales", the character's name was Ottor Wǽfre (called by the Elves Eriol). He set out from what is today called Heligoland on a voyage with a small crew but was the lone survivor after his ship crashed upon the rocks near an island. The island was inhabited by an old man who gave him directions to Eressëa. After he found the island the elves hosted him in the Cottage of Lost Play and narrated their tales to him. He afterwards learned from the Elves that the old man he met was actually "Ylmir". He was taught most of the tales by the old Elf named Rúmil who is the lore master living on Eressëa. Eriol became more and more unhappy as a man and yearned constantly to be an Elf. He eventually finds out that he can become an elf with a drink of "Limpë "which he is denied by the leader of Kortirion (Meril-i-Turinqi, great-granddaughter of Ingwë) on multiple occasions. In these early versions Tol Eressea is seen as island of Britain near a smaller island of Ivenry (Ireland). He earned the name Ælfwine meaning "elf-friend" from the elves he stayed with.  There is no such framework in the published version of "The Silmarillion" (though in some cases Christopher Tolkien or Guy Gavriel Kay edited out references to external narrator "voices" such as in the Akallabêth which was written in mid-late 1960s). However, the later writings of Tolkien indicate that he didn't fully abandon the idea of a framework akin to the Ælfwine-tradition, far into the latter years of his life. There is some evidence that, even after the Red Book concept was introduced, Ælfwine continued to have some role in the transition of "The Silmarillion" and other writings from Bilbo's translations into Modern English. For example, the "Narn i Hîn Húrin", which Christopher Tolkien dates to the period after the publication of "The Lord of the Rings", has this introductory note: "Here begins that tale which Ǽlfwine made from the "Húrinien"." J.R.R. never fully dropped the idea of multiple 'voices' (such as Rumil, Pengolodh, Dírhavel) collecting the stories of both Mannish and Elvin sources over the millennia of the world's history. According to Christopher Tolkien, the Akallabêth, which was written in the voice of Pengolodh, begins:  He admits in the "History of Middle-earth" series that this removal made the whole source lose its anchorage in Eldarin lore, and led him to make incorrect changes to the end of the paragraph. Christopher also points out the last paragraph of Akallabeth as published in the Silmarillion, still contains indirect references to Ælfwine and other 'future mariners', which he never chose to alter or remove.  This later Ælfwine was from England, and traveled west to reach the Straight Road where he either visited the Lonely Island or only saw its great book from a distance, or dreamed about the Outer Lands. He was born in either the 10th or 11th century and had some connections to English royalty in some versions.

Tolkien's legendarium is the body of J. R. R. Tolkien's mythopoeic writing that forms the background to his "The Lord of the Rings", a high fantasy novel which is widely considered to be his "magnum opus".


History.

Key West NWR was established in 1908 by President Theodore Roosevelt as a preserve and breeding ground for native birds and other wildlife to curtail the slaughter of birds whose feathers were highly valued in the hat industry. Wading birds were threatened with extinction before this refuge began providing a safe haven for them and other threatened plant and animal species. This refuge was the first established in the Florida Keys and one of the earliest refuges in the United States. They have over 250 different bird species there.

Topography.

The refuge encompasses more than of open water and of land on the 26 islands of Mule Keys and of Marquesas Keys. The Refuge includes mostly mangrove islands, with a few sandy beaches and dunes that are critical nesting habitat for endangered sea turtles. Other habitat includes salt marsh and coastal berm hammocks, plus sea grass and coral reef communities.

Wildlife and protected species.

The refuge, along with the Great White Heron National Wildlife Refuge, represents the last of the offshore (and raccoon-free) islands in the lower Florida Keys available as critical nesting, roosting, wading and loafing habitat to over 250 avian species — particularly wading birds. The area managed is overwhelmingly (99 percent) marine environment including large sand flats surrounding the islands that are used extensively by wading birds when they forage.  The refuge protects habitat for a wide variety of birds, including nesting or wintering populations of terns, magnificent frigatebirds, white-crowned pigeons, ospreys, and great white herons. Several federally listed species are monitored, such as piping plovers and bald eagles. Birds in the refuge are doing well as evidenced by stable or increasing populations and nest numbers.  The sandy beaches are nesting areas for the endangered Atlantic green and loggerhead turtles and is the only breeding site in the U.S. for the endangered hawksbill turtle. Sea turtle nests are surveyed each year to track nesting and reproduction of the turtles. There are few beaches in the refuge suitable for sea turtle nesting; thus there are typically less than 50 nests found each year. Green sea turtles nests are increasing, which is a positive sign since green sea turtle activity had not changed in several years. The low number of nests makes it difficult to determine nesting trends, but activity appears to be stable.

Facilities.

There is no visitor center at the refuge. The refuge is accessible only by boat. Two of the islands have portions of their beaches closed to the public. Portions of Woman Key and Boca Grande Key are posted as closed for the sensitive habitat they contain. The remainder of the beaches, including those at the Marquesas Keys, are open during daylight hours for compatible, wildlife-oriented recreational uses such as wildlife observation, nature photography, and environmental education.

The Key West National Wildlife Refuge is a 189,497 acre (766.867 km) National Wildlife Refuge located in Monroe County, Florida, between Key West, Florida and the Dry Tortugas. Only 2,019 acres (8.171 km) of land are above sea level, on several keys within the refuge. These keys are unpopulated and are also designated as Wilderness within the Florida Keys Wilderness. The refuge was established to provide a preserve and breeding ground for native birds and other wildlife as well as to provide habitat and protection for endangered and threatened fish, wildlife, plants and migratory birds.


History.

The concept of the Tidal Basin originated in the 1880s to serve both as a visual centerpiece and as a means for flushing the Washington Channel, a harbor separated from the Potomac River by fill lands where East Potomac Park is situated. Peter Conover Hains, an engineering officer in the U.S. Army, oversaw the design and construction. The basin was initially named Twining Lake, in honor of Major William Johnson Twining (U.S. Army Corps of Engineers), Washington DC's first Engineer Commissioner. According to testimony given to a Congressional subcommittee in 1917, it was Major Twining's idea to create a tidal reservoir and use that water to help "flush" the Washington Channel, and the design was carried out by Colonel Hains. A 1917 Army Corps of Engineers map of Washington already shows the basin with the name "Twining Lake".  In August 1918 the whites-only Congressionally-funded Tidal Basin Bathing Beach was opened in front of the site of the present-day Jefferson Memorial. The beach was popular, and by one estimate attracted up to 20,000 people on a July day in 1920. Congress had planned to open a separate beach for African-Americans nearby, but the plan was blocked by southern senators. Rather than integrate the beach, Congress ordered the dismantling of the beach in 1925.  The Tidal Basin which exists today was not laid out until after World War II. It was built in 1949 by the construction firm of Alexander and Repass, which was unusual at that time because Alexander was of African descent and Repass was of European descent.  Redesign of the Tidal Basin is under consideration in 2020, as sea level rise and land subsidence causes portions of the paths next to the water to flood twice daily at high tide.

Design.

The basin is designed to release of water captured at high tide twice a day. The inlet gates, located on the Potomac side of the basin, allow water to enter the basin during high tide. During this time, the outlet gates, on the Washington Channel side, close to store incoming water and block the flow of water and sediment into the channel. As the tide begins to ebb, the general outflow of water from the basin forces the inlet gates to close. This same force is applied to the outlet gates, which open into the channel. Silt build up is swept away by the extra force of water running from the Tidal Basin through the channel. The gates are maintained by the U.S. Army Corps of Engineers, which has restored the functioning of the gates.  The northern lobe of the basin is crossed by the Kutz Memorial Bridge, named in honor of Brigadier General Charles W. Kutz the Commissioner of Engineering for the District of Columbia during the first half of the 20th century, carrying eastbound Independence Avenue traffic in three lanes. The bridge was designed by Paul Cret, begun in 1941, completed 1943 and altered with dedication in 1954. It is of concrete and steel on pilings, all granite faced.  As part of the restoration and redesign of the Lincoln Memorial Reflecting Pool, completed in 2012, water is pumped from the Tidal Basin to fill the pool.

Incidents.

The Tidal Basin was the scene of an incident involving the Chairman of the U.S. House of Representatives Committee on Ways and Means, Democratic Congressman Wilbur Mills. On October 7, 1974, Mills' car, with an Argentine stripper known as Fanne Foxe in the back with Mills and driven by a former Nixon staffer, was stopped by US Park police late at night because the driver had not turned on the headlights. Mills was intoxicated and his face was cut from a fight with Foxe. When police approached the car, Foxe leapt from the car and jumped into the nearby Tidal Basin. Despite the scandal, Mills was re-elected to Congress in November 1974 with 60% of the vote, but in December he drunkenly staggered onstage at a Boston strip club where Ms. Foxe was performing. Soon after this second embarrassment Mills was forced to step down from his chairmanship of the Ways and Means Committee. Mills eventually acknowledged his alcoholism, sought treatment at the West Palm Beach Institute, and joined Alcoholics Anonymous. He did not seek re-election in 1976.

Recreation.

From mid-March until October, paddle-boats are available for rent. The activity is very popular during the Cherry Blossom Festival, which takes place in April. Both two and four person paddle-boats are available.

The Tidal Basin is a partially man-made reservoir between the Potomac River and the Washington Channel in Washington, D.C. It is part of West Potomac Park and is a focal point of the National Cherry Blossom Festival held each spring. The Jefferson Memorial, the Martin Luther King, Jr. National Memorial, the Franklin Delano Roosevelt Memorial, and the George Mason Memorial are situated adjacent to the Tidal Basin. The basin covers an area of about and is deep.


Battle.

