Barbie was sentenced to a life term, and died of natural causes in prison in 1991.

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By WOLFGANG SAXONPublished: September 26, 1991

Klaus Barbie died a prisoner yesterday in Lyons, the French city where he led a reign of terror as the local Gestapo chief during World War II.

The last surviving German war criminal of rank to be tried by a tribunal of justice, he was 77 years old and had been in poor health for years.

Recent reports from France said that Mr. Barbie had been transferred three weeks ago to a hospital from the prison where he was serving a life term on his 1987 conviction.

He was said to be suffering from cancer of the blood, spine and prostate.

Mr. Barbie commanded the Gestapo in Lyons, which was the base for the Resistance and a center of French Jewry.

With an SS rank equivalent to an army captain's, he ran a campaign of torture and death against Resistance leaders and caused uncounted other people, most of them Jews, to be sent to the gas chambers of Auschwitz.

Twice condemned to death in absentia, Mr. Barbie prospered in Latin America under an alias after the war.

In fact, he had been all but forgotten and written off by French and West German prosecutors when a relentless Nazi hunter, Beate Klarsfeld, tracked him down in Bolivia in 1972.

The discovery generated headlines about "the butcher of Lyons."

But it took 11 years of legal wrangling and a change of Government in Bolivia to bring about his extradition to France.

Through it all, the dreaded Gestapo chief of wartime Lyon remained defiant, refusing to leave his cell and face the host of witnesses who told the court of his deeds during his eight- week trial in 1987.

Mr. Barbie remarked after his extradition that he had nothing to regret and that he remained proud of his service to Hitler's Third Reich.

Locked up in Montluc Prison, where the Gestapo had tortured its prey 40 years earlier, he promptly proved an embarrassment not only to the French, but to official Washington.

It came to light that United States Army counterintelligence had used him as a paid informer after the war, shielding him from his French pursuers and then helping him escape to South America.

For the French, Mr. Barbie caused enduring agony.

Back in their midst, behind bars at last, his presence weighed heavily on the national conscience.

To contemplate Mr. Barbie was to face a chapter of history the French longed to forget: the Vichy France of Marshal Henri Philippe Petain.

Klaus Barbie was born on Oct. 25, 1913, in Bad Godesberg, near Bonn, the son of an office worker-turned-teacher in modest circumstances.

By the time he turned 20, he had joined the Hitler Youth and become an aide to a local Nazi chief.

Mr. Barbie pledged himself to Hitler's Third Reich.

He joined the SS in 1935 and was trained for its security service, the shadowy S.D., whose members considered themselves enforcers of Nazi doctrine and defenders of the party.

By the outbreak of the war, his career in the security services was assured.

He was commissioned a second lieutenant in an SS unit that followed the German Army into the Netherlands and France.

Joined by Dutch collaborators, the SS savagely stamped out signs of Jewish resistance and corralled the Jews into a ghetto in Amsterdam.

With the German invasion of the Soviet Union, Mr. Barbie was attached to the Gestapo.

His unit beat information out of detainees, murdered suspects and their families and torched their homes.

He rose in rank and was assigned to Lyons to head a Gestapo section whose domain extended far beyond the city proper.

He was ultimately held responsible for the arrest and torture or death of 11,000 or 25,000 people, perhaps more.

But the feat that set him apart in French eyes was his merciless hunt for Jean Moulin, a hero of the Resistance who led partisans of Gen. Charles de Gaulle and his Free French.

Mr. Barbie's Gestapo officers caught Moulin and the entire leadership of his group near Lyons in June 1943.

Mr. Barbie was accused of killing Moulin, a charge he consistently denied.

His lawyer, Jacques Verges, caused a national outcry in France when he gave Mr. Barbie's version of events, warning that he could document it in court.

The contention was that Mr. Barbie, working with the local French authorities, operated a group of double agents within the Resistance; that they put Vichy police on the trail of Mr. Hardy; that Mr. Hardy was placed in Mr. Barbie's custody; that Mr. Barbie "turned" Mr. Hardy, who then told him of the impending meeting; and that Mr. Moulin killed himself, considering it the only honorable way out after rival leaders in the Resistance betrayed him.

Mr. Hardy was tried twice for treason and acquitted after the war.

His prosecutors questioned Mr. Barbie in 1948 while he was in American custody, but only in connection with the allegations of betrayal involving Mr. Hardy.