In April 1231, King Ferdinand III of Castile and León ordered an expedition by algaras (mounted raiders). This departed from Andújar towards Córdoba, leaving a trail of destruction in its path. They raided Palma del Río, killing many inhabitants, then proceeded as far as Seville which they bypassed. The expedition proceeded towards Jerez and Vejer camping near the Guadalete River. In all likelihood this force was intended to distract Ibn Hud from the frontier, and in this it succeeded. Emir Ibn Hud pursued and caught the expedition, but in the subsequent battle his troops were routed and suffered heavy losses, allowing the Christians to depart loaded with loot. On a strategic level, the raid was also successful in that it allowed the unimpeded capture of Quesada by an army of Archbishop Rodrigo Jiménez de Rada, also ordered in April by Ferdinand.

Castilian commander.

It is not clear who led the Castilian expedition. It is undisputed that Álvaro Pérez de Castro was present, and he may have been in command. A reference to infante Alfonso in the Christian chronicle has been interpreted to mean either the King's brother, Alfonso de Molina, or the King's son, the future Alfonso X. The "Primera Crónica General" (1906) interpreted it as Molina, and so did historian Derek William Lomax in 1978. However, historian Gonzalo Martínez Diez concluded in 2000 that it was the king's son, because of a passage that describes the infante as being very young ("muy moço") and under the protection of Álvaro Pérez de Castro who led the troops ("para guardar el infante y por cabdillo de la hueste"). Spanish historian Julio González was aware of both interpretations, but in 1946 thought it was highly improbable that Ferdinand's son was involved in a military action at such a young age. A 2003 biography of Alfonso X also places him alongside Álvaro Pérez de Castro in the raiding campaign of 1231, including the battle.

Effect.

In his chronicle, Alfonso X referred to the operation as a "cavalgada", a large-scale mounted raid. Alfonso X described its impact as follows:  Gonzalo Martínez Diez concludes that the defeat certainly weakened Ibn Hud's power base, for in April 1232 a challenger arose in the person of Muhammad ibn Nasr, who proclaimed himself emir in Arjona, and would eventually become the first Nasrid ruler of Granada. According to Julio González, Ibn Hud was perhaps more concerned with eliminating the remnants of the Almohads, as he took Gibraltar from them in October 1231, finally driving them out of the peninsula, and later laid siege to Ceuta in 1232. Ibn Hud's reign started to fall apart only a year later, between October 1232 and October 1233, suffering both internal and external setbacks: a rebellion in Seville sought alliance with ibn Nasr, the Christians took Úbeda, and the Almohads secured Ceuta. Another measure of the unraveling of Ibn Hud's power is that a later raid against Cádiz went unopposed, and the city was ferociously sacked by Christian mercenaries in 1234–1235 (Hijri year 632).  The battle was later glorified in the writings of the 19th-century Spanish romantic writer Adolfo de Castro.

The Battle of Jerez took place in 1231 near the southern Spanish city of Jerez de la Frontera during the Reconquista. King Ferdinand III of Castile and León's troops fought against those of Emir Ibn Hud of the taifa of Murcia. The Castilian forces were led by Ferdinand's brother, Prince Alfonso de Molina, assisted by Álvaro Pérez de Castro; according to some accounts Castro led the Castilians, not Molina. The battle is traditionally seen as marking the collapse of Ibn Hud's authority, and allowing the rise of his successor, Muhammad I.


History.

Early years (2000–2004).

The band was formed in 2000 by Max Bemis and four of his friends as Sayanything. Within two years, they self-released two EPs, "Junior Varsity" and "In Your Dreams", and the full-length "Baseball: An Album by Sayanything".  In 2002, Sayanything added a space to their name to become Say Anything. In late 2002, Bemis and Linder recorded the "Menorah/Majora" EP and released the album online. By this point, Say Anything's releases had generated "a major bidding war". Drive-Thru Records pursued the band and called Max Bemis "the next Bob Dylan." Brett Gurewitz of Epitaph Records recorded "A Boston Peace," one of the dorm-room demos, with the band. In early 2003, Say Anything signed with Doghouse Records stating sarcastically that Doghouse "put out such obscure, borderline D.I.Y. records as "The All-American Rejects"."  After signing with the label, Bemis began writing songs for his band's Doghouse debut. Bemis went into the studio with Florida producer Paul Trust. They recorded 3 songs that were not released although one of the songs entitled "Spider Song" would later appear on a Doghouse compilation. With tremendous self-created pressure, he threw himself into pushing the sonic boundaries of the band and maturing their sound, incorporating elements of math-rock, indie-pop and theatrical pomp. He and Linder also started the search for a producer. The two met several producers but eventually decided on Tim O'Heir and Stephen Trask. Bemis struggled with different ideas for the record and decided the album should focus on "the artistic struggle, the fact that every creative person has this sick ambition to affect some sort of change in society with their art, to be more than just a guy in a band or a poet or a sculptor." Bemis originally intended the album to be a rock opera with a full script, narration, and a cast of characters. It was tentatively titled "Zona! Zona!" However, Bemis became overwhelmed by the entire process of writing and playing most of the instruments and had a breakdown.  "I literally lost my mind while we were recording," stated Bemis regarding the breakdown. The breakdown was precipitated by a mockumentary discussed by Bemis and O'Heir. Bemis' condition led him to believe he was being secretly filmed for the mockumentary; the situation culminated in him walking the streets of Brooklyn thinking he was being filmed while encountering friends (who were actually strangers). After recovering, Bemis decided to focus solely on the music and dropped the idea of a script. Around July 2003, the band began recording "...Is a Real Boy", their first album with Doghouse Records. Bemis said the two people he wanted to "outdo with "...Is a Real Boy" were Andy Warhol and Jesus." In addition to working with O'Heir and Trask, Say Anything worked with Forrest Kline (of power pop band Hellogoodbye) to record the "For Sale..." EP, released in 2004. The band also worked with ECA Records to record a promotional album that was never released.  "...Is a Real Boy" was released August 3, 2004. The album featured Linder on drums and Bemis on vocals, guitar, bass guitar, and keyboard. "...Is a Real Boy" received positive reviews, including a 99% from AbsolutePunk.net and four and a half stars (out of five) from Allmusic. When the band began touring in support of "...Is a Real Boy", they picked up Dan DeLauro, Casper Adams, and Kevin Seaton. Say Anything signed with J Records in 2005, owned by Sony BMG Music Entertainment, one of the "big four" record labels. When asked why he signed with a major label, Bemis stated, "We were looking to expand our fan base as well as have more money to tour comfortably. I also wanted enough money to work with an awesome producer for ["In Defense of the Genre"]." In June 2005, Say Anything was forced to cancel a six-week headlining tour with Circa Survive and Emanuel on the third day of the tour due to health problems with Bemis, including "full-on paranoid delusions" in Austin, Texas. At this point, Bemis' bipolar disorder and drug addictions were wreaking havoc on the band. Bassists DeLauro and Seaton had already parted ways with the band. Andy Jackson left in September after only a few months of touring with Say Anything. Casper Adams, who was clashing personally with Bemis despite a close friendship, was fired after a show.  On October 3, 2005, Bemis had another breakdown; this time, it involved depressive behaviour, spitting in food at an outdoor cafe, spending a "half-hour pouring a bowl of soup onto the floor, one spoonful at a time," engaging in a street fight and finally being admitted to a mental hospital by an off-duty policeman. This incident forced Say Anything to cancel another tour, this time with Bemis' personal idols Saves the Day, along with Senses Fail and The Early November. The band was replaced by Emanuel. After returning from his stay in the hospital, Bemis' mother and the remaining members of the band selected the Menninger clinic in Houston, Texas, to rehab Bemis. Eventually, Bemis approved of their decision, admitted himself to the Menninger clinic, and has reportedly not had a relapse since.

"...Is a Real Boy" (2005–2007).

Under J Records, Say Anything re-released "...Is a Real Boy" with a bonus CD entitled "...Was a Real Boy" on February 28, 2006 (although the album was originally slated for release on October 18, 2005 and later January 17, 2006). However, copies were leaked before the release by Tower Records and His Master's Voice, with some copies selling on eBay at inflated prices. According to the album's liner notes, "...Was a Real Boy" was originally intended as charity record and recorded in Kevin Seaton's garage. Bemis said that "it was J Records' idea to reissue "...Is a Real Boy". They believe it has a mainstream appeal that wasn't really reached when Doghouse released the record." Around this time, the band also released "Alive with the Glory of Love" as a single.  Alex Kent joined the band to play bass guitar after the band met him while touring with Lance's Hero. Jake and Jeff Turner joined to play guitar and help with backup vocals after Adams and Jackson left. Parker Case completed the sextet when he joined to play guitar and keyboard after his previous band JamisonParker broke up. At the time, JamisonParker and Say Anything shared the same manager, Randy Nichols; the band met Case while at a train station on the way to Nichols' wedding.  In summer 2006, Say Anything toured with Dashboard Confessional; Ben Lee was with the tour in the US, while John Ralston joined the tour in Canada. The band was asked to be a part of the Warped Tour 2006, but instead opted for the Dashboard tour. Bemis later made statements implying he did not feel he was emotionally ready for a Warped Tour.  Say Anything completed one of their first headlining tours in fall 2006, when they toured with Piebald and mewithoutYou. Days Away, Brazil and Forgive Durden opened for the band on select dates. In February 2007, Say Anything performed on "Last Call with Carson Daly". The band also released their second single, "Wow, I Can Get Sexual Too," which was from the "...Was a Real Boy" bonus disc. Also in that month, the band announced a co-headlining tour with Saves the Day and The Almost, John Ralston, The Dear Hunter, and Manchester Orchestra as openers on select dates. The band completed the tour successfully during April and May of that year. In August, Say Anything announced a co-headlining tour with Hellogoodbye sponsored by MySpace. The tour took place during fall of the same year with shows in the US and Europe.

"In Defense of the Genre" (2007–2008).