The C.I.C., the Army's counterintelligence corps, had decided in 1947 to sign Mr. Barbie on as a paid informer, seemingly unaware of the enormity of the deeds laid to him.

For $1,700 a month, he gave weekly reports on other missing Nazis, the Communists in East Germany and Eastern Europe as well as the French Communists.

The French formally asked for his whereabouts in 1950.

According to a 218-page report from the United States Justice Department, which investigated the matter in 1983, C.I.C. officers said that Mr. Barbie no longer worked for them, a lie that was unwittingly passed on to the French.

In reality, the C.I.C. agents reportedly decided to hide their anti-Communist operative from France because they feared that French intelligence was infiltrated by Communists and that Mr. Barbie, if handed over, might damage American intelligence by telling what he knew.

But by then Mr. Barbie had served his purpose, and the Army decided to get rid of him via the "Rat Line" to South America.

For a fee, a Croatian priest in Rome produced a false passport from the International Red Cross and a Bolivian visa for Mr. Barbie, his wife, and their two children.

Mr. Barbie became Klaus Altmann and sailed from Genoa in March 1951.

Mr. Barbie cultivated close relations with the generals then running Bolivia, setting up a shipping concern and a lumber business.

Mr. Barbie appears to have visited the United States and Europe without drawing attention.

An unrepentant Nazi, he lost his standing in the German community around 1972 when he was ejected from the German Club of La Paz for giving a Nazi salute and yelling "Heil Hitler" at the West German Ambassador.

The French and West German authorities had ceased to look for Mr. Barbie when, in 1971, a painstaking search by Mrs. Klarsfeld and her husband, Serge, turned up evidence that tied him to the deportation of 44 Jewish children from the village of Izieu.

Witnesses and photos identified Mr. Altmann as Mr. Barbie, then living in Peru.

The Munich prosecutor reopened the case but Mr. "Altmann" fled to Bolivia, where the military regime turned down repeated demands for his extradition.

Throughout, Mr. Barbie admitted to his Gestapo role, insisting that he acted as an officer in wartime.

A civilian government took office in La Paz in late 1982.

In January 1983, the courts jailed Mr. Barbie on a 13-year-old fraud charge, for which he paid a $10,000 fine, and ordered him expelled as an undesirable alien.

He arrived in France on a French military plane on Feb. 5, 1983, and French prosecutors and magistrates finally readied the case for trial.

A 1964 Law on Crimes Against Humanity, designed to set aside the statute of limitations for war crimes and genocide, was invoked but changing sets of charges caused repeated delays of the trial date.

In early 1985, the prosecutors dropped the matter of the death of Jean Moulin and his associates and narrowed the case to specific crimes against French Jews, including the fate of the children of Izieu.

Another delay resulted in March 1986 when a higher court quashed that compromise arrangement.

Mr. Barbie, who had been taken to the hospital several times, underwent prostate surgery in February 1987.

His weak condition notwithstanding, the prosecution opened the trial in May.

Judgment was rendered on July 4 after six hours of deliberation by a panel of three judges and nine jurors.

He stood motionless and without expression as the presiding judge listed his crimes against French Jews and fighters of the Resistance.

With France having abolished the death penalty in 1981, He was sentenced to life imprisonment with the possibility of parole held out for 2002, when he would have been 88 years old.

Mr. Barbie's wife, Regine, died of cancer in Bolivia just before his deportation.

Their son, Klaus-Georg Altmann, was killed in a hang-gliding accident near Cochabamba in 1981, leaving a wife, Francoise, and three children.

His daughter, Ute Messner, is a resident of Austria.

Klaus Barbie and French MemoryTHE BARBIE FILEFOLLOW-UP ON THE NEWS; The Two Faces Of PetainFind

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 After being tracked and discovered by the Klarsfelds (Serge and Beate Klarsfeld) living in Bolivia in 1971, Barbie was eventually extradited and returned to France in 1983.  He faced trial 11 May 1987 in Lyon before the "Cour d'assises".   As in the case of the Eichmann trial, the court recognized the great historical importance of the trial, and very exceptionally allowed it to be filmed.
 The CDJC was in possession of a key document relating to the deportation of the children from Izieu, and provided a copy to the French courts, which enabled the prosecution of Barbie for Crimes against Humanity. Barbie had been tried in absentia in 1952 and 1954, and French law prohibits double jeopardy.  But the charges did not include events at Izieu, and so it was this charge, backed by the evidence provided by the telegram supplied by the CDJC, which enabled his prosecution and conviction.  Faure had actually read the Barbie telegram in his summation to the jury at Nuremberg but without naming him as he was not on trial there, but merely as a way of describing the routine, administrative nature of the killing that was carried out by the Nazis.  It wasn't until the Barbie trial, that his name was linked to the telegram.