In the weeks before the release of their third album, Say Anything released several songs from the album on MySpace. They also announced pre-ordered copies could be ordered with a signed CD booklet. The band released their first single from the new album, "Baby Girl, I'm a Blur", on October 2, 2007. "In Defense of the Genre" was released on October 23, 2007. It was released in a dual-disc format complete with 27 songs and contained many guest vocals. When asked about the name of the record, Bemis said, "Whatever 'genre' (or music) one loves needs a defense, because half the world is too ignorant to really understand something before they dismiss it." Before recording the record, Bemis stated, "I hope that ["In Defense"] will be more inspiring and uplifting. I want [the record] to be "The Joshua Tree" with balls on laughing gas."  Andy Jackson, a former member of the band and close friend of Bemis, along with Liam Ortmeier was responsible for recording many of the cameo appearances. He recorded some cameos while at the Warped Tour 2007 with Hot Rod Circuit and others in his home studio. Jackson recorded vocals from several musicians, such as Gerard Way, Adam Lazzara, Anthony Raneri, Anthony Green, Hayley Williams, Aaron Gillespie, Jordan Pundik, and Chad Gilbert. Chris Conley and several others also provided guest vocals. "Alternative Press" called the record "a truly magnificent sophomore effort" and gave it a 4.5/5, while "Spin" gave the album four stars and Corey Schmidt of PastePunk said, "There are a few really great songs here."  In January 2008, Say Anything announced a US headlining tour with Manchester Orchestra, Biffy Clyro and Weatherbox. The tour took place in March and April of that year. After finishing this tour, Say Anything announced a headlining tour in the UK that took place in June. The tour was in support of "In Defense of the Genre", which was released in the UK on June 23, 2008.  Say Anything released the video for "Shiksa (Girlfriend)" on April 9, 2008. On April 25, Say Anything performed on "Late Night with Conan O'Brien". During summer 2008, Say Anything joined the Warped Tour for the first time, appearing on all dates. On August 1, 2008, Say Anything announced the Max Bemis Song Shop, through which users could pay for Max Bemis to write a song based on a short writing by the customer. However, by the end of the night, the item was no longer available with the following text displayed on the item listing: "We're sorry but Max can't write songs as fast as you are requesting them. As soon as he catches up we will start again. Thank you so much for believing in our crazy idea." The Song Shop has reopened semi-annually since its initial launch, and taken down after about a week each time. This aforementioned message has been displayed each time the Song Shop was discontinued.

"Say Anything" (2008–2009).

In an online chat with fans on March 14, 2008, Max Bemis stated that the band has plans to record a new record called "This Is Forever". He said it will be "about God and how we relate to Him." AbsolutePunk.net reported on August 1, 2008, that J Records "picked up the option for Say Anything's next release." On November 10, Bemis announced that the focus of the fourth album changed and the new record will be self-titled. He noted that the album, which will be released in 2009, will ask "what the point of all of it was."  Though Max has explained that he was very proud of "In Defense of the Genre", he described it as being more of an "homage to sort of a lot of the bands that we liked and, like, a style that we respected." He then explained that the new album would be "more concise and would be a bit more original, I want to say, and sort of pop out like Is a Real Boy did." He also explained that this CD has both the catchiest and most mature songs they've ever recorded and called it a "step forward."  During a concert at the College of Saint Rose in Albany, New York on April 25, 2009, Max Bemis proclaimed to the crowd that the newest album titled "Say Anything" is complete, and will be released "early summer," after stating that he was married three weeks prior to the event on April 4, 2009.  According to Say Anything's In Studio website, on May 21, 2009, Max posted a blog stating "I just wanted to let you guys know we’re done recording our new record, entitled "Say Anything", and we’re moving into the mixing phase. It should be out this fall. This record is kind of a new start, or at least a new phase in the Say Anything story."  Max posted a blog on Myspace.com saying that the new album will be released October 13, 2009, and will be titled Say Anything. The self-titled album will be released by RCA Records and will have 13 tracks, including "Hate Everyone", the album's first single. "Hate Everyone" was officially released on August 25, 2009, after WBRU FM in Providence, RI became the first radio station to debut the single on the 17th. Lead singer Max Bemis also premiered the song "Crush'd," performing the song acoustic in WBRU's studio. The corresponding video for Hate Everyone was released on MySpace Music on September 1, 2009. The new album's release date had been delayed by three weeks and was officially released on November 3, 2009, after being posted to the band's Myspace page on October 28.  On August 19, 2010, it was confirmed that Say Anything and RCA Records had parted ways. Max Bemis also announced via his Twitter account that big changes were to be announced during the following week.  On September 29, 2010, it was announced via Say Anything's official website that Alex Kent would be leaving the band, and that Kenny Vasoli of The Starting Line would be temporarily taking over as bassist for their upcoming tour. On October 24, 2011 it was announced that Adam Siska was officially joining Say Anything.

Side projects (2008–2011).

After recording "In Defense of the Genre", Say Anything band members Max Bemis and Coby Linder worked with Saves the Day's Chris Conley and David Soloway on a side project named Two Tongues. The group features Bemis and Conley sharing lead vocals and guitar duties with Soloway on bass guitar and Linder on drums. Thirteen songs were recorded in Electric Ladybug Studio, Conley's home studio in Chico, California. Bemis, Conley, and Linder previously collaborated on a cover song of Bob Dylan's "The Man In Me" for the compilation album "Paupers, Peasants, Princes & Kings: The Songs of Bob Dylan" released by Doghouse Records in 2006. The group's self-titled debut was released on February 3, 2009.  Say Anything band members Jake and Jeff Turner self-released their six-track EP "Some Day" in May 2008 under the name XO. They recorded it with Matt Malpass in Atlanta in January 2008 at Monsters and Marigolds Studio. The album features both brothers on vocals, guitar, bass, and keyboard, with Jeff also playing drums. Around the same time, Parker Case embarked on a solo project named I and the Universe, while Alex Kent started a record label, Gnome Records and began work on his own solo effort under the name Alexander T. Kent. Alex also has a side project with members of Japandi and Witt called Qwermicide.  In 2008, Say Anything featured on the Punk Goes Crunk album covering Ol' Dirty Bastard's "Got Your Money".  In 2009, Max and his wife, Sherri DuPree (From the band Eisley) formed a small side project named "Perma" and were selling the demo during the 2009 tour.  In early 2010, the band announced that they will be opening for Angels and Airwaves on their LOVE tour which kicked off on April 5.  In August 2010, Max announced that he will be releasing a "lo-fi" post-punk album in Fall 2010 under the name "Max Bemis and The Painful Splits."  Say Anything also toured with the bands Motion City Soundtrack and Saves the Day in the fall of 2010. Bemis commented on it on his Twitter, claiming that Say Anything's fans might want to come up with their favorite Two Tongues songs, insinuating that the group will play a few songs on the tour.

"Anarchy, My Dear" (2011–2013).

On 13 July 2011, Max Bemis posted a video on the band's website announcing that the band has officially signed with Equal Vision Records, he also stated that Tim O'Heir, who produced their second record "...Is a Real Boy" would be producing Say Anything's fifth studio record. Additionally, Bemis stated Equal Vision had acquired the rights to Say Anything's past releases, as he cited the proposed re-release of "Baseball". Bemis announced via an October 6 interview with AltPress.com that the name of the new record was "Anarchy, My Dear", and this was later confirmed by Bemis and the rest of the band via Twitter. Anarchy, My Dear was released on March 13, 2012. On April 20, 2012, the music video for the song "Say Anything" premiered on mtvU.  On November 9, 2012, Equal Vision announced a statement that confirms the release of the re-release of the Say Anything record "Baseball", the Menora/Mejora EP, the "Dormroom Demos", Junior Varsity, and other various rarities in a triple-CD box set that are limited to 5000 physical copies. A citation and more information can be found at Equal Vision's website.  On December 28, 2012, it was announced via Say Anything's Facebook page that Coby had left the band on good terms. Max Bemis stated the following in regards to seeking a new drummer "Say Anything will continue on without Coby but we will not be seeking a replacement drummer to play on the records we put out, as Coby and his style of drumming is, in many senses, irreplaceable; rather we plan on having a multitude of drummers play on our material. Say Anything on record will now be identified in the same way Nine Inch Nails is, in that it’s pretty much me and whoever I choose to play with at the time. Live shows will continue to have their own identity including Jake, Jeff, Parker, Adam, and whoever plays drums for us live. The band couldn’t be further from breaking up, and as I’ve said recently, we plan on releasing music as Say Anything forever, and already have a lot in the works."

"All My Friends Are Enemies: Early Rarities" (2013–2014).

On January 22, 2013, Say Anything released "All My Friends Are Enemies: Early Rarities", a three-disc compilation consisting of all of the material recorded by Say Anything prior to the release of "...Is a Real Boy". Disc one of this compilation is a copy of "Baseball: An Album by Sayanything"; disc two is "Menorah/Majora" EP and the "Dormroom Demos"; and disc three is titled "Junior Varsity" and includes all the songs from the first "Junior Varsity (in Your Dreams)" EP, in addition to other tracks. Overall, the album contains 45 remastered B-side tracks from the early days of Say Anything.  The band toured from June 6, 2013 to late summer to promote this album.

"Hebrews" (2014–2015).

On January 13, 2014, wife of Max Bemis, Sherri DuPree-Bemis published an Instagram photo stating that the new Say Anything album is almost mixed. The band's record, "Hebrews", was released June 10, 2014 on Equal Vision Records. The album was the first album that was self-produced by front-man Max Bemis. Bemis worked in the studio with audio engineer Garron DuPree for many months while recording the album at Bemis and Dupree's own studio in Tyler, TX. The album was mixed by mix engineer Brad Wood, and mastered by Emily Lazar. It returned to the collaborative nature of the band's earlier material, with guest vocals including Jon Simmons of Balance and Composure, Tom Delonge of Blink 182 and Angels and Airwaves, Andy Hull of Manchester Orchestra, Brian Sella of The Front Bottoms and Jeremy Bolm of Touche Amore. The album was met with positive reception by fans and critics upon its release, and the group embarked on a successful headlining tour in support of the album in the summer of 2014.