He scored his first goal of the 2012–13 season against Nordsjælland in the UEFA Champions League in a 0–4 away win.

(meta data) TITLE: FC Nordsjaelland 0-4 Chelsea - BBC Sport

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Chelsea earned their first victory in this season's Champions League group stages by beating FC Nordsjaelland.

The champions went ahead when Fernando Torres and Frank Lampard combined to set up Juan Mata to slot home.

Danish side Nordsjaelland rattled the Blues, with Joshua John sending a shot just wide and striking a post.

But David Luiz scored with a free-kick, Mata added his second with a left-foot shot and Ramires tapped in to give the scoreline a flattering look.

Chelsea had shown commendable resilience but had also had lived dangerously, with their failure to add to their early lead encouraging their largely unknown and unfancied opponents, who were playing first ever game on home soil in the Champions League.

Chelsea failed to win away in the group stages of last season's Champions LeagueThe last time Chelsea won a Champions League away match by at least a 4-goal margin was on 28 November 2007 at RosenborgDavid

Luiz became the first Chelsea player to score from a direct free kick in the Champions League since Alex on 14 April 2009 in a 4-4 draw with Liverpool

Nordsjaelland went close to an equaliser on several occasions as the visitors almost buckled, but Luiz's free-kick after 79 minutes proved key to restoring Chelsea's hold on the game and sparked three late goals in 10 minutes.

Chelsea moved top of Group E with the win, while Nordsjaelland might feel aggrieved with the size of their defeat considering the qualify of their performance after a shaky start.

The home side gave the ball away to Chelsea from an early throw-in, allowing Victor Moses, making his Champions League debut for the London club, to backheel a pass to Oscar, whose shot across goal went narrowly wide.

Almost immediately, Oscar crossed for Moses at the far post, but, just as the winger appeared set to head home, Nordsjaelland centre-back Jores Okore flung himself across to force the effort against the post.

Okore had to have treatment after the clash, but, sporting a bandage around his head, was an inspirational presence for his side with his all-action style.

Nordsjaelland gradually shook off the nerves and began to play a style of passing football that meant the visitors had to be wary.

Media playback is not supported on this device

Di Matteo praises 'excellent' Chelsea win against FC Nordsjaelland

Chelsea left-back Ashley Cole gave the ball away to Dutch striker John, who has eight goals in seven league appearances so far this season, but he sent an ambitious long-range shot well off target.

The home side's weakness was an uncertain defence and, after Torres had a shot saved having picked up Ivan Runje's miscued headed clearance, Chelsea deservedly took the lead through Mata.

Torres caught Enoch Adu in possession and laid the ball across to Lampard, whose deft first-time pass between two defenders was met with a confident finish by Mata past keeper Jesper Hansen.

An alert Hansen then denied Torres but Chelsea failed to extend their lead and were almost punished.

John arrowed a shot just the wrong side of the post before Mikkel Beckmann latched on to Okore's lofted pass, only to send a 10-yard header high.

A 20-yard strike from Nicolai Stokholm stung the palms of Petr Cech, who also pushed another John effort against the post.

However, a dipping free-kick from Luiz went in off the post and signalled a late flurry of Chelsea goals.

Some clever passing from the visitors ended with Mata sidefooting in before Oscar crossed for Ramires to tap in after 89 minutes.

Chelsea are now top of Group E with four points and face second-placed Shakhtar Donetsk in Ukraine on 23 October.

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Ramires played all of the 2012 FA Community Shield and assisted Fernando Torres for the opener and filled in for Branislav Ivanović at right back after the Serbian was sent off for a foul on Aleksandar Kolarov, with the team eventually losing 2–3 to Manchester City.


By March 2017, Psyonix reported that "Rocket League" had sold more than 10.5 million copies across all platforms, and had 29 million registered players, with about a fourth of that having played during February 2017.