"I Don't Think It Is" (2016–2017).

At about midnight EST on February 4, 2016, Say Anything released "I Don't Think It Is" without any prior announcement besides several teaser posts the day before. The album was co-produced by Bemis and Darren King of Mutemath, who also played drums and percussion, as well as Liam Ortmeier, who briefly appeared in previous works on guitar. The record was mixed by Will Yip and featured contributions by members of The Hotelier, Tiny Moving Parts, Eisley, Japanese Breakfast and others.  In 2017 it was announced drummer Reed Murray would be leaving the band. He was then replaced by Remington DuPree of Eisley for the band's "In Defense of the Genre" tenth anniversary tour.  The band announced their signing to Dine Alone Records at South by Southwest 2018 and revealed the existence of a forthcoming LP produced by Will Yip.

"Oliver Appropriate" and hiatus (2018).

On August 16, 2018, Bemis released a nine-page letter to fans detailing the band's forthcoming record, his future plans for Say Anything, and struggles with his own sexuality and drug use. Say Anything's final LP for the time being, "Oliver Appropriate", was released on January 25, 2019, via Dine Alone Records. The album is a purported sequel to "...Is a Real Boy", featuring an adult version of the narrator fictionalized on that record who struggles with his own sexuality, leading to a violent conclusion. Bemis stated his intention to "sort of, kind of end" the band, but that the project would also likely return in the future to record and perform again. As for now, Bemis is finished with "the traditional music thing" and there will be no tour in support of the new album, nor any scheduled live performances in the near future. However, he went on a solo tour in 2019 where he played acoustic versions of Say Anything and Perma songs. During the tour, he confirmed that Say Anything would eventually return.

Style.

Themes and influences.

Say Anything's music falls into the indie rock, emo and post-punk genres. They can most easily be identified by their sardonic, literary sense of humor balanced out with a sense of intense catharsis. The band, as well as certain artists within the indie/punk scene such as Cursive, MewithoutYou, Brand New, Bright Eyes and Manchester Orchestra tend to straddle the line between older fans and a youth oriented audience. Their style incorporates pieces of hardcore, bombastic arena rock and post-punk. Bemis, the primary songwriter of Say Anything, stated, "I believe that an artist should let his art be appreciated by anyone who's interested and not 'play favourites'." He also said that lyrics are "based on experience." However, due to Bemis' bipolar disorder and his resulting mentality, the themes of the songs are often surreal, bleak, irreverent, personal, and autobiographical. Other themes include distaste with snobbery and hypocrisy. Drugs and mankind's relationship with drugs are also a popular subject in Say Anything's songs, especially on "In Defense of the Genre", which was written and recorded after Bemis' several drug-fueled breakdowns. Specifically, "Admit It!!!", "Yellow Cat (Slash) Red Cat", "Try To Remember, Forget", "The Writhing South", and "Sorry, Dudes, My Bad" include references to Bemis' drug usage. In general, Say Anything tends to draw inspiration from alienation from a flawed society but confers a sense of hope.  Max Bemis was raised "in a strong Jewish environment." Many of Bemis' lyrics borrow from his Jewish roots, and contain elements of Jewish humor. While most of band's earlier songs are free of any such inspiration, the songs of "...Is a Real Boy" and "In Defense of the Genre" include references to Jewish heritage. "Alive with the Glory of Love," Say Anything's first single, has a main subject of a relationship affected by World War II and the Holocaust, based on Bemis's grandparents, while "Wow, I Can Get Sexual Too" includes mentions of "the old shul" and a rabbi's teachings. A strong example from "In Defense" comes from the lyrics of "Died a Jew". The song includes several references to the Jewish people and its history along with mentions of "the murder of God" and Bemis' departures from kosher. References to religion come again in "Fed to Death" on "Say Anything", referring to a'man from Nazareth' who would one day'spring to life to smile and clear your name' but until then 'nail yourself upon the cross and hang your head in shame.'  In regards to writing songs for "...Is a Real Boy", Bemis stated, "The songs were jam packed with fairly blatant nods to bands I dig (Queen, Saves the Day, Pavement, Faith No More, Fugazi, etc)." These can be considered some of Say Anything's influences. Other influences at some point cited by the band include Botch, Weezer, The Stooges, Neutral Milk Hotel, Sunny Day Real Estate, Wilco, and the Foo Fighters. Also of note, the band has covered songs by Ol' Dirty Bastard ("Got Your Money"), Notorious B.I.G. ("No Soul" contains the same hook as the sample in "Juicy" although it adheres more closely to the original song "Juicy Fruit" from which the sample for the Notorious B.I.G. song was taken), The Four Tops ("Sure, Baby...Hold Back" features a chorus lifted from "Sugar Pie Honey Bunch"), Safety in Numbers ("Dealer"), Saves the Day ("Jessie and My Whetstone"), and Bob Dylan ("The Man in Me").  Max Bemis expounded upon the story of "In Defense of the Genre" as well as the differences between that album and "...Is a Real Boy" in an interview with AbsolutePunk.net on June 19, 2007.

Live shows.

During live shows, some members of the group (other than Bemis) sing backing vocals. Bemis often sings parts he wrote, but which were sung by guest vocalists on studio recordings. In recent years, Bemis has switched up the lineup of performing musicians, using some permanent members of the groups, while rotating other musicians in and out of the live lineup. Beginning on the "All My Friends Are Enemies – Rarities Tour," Bemis added drummer Reed Murray, and bassist Garron DuPree. In summer of 2014 on the Hebrews tour, Bemis recruited ex-Taking Back Sunday member Fred Mascherino, Moneen guitarist Kenny Bridges, and Moving Mountains vocalist Greg Dunn to replace Jake and Jeff Turner and Parker Case, who were at the time performing with their band XO.

Remixes.

Georgia emcee Kyle Lucas remixed "Wow, I Can Get Sexual Too" on his mixtape, "Kyle Lucas Is Still My Favorite".

Discography.

Studio albums

Say Anything is an American rock band from Los Angeles, California. The band was formed in 2000 by Max Bemis and his friends, and within two years, they self-released two EPs and a full-length album.


Early life.

Angelo Buono was born on October 5, 1934, in Rochester, New York to first-generation Italian emigrants from San Buono. Buono had developed an extensive criminal history, ranging from failure to pay child support, grand theft auto, assault and rape. In 1975, when Buono was 41 years old, he came into contact with his adopted cousin, Kenneth Bianchi. A self-described "ladies man", Buono persuaded Bianchi to join him in prostituting two women he had been holding as virtual prisoners.

Murders.

In October 1977, Buono and Bianchi began killing women, cruising around Los Angeles, California in Buono's car and using fake badges, persuaded women they were undercover police officers. They would then order the victims into Buono's car, which they claimed was an unmarked police car, and drive to Buono's home to torture and murder them. The women and girls ranged in age from 12 to 28. The victims were:  Both Buono and Bianchi would sexually abuse their victims before strangling them. They experimented with other methods of killing, such as lethal injection, electric shock, and carbon monoxide poisoning. Even while committing the murders, Bianchi applied for a job with the Los Angeles Police Department (LAPD) and had even been taken for several rides with police officers while they were searching for the Hillside Stranglers.  Shortly after they botched their would-be eleventh murder, Bianchi revealed to Buono he had participated in LAPD police ride-alongs, and that he was currently being questioned about the Hillside Strangler case. Buono flew into a rage and threatened to kill Bianchi if he did not move to Bellingham, Washington. In May 1978, Bianchi moved to Bellingham.

Trial.

The legal case against Buono was based largely upon Bianchi's testimony. Deciding that Bianchi was an unreliable and uncooperative witness, the case's original prosecutors from District Attorney John Van de Kamp's office moved to dismiss all charges against Buono and set him free. The presiding judge, Ronald M. George, refused to release Buono and reassigned the case to California Attorney General George Deukmejian's office.  Buono's trial would become the longest in American legal history, lasting from November 1981 until November 1983. During the trial, Bianchi, in exchange for a lighter sentence, testified against Buono. The jury convicted Buono on nine counts of murder and sentenced him to life imprisonment, with Judge George commenting that he felt a death sentence would have been the appropriate punishment.

Prison sentence, death and aftermath.

In 1986, Buono married Christine Kizuka, a mother of three and a supervisor at the California State Employment Development Department. He died in September 2002. His body was cremated.  In 2007, Buono's grandson, Christopher Buono, committed suicide shortly after shooting his grandmother, Mary Castillo, in the head. Castillo was at one time married to Buono, and had five children with him, including Chris' father. Chris Buono was unaware of his grandfather's true identity until 2005.

Media.

In the 1989 film "The Case of the Hillside Stranglers", Buono was portrayed by actor Dennis Farina. In the 2004 film "The Hillside Strangler", Buono was portrayed by actor Nicholas Turturro and in "" (2006), he was played by Tomas Arana.

Angelo Anthony Buono Jr. (October 5, 1934 – September 21, 2002) was an American serial killer, kidnapper and rapist, who together with his adopted cousin Kenneth Bianchi were known as the Hillside Stranglers, and were convicted of killing ten young women in Los Angeles, California between October 1977 and February 1978.


Career.

A late comer to professional athletics, Boujattaoui began to compete internationally in 2008. His first major competition was the 2008 IAAF World Cross Country Championships, where he finished in 40th place. The following year he had much improved and finished in eighth place at the 2009 IAAF World Cross Country Championships, leading the Moroccan men's team to sixth place in the rankings. He then represented his country at the 2009 Mediterranean Games and he recorded a personal best of 8:13.83 minutes in the 3000 metres steeplechase for the silver medal. He was beaten to the gold by teammate Jamel Chatbi, who failed a drugs test two months later (testing positive for clenbuterol).  Boujattaoui recorded a new 5000 metres personal best of 13:09.62 at the Golden Gala a week later, and he was selected to represent Morocco at the 2009 World Championships in Athletics. He made it to the 5000 metres final of the World Championships and finished in eleventh position, beating more experienced compatriot Anis Selmouni. He closed the year with a performance at the 2009 Jeux de la Francophonie where he claimed the silver in the steeplechase, before going on to win the gold medal in the 5000 m.  At the 2010 IAAF World Cross Country Championships, he finished in twelfth position (again leading the Moroccan team which finished fourth on this occasion). However, his performance did not stand as he failed a pre-competition drugs test for MIRCERA (an variant on the banned blood booster EPO). He was banned from competition for two years, with the suspension lasting until May 2012. His disqualification also meant Morocco were moved to fifth in the team rankings at the World Cross Country Championships.

Chakir Boujattaoui (born 16 January 1983 in Nador) is a Moroccan is a long distance runner who specialises in cross country running, and the 5000 metres and steeplechase on the track.


Plot summary.

"Wizard" takes place in 2100, seventy-five years after the events in "Titan". Cirocco has become an alcoholic, apparently due to the strain of being the "Wizard". Gaby Plauget has taken up the slack, carrying out special projects for Gaea such as building the Circum-Gaea Highway, in return for which she gets some of the benefits Cirocco enjoys, including apparently perpetual youth.  Gaea herself is bored. She arranges for streams of people looking for miracle cures to come to her from Earth, and then sets them a task: do something "heroic" (for example, travel once round the circumference of the great wheel), and their wishes will be granted. This is her way of ensuring an enduring supply of entertainment, as she arranges hazards for them to overcome or die trying. It also serves as a way for her to be useful to Humanity by providing cures for diseases, so that they do not turn on her and destroy her. Meanwhile, she sits in the hub with her sycophants and watches old movies.  "Chris Major" and "Robin the Nine-Fingered" are two such pilgrims. Chris suffers from psychotic episodes which are often accompanied by paranormal "luck". Robin, a member of a group of latter day witches living in an O'Neill orbital habitat, has a strange epilepsy that only manifests itself in gravity higher than the Moon's. She claims that she bit off one of her fingers to drive away the fits, though it is later revealed she cut it off. On leaving Gaea, both are subjected to Gaea's near-fatal practical joke, being dropped through one of the spokes of the wheel-shaped habitat, taking about an hour to fall to the rim, reaching a high but survivable terminal velocity in the dense atmosphere. Robin experiences this, but is rescued by one of the Angels who live in the spokes. This Angel is sexually attracted to humans, to Robin's horror. Chris blacks out and his "luck" causes him to survive. His next memory is of the Titanide festival. It is implied that he fell onto one of the blimps that travel around the rim.  With Gaby, Cirocco and four Titanides they set out on a heroic trek. Gaby and Cirocco have a hidden agenda: they want to canvass the regional brains in order to overthrow Gaea, whom they see as being irretrievably insane.  During the trip, we begin to learn what drove Cirocco to her alcoholism. As the price for the discontinuation of the Angel/Titanide War, Gaea has made the Titanides dependent on Cirocco to have children. Only her saliva can activate the eggs they produce, so that they can be implanted in a host mother to grow. The responsibility for an entire race's survival is more than Cirocco can bear; with resignation from her position as Wizard impossible and suicide ruled out by her love for the Titanides, her only release is alcohol-fueled oblivion.  The hazards of the trip include "buzz-bombs", living creatures with pulse jet engines that live high up on the support cables. They attack living beings, including humans and Titanides, attempting to capture them as food, and present a particular threat to pilgrims with their barbed noses and razor-sharp wings. Slowly the journey reduces the crew, killing first one of the Titanides and then, in an attack plotted by the crazed crewmember Gene, Gaby, too, is killed. All are separated. Cirocco and her Titanide companion Hornpipe are left on the Rim surface, while Robin and Chris are trapped underground, with the Titanide Valiha, who is not only pregnant but has been badly injured. Eventually Robin has to leave Chris to tend Valiha, and climb back to the surface for help. She finds herself in one of the Arctic cold zones of the habitat, and almost dies before being rescued.  Cirocco undergoes a complete transformation. She musters her considerable powers to rescue all the remaining expedition members. Robin and Chris go to confront Gaea, only to be told she has cured them anyway, and they can get lost. Robin discovers that Gaea has also restored her missing finger. Cirocco also confronts Gaea, who offers to restore Gaby to life. Cirocco considers this, but realizes that the result would be a puppet of Gaea. She kills the body Gaea had been using to talk to people with bullets, then burns it. As Gaea is in reality an intelligence living in the hub, itself, the death of this body does not kill her; but it is Cirocco's way of resigning. Hereinafter, she is no longer the Wizard; she is the "Demon". She escapes by falling through a spoke, to be rescued by her friends the Angels. Gaea's response is to bombard the rim with the cathedrals that she had been replicating with human help.

Wizard is a 1980 science fiction novel by American writer John Varley. It is the second book in his Gaea Trilogy. It was nominated for the Hugo Award for Best Novel in 1981.


Terminology.

From a video game development standpoint, a sandbox game is one that incorporates elements of sandbox design, a range of game systems that encourage free play. Sandbox design can either describe a game or a game mode, with an emphasis on free-form gameplay, relaxed rules, and minimal goals. Sandbox design can also describe a type of game development, where a designer slowly adds features to a minimal game experience, experimenting with each element one at a time. There are "a lot of varieties" of sandbox design, based on "a wide range of dynamic interactive elements". Thus, the term is used often, without a strict definition. Game designers sometimes define a sandbox as what it is not, where a game can "subtract the missions, the main campaign, the narrative or whatever formatively binds the game's progression, and you have a sandbox."  In game design, a sandbox is a metaphor for playing in a literal sandbox. Game historian Steve Breslin describes "the metaphor [as] a child playing in a sandbox... produc[ing] a world from sand", compared to games with more fully formed content. This metaphor between the virtual and literal sandbox is noted by architectural scholar Alexandra Lange, with a sandbox describing any bounded environment that offers freedom to explore and construct. This can distinguish it from conventional ideas of a game, where the metaphorical sandbox is a "play space in which people can try on different roles and imaginary quests... rather than a 'game' to play."  In describing video games, sandbox design is often associated with the open world gameplay mechanic and vice versa, but these are two disparate concepts. Open worlds are those where the player's movement in the virtual world is typically not limited by the game allowing the player to roam freely through it. "Adventure" on the Atari 2600 is considered an open world game as the player can explore the entire game world save for through locked gates from the start, but it is not considered to have sandbox design as the player's actions are generally restricted. Similarly, games like "Microsoft Flight Simulator" are also open world since the player can take their plane anywhere in the game's virtual world, but as there is no creative aspects to the game, would not be considered a sandbox.

Gameplay.

Sandbox design can incorporate several different game mechanics and structures, including open worlds, nonlinear storytelling, emergent behaviors, and automation of believable agents. It represents a shift away from linear gameplay. This freedom is always a question of degree, as a sandbox design "engenders a sense of player control, without actually handing over the reins entirely".  Player creativity is often included in sandbox design. When a player is allowed to use a game as a sandbox, they gain the freedom to be creative with their gameplay. A sandbox will have a combination of game mechanics and player freedom that can lead to emergent gameplay, where a player discovers solutions to challenges that may not be intended by the developers. A sandbox sometimes gives the player "transformative" power over the game world, where "the free movement of play alters the more rigid structure in which it takes shape." Will Wright describes this generative aspect of sandbox designs, leading to a measurable increase in player possibilities. John Smedley describes this type of emergent gameplay more succinctly, having seen in EverQuest "how hungry people are for sandboxes -- for building stuff". "Gamasutra" notes the growth of player-generated content as a "particular brand of sandbox design: that game design is so fun in itself that, if properly packaged, it can well be reinterpreted as gameplay itself".  Some games offer a separate sandbox mode, where the player can use a game's creative systems with fewer constraints. "This mode has few restrictions on what he may do and offers no guidance on what he should do." For example, a sandbox mode might unlock unlimited resources, or disable enemy threats. A sandbox mode is separate from the campaign mode, without a main narrative progression. In one sense, an approach to this design is to "enable the player to continue after the main storyline has been 'won'."  Many games tutorials utilize this type of design, since "sandboxes are game play much like the real game, but where things cannot go too wrong too quickly or, perhaps, even at all. Good games offer players, either as tutorials or as their first level or two, sandboxes." The game designers allows players to experiment in a safe environment, as "the point about open ended/sandbox design and when they work best in teaching the player is through learning by doing".  Cohesive narratives in sandbox design can be difficult since the player can progress through the game in a non-linear manner. Some sandbox designs empower players to create their own stories, which is described as sandbox storytelling. Sandbox stories can either replace or enhance a main plot. Some games give players "pure agency by giving them tools and a sandbox", sacrificing the story in favor of player creativity. Where the game systems are reactive enough, this "does not remove the narrative, but rather transforms predetermined narrative into dynamic, responsive narrative". According to Ernest Adams, "in sandbox storytelling, the idea is to give the player a big open world populated with opportunities for interesting interactions... in any order". Sandbox stories can also be told through shorter quests, conversations, collectibles, and encounters, all of which reward players for engaging with the world. This side-content becomes an "extremely common and an excellent format for sandbox gameplay: one central campaign (itself perhaps multi-threaded), plus a large number of side-missions". In general, sandbox storytelling occurs when the player can move through the story independently of their movement through the game space.  Designers also refer to sandbox worlds and sandbox game spaces, which create the feeling of a large open world. The concept of an open world is much older than the term sandbox. Overall, "a sandbox design usually means that the game space is not divided into discrete units", which emphasizes continuity and exploration. This can sometimes overwhelm the player, which is why successful game designers draw on "urban design principles that can be used to build successful sandbox spaces". As a best practice "when creating these sandbox worlds, [designers] should divide them up into distinct areas to aid the player's navigation and orientation." Overall, a sandbox world should "provide the player with a large open set of spaces in which to play, and give him or her things to do". "The more a game's design tends towards a sandbox style, the less a player will feel obliged to follow the main quest."  Game designers often need to create more dynamic game systems to support sandbox-style gameplay. Physics systems are part of the sandbox experience of several games. The popularity of voxels has also shown another system that can create "colorful sandboxes to dismantle and reconstruct."  There is also the value of more robust artificial intelligence. "Gamasutra" notes how "a sandbox means that the whole game becomes more of a simulation where AI plays an important role." This means that "believable and self-motivated characters have become key to sandbox play, because they produce a rich space for interactivity and greatly help establish the open-world aesthetic." Game designer John Krajewski observes for "a game that features sandbox-style play, the AI needs to provide enough different and interesting characters to interact with in the world, and the size of the world doesn't have to get very big before it becomes unfeasible to hard code them all."  An open-ended sandbox experience is sometimes contrasted with goal-oriented gameplay. Sandbox design usually minimizes the importance of goals. Rather than 'winning' a game, a sandbox design allows player to 'complete' a game by exploring and actualizing all of its options. This lack of victory condition may define sandbox as not a game at all. "For many, a game needs rules and a goal to be a game, which excludes sandbox/simulators." In sandbox mode, "the game resembles a tool more than a conventional video game".

Criticism.

Sandbox design has been criticized for providing a lack of satisfying goals for players. According to Ernest Adams, "plunking the player down in a sandbox and saying, 'have fun' isn't good enough. Especially at the beginning of a game, the player should have a clear sense of what to do next and, in particular, why." Christopher Totten observes that "sandbox elements can be mistakenly taken as fair replacements of narrative content; indeed, many games have missed their potential because they imagined that free-play would compensate for a lack of narrative. But even for our idealized child, playing around in a physical sandbox gets old pretty quick." Critics point to repetitive in-game tasks, arguing that an "overabundance of mundane events can get in the way of enjoying the sandbox." "Gamasutra" notes that the quality of sandbox gameplay varies because "the great risk of the sandbox is that it can be boring." This is because "sand by itself is not much fun. Automated, complex, and perhaps most of all, "directed" responsiveness is essential to sandbox play, and the more complex and responsive the world, the more interesting the sandbox."

History.

Prior to 2000, the bulk of what were considered sandbox games game from two genres:  Two games at the turn of the 20th century redefine the notion of what a sandbox game is.  These two games would become a major influence on many different games and genres to come. In 2007, Game designer Warren Spector noted the influence of Will Wright on numerous designers, but was surprised that there weren't more who "mimic Wright's games or his sandbox-style, saying titles in the "Grand Theft Auto" look-alike genre are about the closest most developers have come to doing so." This influence led to a trend, and by 2010 critics were noting that "almost every blockbuster game now contains a considerable'sandbox' element." This trend was linked to the rise of dynamic storytelling in sandbox worlds, as well as AI that is dynamic enough to supplement scripted content. These trends would continue, with journalists comparing the ubiquity of sandbox level design to the trend of shooters in the mid 2000s. "Even franchises that used to be linear are adopting the same sandbox design philosophies", with "a sandbox approach to level design, creating wide-open spaces that give players the opportunity to tackle objectives however they see fit."  Another major shift in sandbox games came with the release of "Minecraft", which was first introduced in 2009 in beta form and its first full release in 2011. At its core, "Minecraft" is a voxel-based survival game, where players collect resources to built tools that help them to collect better resources, and to construct shelters to protect them from hostile creatures. However, there are no limits on how players can build these structures, and using the vast array of resources available in the game, players can build nearly anything they could imagine, and has been compared to digital Lego bricks. Players' use of "Minecraft" in this way led to the developers to add a dedicated "Creative Mode" that stripped the survival elements from the game so that players could build without any hazards or other artificial limits. "Minecraft" became a massive success, having sold more than 180 million copies by May 2019 and being the best selling personal computer game of all time.  With time, sandbox design had become a mainstay in survival games, as well as a popular subset of shooters, and RPGs, Long-time series such as Metal Gear had made the "shift to an open-world sandbox design," where the game dynamically "adds more missions as the story progresses and players complete the available side-ops". Other long-running series such as Hitman were celebrated for their sandbox design. The series became influential, creating a new template of games "that echo the same emphasis on sandbox design, open-ended mission structure, and sneaking". In 2020, PC Gamer noted as "a triumph of sandbox design". They observe that "because of its sandbox nature, Mount & Blade’s quests are procedurally generated around a number of set templates," which leads to a game where "the simulation is the story".  Pure sandbox games, aimed to offer no goals but allow players to create works to be shared with others, is "Second Life" (2003), a large massively multiplayer online game set in a virtual world where users could create various sections of the world as their own. Works varied from artistic expressions to The game was purposely developed as a community-driven world, so while the developers established some of the fundamentals of the in-game economies, much of how the workings and economics of the rest of "Second Life"s world was set by the players, which created several issues around pricing, gambling, and taxes, among other aspects. The game ultimately drew use by business as well seeking create space within it. More recent sandbox games have been aimed at provided interactive works that can be shared with others. "Garry's Mod" allows players to tinker with the Source engine from Valve to make animations and games, while games like "LittleBigPlanet" and "Dreams" (2019) from Media Molecule give uses assets and primitive programming elements to craft games that can be shared with others.

Use in education.

Some sandbox games have gained favorable use in education settings for inspiring studies to use creativity and critical thinking skills.  Part of Microsoft's rationale for acquiring Mojang, the developers of "Minecraft", for in 2014 was for its potential application in Science, technology, engineering, and mathematics (STEM) education, according to CEO Satya Nadella on its acquisition in 2014, as the game already helps to pique children's curiosity. Microsoft subsequently enhanced the "MinecraftEDU" version of the game into its "Minecraft: Education Edition" that gives teachers and students numerous pre-made resources to work from, and the ability for teachers to monitor and assist students in their work, but otherwise allowing students to create and learn following several lesson plans developed by Microsoft.

A sandbox game is a video game with a gameplay element that gives the player a great degree of creativity to complete tasks towards a goal within the game, if such a goal exists. Some games exist as pure sandbox games with no objectives; these are also known as non-games or software toys. More commonly, sandbox games results from these creative elements being incorporated into other genres and allowing for emergent gameplay. Sandbox games are often associated with open world concepts which gives the player freedom of movement and progression in the game's world. The "sandbox" term derives from the nature of a sandbox that lets children create nearly anything they want within it.


Personal life.

In 2003, he married Jessica Chambers after they met at KublaCon 2002.

Career.

Chambers is best known for his work for Games Workshop, where he worked from March 1990 to March 2004. He worked extensively on various "Warhammer 40,000" rulebooks and sourcebooks, and also authored multiple fiction novels set in the same universe. Chambers was the lead designer on a number of "Warhammer" "40,000" spin-off games, such as Necromunda (1995) and Battlefleet Gothic (1999), produced by Specialist Games. These games were released at a time of major growth for Games Workshop and "were designed with expansions and more miniatures sales in mind".  In 2003, Chambers joined Mongoose Publishing as the lead designer of the company's development team for the "" tabletop miniatures game. "Starship Troopers" won "Best New Game" in the 2005 Origins Awards.  Chambers was the Lead Story Writer for Blizzard Entertainment, for "". According to Megan Farokhmanesh, "much of the groundwork on "Wings of Liberty" was done, but it was Andy Chambers who finished the title".  Between 2005 and 2018, Chambers wrote several books and novellas set in "Warhammer" "40,000" and the majority were about the "Dark Eldar." Antony Jones, for "SFBook" in his review of "Path of the Renegade (Dark Eldar Book 1)", wrote "I loved how the author manages to elevate the Dark Eldar above that of humanity by describing games played with human captives as they watch them around a human size maze, the humans think they are really escaping but in reality being directed at every turn and watched over by their Eldar masters - very much like mice overlooked by people in white coats. [...] There aren't many novels that focus purely on the evil and even fewer that manage to pull it of effectively but Chambers does an excellent job here, it's one of the best examples I've read".  On 14 May 2012 "Dust Warfare", written by Andy Chambers, was released by Fantasy Flight Games. In June 2013, Fantasy Flight Games announced that New Zealand-based Battlefront Miniatures would take over distribution of both "Dust Warfare" and "Dust Tactics."  In 2015, Chambers became a Creative Director at Reforged Studios. Chambers, Tuomas Pirinen, and Ryan Miller created the skirmish board game "Warforged: First Contact" for Reforged Studios and Ninja Division Publishing who planned to bring it to market through a Kickstarter campaign. While the campaign beat its goal of $60,000, the campaign was cancelled before the Kickstarter ended. There has been no update on the game since April 2017.  Chambers and David Lewis received a nomination together in the 2017 Origins Awards "Miniatures" category for "Dropfleet Commander" by Hawk Wargames. In 2017, he created "Blood Red Skies", an air combat miniature game, which was released by Warlord Games. He also created multiple expansions for the game between 2017 and 2019. Matt Jarvis, in a review of "Blood Red Skies: Battle of Britain" for "Tabletop Gaming," wrote "abstracting altitude, position, damage levels and more into a single visual cue is a brilliant touch, making the slick ruleset effortless to execute and every battle look cinematic – closing in on a plane with its nose already pointed at the floor is an exciting moment, especially when combined with the simple but effective rules for tailing. [...] With a bit of tightening up, Blood Red Skies could be a strong contender for an involving tournament and spectator game – at the moment, it’s just a little too loose for anything but casual play. [...] But you know what? None of that really mattered a smidge while I was actually playing Blood Red Skies, because I was just having such a fun time watching my squadrons zip through clouds, around anti-air defences and unleash bursts of machine-gun fire on enemy pilots who would similarly dance around, whizzing between the tips of wings to try and zero in". Chambers also designed "Strontium Dogs", a skirmish game, which was released by Warlord Games in 2018.  In 2019, Chambers was a contributor to "Frostgrave: The Wizard’s Conclave." In his chapter “The Abandoned Workshop”, "warbands vie for control of powerful magical construct that is guarding a workshop full of potions. The conflict with the construct takes place in a confined space, with warbands trying to avoid attacks while gathering treasure".

Andy Chambers (born 20 October 1966) is an English author and game designer best known for his work on over 30 Games Workshop rulebooks and sourcebooks.


Members.

Among the recorded members of the Memphis Jug Band at various times were Will Shade (harmonica, guitar, washtub bass, vocals), Charlie Burse (guitar, tenor guitar, vocals), Charlie Nickerson (vocals, piano), Charlie Pierce (fiddle), Charlie Polk (jug), Tewee Blackman (guitar, vocals), "Hambone" Lewis (jug), Jab Jones (piano, jug, vocals), Johnny Hodges (Johnny Hardge) (piano), Ben Ramey (kazoo, vocals), Will Weldon (guitar, vocals), Memphis Minnie (guitar, vocals), Vol Stevens (vocals, fiddle, mandolin), Milton Robie (fiddle), Otto Gilmore (Gilmer) (drums and woodblocks), and Robert Burse (washboard, drums). Vocals were provided by Hattie Hart, Memphis Minnie, Jennie Mae Clayton (Shade's wife), and Minnie Wallace. The Memphis Jug Band accompanied Memphis Minnie on two sides for Victor Records in 1930, one of her first recording sessions. Some members also contributed to gospel recordings, either uncredited or as part of the Memphis Sanctified Singers. The large membership pool gave the Memphis Jug Band the flexibility to play a mixture of ballads, dance tunes, knock-about novelty numbers, and blues.

Band name.

The group recorded under several names for various record labels: the Picaninny Jug Band, the Memphis Sanctified Singers, the Carolina Peanut Boys, the Dallas Jug Band, the Memphis Sheiks, and the Jolly Jug Band. Other releases were credited to individual members of the band—Hattie Hart, Minnie Wallace, Will Weldon, Charlie Nickerson, Vol Stevens, Charlie Burse, "Poor Jab" Jones, and Will Shade—but were performed with accompaniment by other members of the band.

Sound.

The remarkable sound of the Memphis Jug Band was partly due to its unusual instruments. The first recorded jug bands, based in Louisville, Kentucky, were jazz-oriented groups with a jug taking the place of a tuba or trombone. The Memphis Jug Band borrowed from this model but added kazoo as a prominent lead instrument, similar in sound to a trumpet in a jazz band. Another variation from the Louisville sound was a focus on country blues songs, like those favored by Jim Jackson and other Memphis-area solo artists. (The Memphis Jug Band recorded Jackson's hit song "Kansas City Blues" twice and performed it on the television program "Blues Street" in 1958.) This is the basic jug band sound that was adopted by other Memphis-area groups, like Gus Cannon's Jug Stompers, Jed Davenport's Beale Street Jug Band and Jack Kelly's South Memphis Jug Band.  The band initially played mostly country blues, but its repertoire expanded as new members contributed their own styles. Songs led by Charlie "Bozo" Nickerson, such as "Everybody's Talking About Sadie Green" and "Cave Man Blues," were boisterous and funny; songs led by Charlie Burse, such as "Little Green Slippers" and "Insane Crazy Blues," were more musically complex and jazz-oriented; songs led by Charlie Pierce sounded like Appalachian fiddle tunes, backed by impressive jug playing and shouted challenges from his bandmates. Will Shade continued playing straightforward country blues songs for the rest of his life, but he also introduced some jazz elements, as in his 1962 field recording of "Jump and Jive", which incorporates lyrics from Cab Calloway's "Jumpin' Jive".  The blues scholar Paul Oliver noted that the "raspy, buzzing sound" of some of the jug band instruments was close to the musical aesthetic of Africa and that the jug and kazoo represented the voices of animals or ancestral spirits. However, many of the Memphis Jug Band's influences are more readily apparent in popular musical styles of their time.

Performances.

The Memphis Jug Band played wherever they could find engagements and busked in local parks and markets. They were popular with white and black audiences, playing at country clubs and parties at the Peabody Hotel. The band was a favorite of former mayor Edward Hull "Boss" Crump and was shown performing at one of Crump's parties in a "Life" magazine photo feature in 1941.

Commercial recordings.

Between 1927 and 1934, the Memphis Jug Band made more than eighty commercial recordings, first for Victor Records, then (as the Picaninny Jug Band) for the Champion-Gennett label, and finally for OKeh Records. The Victor recordings were made in Memphis and Atlanta, Georgia, between 1927 and 1930; the Champion-Gennett recordings were made in Richmond, Indiana, in August 1932; and the final sessions for Okeh were held in Chicago in November 1934. By that time, their style of music was no longer in demand by record companies, as commercial styles were moving toward a more urban sound.  Two of their 1920s recordings were included on the influential "Anthology of American Folk Music", released in 1952 (a third is on the unreleased fourth volume). Their 1928 recording of "Stealin', Stealin'" was included on the compilation album "The Country Blues" issued by Folkways Records in 1959. The song became one of the group's best known, especially after the Grateful Dead recorded it as its first single, in 1966.  The other jug band song on "The Country Blues" was Gus Cannon's "Walk Right In", which was a hit for the Rooftop SIngers in 1962. Capitalizing on the success of that recording, the Memphis label Stax Records invited Cannon, then 79 years old, to record a full-length album the following year. Will Shade, the leader of the Memphis Jug Band, backed Cannon on jug, and former member Milton Roby played washboard.  Twenty-eight of the group's commercial recordings from 1927 to 1934 were reissued by Yazoo Records in 1980 on the double album "Memphis Jug Band". It was reissued in 1991 on CD with a reduced and reprogrammed 23-track listing.

Field recordings.

During the folk revival of the 1950s, Shade made several field recordings. His ongoing activity as a performer and his accessible location in Memphis made him a popular starting point for scholars looking for other musicians in the area. Shade would often gather musicians at his apartment at Fourth and Beale for informal recording sessions featuring former musical rivals (including his former romantic rival Furry Lewis), playing together in different combinations. Shade continued using the name Memphis Jug Band, even for recordings consisting only of him and one or two other members. His wife, Jennie Mae Clayton, who sang on some of the earliest Memphis Jug Band recordings, also sang on some of these field recordings.  The following are commercially available field recordings from this period:

Legacy.

The Memphis Jug Band was key in developing the jug band format, which evolved into the blues combo that is the basis of much popular music today. Their legacy, like that of other acoustic blues musicians of their era, has been overshadowed by the electric blues of the 1950s. Modern jug bands still play many Memphis Jug Band songs, but generally the only songs recognizable to a wider audience are those that were covered by rock groups in the 1960s.  The Memphis Jug Band was awarded a Brass Note on the Beale Street "Walk of Fame" in 2009. It was among the first set of inductees into the Jug Band Hall of Fame, an informal website run by jug band musicians, in 2010.

The Memphis Jug Band was an American musical group active from the mid-1920s to the late 1950s. The band featured harmonica, kazoo, fiddle and mandolin or banjolin, backed by guitar, piano, washboard, washtub bass and jug. They played slow blues, pop songs, humorous songs and upbeat dance numbers with jazz and string band flavors. The band made the first commercial recordings in Memphis, Tennessee, and recorded more sides than any other prewar jug band.


Composition.

"Ain't We Got Fun" follows the structure of a foxtrot. The melody uses mainly quarter notes, and has an unsyncopated refrain made up largely of variations on a repeated four-note phrase. The "Tin Pan Alley Song Encyclopedia" describes it as a "Roaring Twenties favourite" and praises its vibrancy, "zesty music," and comic lyrics.  Philip Furia, connecting Kahn's lyrics to the song's music, writes that: Critical appraisals vary regarding what view of poverty the song's lyrics take. Nicholas E. Tawa summarizes the refrain "Ain't we got fun" as a "satirical and jaunty rejoinder" toward hard times. Diane Holloway and Bob Cheney, authors of "American History in Song: Lyrics from 1900 to 1945", concur, and describe the black humor in the couple's relief that their poverty shields them from worrying about damage to their nonexistent Pierce Arrow luxury automobile.  Yet George Orwell highlights the lyrics of "Ain't We Got Fun" as an example of working class unrest: After quoting a few of the song's lines Orwell refers to the era as a time when "people had not yet settled down to a lifetime of unemployment mitigated by endless cups of tea," a turn of phrase which the later writer Larry Portis contests.  However, others concentrate on the fun that they got. Stephen J. Whitfield, citing lyrics such as "Every morning / Every evening / Ain't we got fun," writes that the song "set the mood which is indelibly associated with the Roaring Twenties," a decade when pleasure was sought and found constantly, morning, evening, and "In the meantime / In between time." Philip Furia and Michael Lasser see implicit references to sexual intercourse in lyrics such as "the happy chappy, and his bride of only a year." Looked at in the context of the 1920s, an era of increasing sexual freedom, they point out that, while here presented within the context of marriage (in other songs it is not), the sexuality is notably closer to the surface than in previous eras and is presented as a delightful, youthful pleasure.  There are several variations on the lyrics. For example, "American History in Song" quotes the lyrics: The sheet music published in 1921 by Jerome K. Remick and Co. leaves this chorus out completely, whereas a recording for Edison Records by Billy Jones keeps the reference to the Pierce Arrow, but then continues as in the sheet music: "There's nothing surer / The rich get rich and the poor get laid off / In the meantime,/ In between time/ Ain't we got fun?"

Reception and performance history.

It premièred in the Fanchon and Marco show "Satires of 1920", where it was sung by Arthur West, then entered the vaudeville repertoire of Ruth Roye. A hit recording by Van and Schenck increased its popularity, and grew into a popular standard.  The song appears in the F. Scott Fitzgerald novel "The Great Gatsby", when Daisy Buchanan and Gatsby meet again after many years, and the latter insists Klipspringer, his apparently permanent "guest," to play it for them. It also appears in Dorothy Parker's 1929 short story, "Big Blonde." Warner Brothers used the song in two musicals during the early 1950s: The Gus Kahn biopic "I'll See You in My Dreams" and "The Eddie Cantor Story". Woody Allen used the song in his 1983 film "Zelig".

"Ain't We Got Fun" is a popular foxtrot published in 1921 with music by Richard A. Whiting, lyrics by Raymond B. Egan and Gus Kahn.


Plot.

The film depicts the struggle of Luz Cuevas (Judy Reyes) to find her baby daughter, Delimar Vera Cuevas, who disappeared in 1997 after their house caught fire during a party, just ten days after she was born. The police reported that Delimar was killed in the fire. However, Cuevas suspects that she was kidnapped and that the fire was staged by an outsider. Her husband, Pedro Vera (Hector Luis Bustamante), becomes estranged from her as a result. Six years after the fire, Cuevas meets Valerie Valleja (Ana Ortiz), former wife of one of Pedro's cousins, who was also at the party on the day of the fire. She has a six-year-old girl with her, named Aaliyah. The girl bears a resemblance to Cuevas and she suspects it is Delimar. Cuevas begins an investigation into Valleja, and finds out that Aaliyah is in fact Delimar through a DNA test. Valerie is arrested and Aaliyah (Delimar) is returned to her family.

Actual events.

As depicted in the film, the daughter of Luz Cuevas and Pedro Vera, Delimar Vera, was taken by Carolyn Correa (depicted in the film as Valerie Valleja), a distant friend of Pedro's cousin. On December 15, 1997, Correa deliberately ignited a fire in Cuevas' house in Philadelphia to cover up the incident. After Correa took the girl, she raised her as her own daughter under the name of Aaliyah, while Delimar's disappearance was attributed to the intense fire in the room.  Six years later, on January 2004, Cuevas attended a birthday party for an acquaintance and was surprised by her own resemblance to a 6-year-old girl. With the help of a state representative, Cuevas managed to get a series of DNA tests which had resulted in a confirmation of Cuevas' maternity over Delimar. Correa was arrested in 2004 and taken to trial, having been placed on $1 million bail. Entering a plea of "nolo contendere", she was accused and found guilty of kidnapping, arson, and attempted murder, and was sentenced to nine to thirty years in prison in 2005. Correa became eligible for parole in 2014.

Little Girl Lost: The Delimar Vera Story is a 2008 original LMN movie, starring Judy Reyes, Ana Ortiz, and A Martinez. The film follows the events surrounding the kidnapping and rescue of Delimar Vera, the newborn daughter of Luz Cuevas.


Geography.

This territory dedicated to recrotouristic activities (camping, canoe camping, kayaking, hunting and fishing) covers in the administrative region of Saguenay-Lac-Saint-Jean. The zec is located on public land northeast of the Monts-Valin National Park. ZEC has 650 lakes and many rivers in the boreal forest area.  The territory of the zec is divided between the parish of Sainte-Rose-du-Nord located on the north coast of Saguenay River and Lake Poulin Courval, located about 45 km further north.  The reception office of the Zec Martin-Valin is located near the route 172 that connects the city of Saguenay to Tadoussac.

Camping canoes.

For a decade, the ZEC has five marked trails for canoe camping expeditions for 3 to 7 days. These expeditions in the northwestern part of the area include various portage trails and numerous lakes to cross. These circuits maintained by ZEC are beginner to advanced intermediate level. The circuits have multiple platforms for tents and toilets (on some sites). Amateur canoe-camping must register at the entrance station of the zec. Then they have to take forest roads on forty kilometers to reach the site of departures circuits in the North section of the Zec. A shuttle service offered by the ZEC is available, as well as canoe rentals.

Hunting and fishing.

"Fishing"  Fishing for native brook fountains (brook trout) is offered on three rivers and over 450 lakes in the ZEC. ZEC has made it easy access to the majority of water bodies in its territory by building parking lots and docks. ZEC permits the use of gasoline engines to power boats. ZEC offers a rental service on some boats fishing lakes.  "Hunting"  On the Zec Martin-Valin, hunting is regulated by the "Ministry of Sustainable Development, environment, wildlife and Parks". Hunters must comply with hunting quotas to the moose to bear and small wild animal (e.g. grouse, spruce grouse and gray partridge). Hunters can hunt big animal, if they become a member of the zec and holding a season pass to hunt big wild animal or the bear.

Toponymy.

Each of the two components of the name "Martin-Valin" has a distinctive origin:  The name "Zec Martin-Valin" was formalized on December 5, 1982 at the Bank of place names in the Commission de toponymie du Québec (Geographical Names Board of Quebec).

The Zec Martin-Valin is a "zone d'exploitation contrôlée" (controlled harvesting zone) (ZEC), located in the Le Fjord-du-Saguenay Regional County Municipality, in administrative region of Saguenay-Lac-Saint-Jean, in Quebec, in Canada.


Rugby Union career.

Amateur career.

He captained his school's rugby team.  Dallas played club rugby for Watsonians. He was elected Vice-Captain in 1898. He won the Scottish Unofficial Championship with Watsonians in the 1902-03 season.

Provincial career.

He represented Edinburgh District in 1902.

International career.

Dallas played just a single international game for Scotland, the encounter with England during the 1903 Home Nations Championship. Scotland had already beaten Wales and Ireland in the tournament, and a win over England would give the Scottish team the Triple Crown. Dallas was brought into the pack, along with a returning Jimmy Ross, as replacements for David Bedell-Sivright and captain Mark Coxon Morrison. Although not an exciting game, the close score made this an interesting game, with Scotland finishing 10-6 winners. Dallas not only ended the game as a Triple Crown winning player, but he also scored one of two Scottish tries, when he crossed the line in the first half after good build-up work from wing James Stirling MacDonald. Despite the victory and the score, Dallas never represented the Scotland national team again, the Scottish selectors preferring heavy scrummagers whereas Dallas' play was more of a fast wing-forward.

Referee career.

In 1905 the first New Zealand touring team came to Britain, and brought an exciting tactical game that the British clubs found difficult to play against. Before the team came to Wales, they had played 27 matches against teams from Scotland, England and Ireland, and beaten them all, including victories over the three national teams. Wales had just won the Home Nations Championship and were seen as possessing one of the greatest teams in the sport's history. The encounter between Wales and New Zealand was seen as a great challenge between the two hemispheres, and was being dubbed the 'Game of the Century' before the match had taken place. In the buildup to the game, the New Zealand manager George Dixon and the Welsh Rugby Union had difficulty agreeing on a referee. Four officials had been rejected before the WRU, using I.B. regulations called on a neutral union, in this case the Scottish Rugby Union, to choose a referee on their behalf. Scotland chose Dallas.  This was Dallas' first international match as a referee but the game started controversially for him as he was criticised for his poor choice of attire. Dallas turned up for the match wearing street clothes and his boots had neither bars or studs. Dallas was also criticised during the game for being unable to keep up with the action. In a thrilling game, the match was decided by a single try, scored by Teddy Morgan to give Wales the win. Unfortunately for Dallas the game is also remembered for a controversial decision where New Zealand centre Bob Deans claimed to have grounded the ball over the Welsh goal line, only to have the try disallowed by Dallas. Deans stated that he scored the try, but was dragged back over the line by the Welsh defence. Although New Zealand manager Dixon attacked Dallas in private for not being able to keep up with the game, and thus missing the try; Dallas had no doubts, he believed that Deans had grounded the ball 6 to 12 inches short.  The IRB kept faith with Dallas, and he continued to referee at international level, officiating over the Wales vs. Ireland encounter in the 1908 Home Nations Championship then Wales vs. England and Ireland vs. England in the 1909 Championship. Dallas refereed four more matches, when the Championship became the Five Nations Championship with the inclusion of France. Dallas was given the England vs Wales and Ireland vs. Wales in the 1910 Five Nations Championship, Ireland vs. England in the 1911 Championship and a final game in the 1912 tournament between Ireland and Wales.  Dallas refereed one more international match and it provides a quirky claim to fame. This was the Ireland v South Africa match in 1912. Originally the match was supposed to be refereed by Frank Potter-Irwin, the English referee. However in the days before the match Potter-Irwin fell ill. The Scottish Rugby Union stepped in to help. They suggested John Tulloch, the Scottish referee, and this was accepted by both teams. Some of the press reports still credit Tulloch or Potter-Irwin for the match. However it was Dallas that took the field rather than Tulloch. More quirkier, Dallas became injured or 'lame' in the first half and could not continue for the second half. So the Irish referee Fred Gardiner had to step in and referee the second half. It was this international match that first saw the use of a substitute referee: Dallas the original referee and Gardiner the substitute.

Administrative career.

He became the 39th President of the Scottish Rugby Union. He served one year from 1912 to 1913.  He was one of two Scottish representatives on the International Rugby Board.

Military career.

During the First World War, Dallas joined the British Army and was posted to The Royal Scots (Lothian Regiment) as part of the 16th Battalion. He saw service in German East Africa and Portuguese East Africa.

Outside of rugby and military.

A lawyer, he was called to the Scottish Bar in 1905. His legal career was interrupted by his military career. In his later life he was a judge based in Aberdeen.  Dallas was a notable tennis player.  He also partook in other sports:- golf, bowling, angling and shot.

John Dewar Dallas (11 June 1878 – 31 July 1942) was a Scottish international rugby union player. Dallas played international rugby for Scotland but is more notable as a rugby referee, and controversially officiated the 1905 encounter between Wales and New Zealand, a match seen as one of the greatest games in the history of the rugby union. He became the 39th President of the Scottish Rugby Union.