(meta data) TITLE: Rocket League Passes 10.5 Million Sales, As Dev Explains Why No Sequel Is Coming Soon - GameSpot

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# Rocket League Passes 10.5 Million Sales, As Dev Explains Why No Sequel Is Coming Soon

## "We want to let them know we're in it for the long haul."

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Psyonix's hit soccer-with-cars game Rocket League has passed a new sales milestone.

VP Jeremy Dunham told Kinda Funny Games that the game has now hit 10.5 million copies, with the total number of registered players hitting almost 29 million.

That figure includes free copies of the game given to PlayStation Plus subscribers on PlayStation 4 at launch in July 2015, as well as split-screen players.

About a fourth of the 29 million registered players (around 7 million) played Rocket League in February, Dunham said.

More than a year-and-a-half after launch, the game's playerbase continues to grow, he said, which is part of the reason why Psyonix is not going to make Rocket League 2 anytime soon.

"Why would we want to take this huge community that we've already built, that's still growing, and say, 'What you're playing now is going to be irrelevant in 12 months, but we want you to stop what you're doing, giving us money all over again, and move over to this other game,'" Dunham explained.

Dunham added: "Our goal was to keep making Rocket League better and better so that we don't lose any of the people that want to play.

If they're playing our game, we're not going to penalize them and make them buy our game again just because we want to add a couple new features.

We want to let them know we're in it for the long haul, if they're in it for the long haul."

The executive went on to say that Psyonix is thinking of new features for Rocket League that are one or two years away from release, so you can expect ongoing support for a while to come.

Also in the interview, Dunham said that Psyonix is approached by publishers on a regular basis regarding partnerships.

With an influx of resources from Rocket League's ongoing sales, Psyonix does not necessarily need to partner with outside companies as much as it used to, Dunham said.

Before breaking out with Rocket League, Psyonix did a lot of contract work, included contributing to the multiplayer modes for Bulletstorm and Mass Effect 3.

Rocket League is currently available on PS4, Xbox One, and PC.

Psyonix stated that "Rocket League'"s quick paced success far exceeded their expectations.
 Psyonix announced that over one million copies of the game had been sold on Steam by August 2015. By the end of 2015, the game had been downloaded over eight million times, and grossed over $50 million. In February 2016, Psyonix stated "Rocket League" has earned $70 million in revenues with at least four million copies sold, not including downloads on the PlayStation system; they have tracked at least 12 million unique players of the game, including both purchases and during free play offers such as its availability on the PlayStation Plus membership program. Within three weeks of its release for the Xbox One, Psyonix observed at least one million unique players for that system. By July 2016, a year after its release, Psyonix reported more than 6.2 million sales of the game across all platforms, including 5.5 million purchases of DLC, with more than $110 million in revenue; 40% of these sales have been for the PlayStation 4 version with the remaining split roughly equally between PC and Xbox One. Psyonix has tracked more than 25 million unique players by January 2017, averaging 1.1 million players a day, and reaching 220,000 concurrent players at one point. Sony stated that "Rocket League" was the most-downloaded title from the PlayStation Store in 2016. By the beginning of 2018, the number of players had risen to over 40 million, and subsequently reached 50 million by September 2018.


After leaving home at 18, she lived with and later married James Ballard, and in 1995 the family moved to Spean Bridge, in the Scottish Highlands, closer to conditions suitable for her training.

(meta data) TITLE: Tom Ballard: Mother and son lived 'their days as tigers' - BBC News

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# Tom Ballard: Mother and son lived 'their days as tigers'

BBC Scotland Highlands and Islands reporter

A young Tom Ballard with his mum Alison Hargreaves before her fatal expedition to K2

The bodies of British mountaineer Tom Ballard and his Italian climbing partner Daniele Nardi have been found on the Pakistani mountain Nanga Parbat after going missing last month.

Tom's love of climbing started at a young age and was forged in Scotland.

Tom grew up in the Scottish Highlands after his mother, celebrated climber Alison Hargreaves, moved her family from Derbyshire in the 1990s.

Her motto was: "It is better to have lived one day as a tiger than a thousand days as a sheep."

From a young age she was fascinated with hills and mountains, partly thanks to the high school she attended in Belper, a town on the edge of the Peak District, which encouraged pupils to take up outdoor pursuits.

Her mother and father, academics who read mathematics at Oxford University, would also take the family on holidays in the countryside.

Drone search for missing climbers delayed

Alison left home at 18 to pursue her dream of being a professional climber.

She moved in with her partner Jim Ballard, who shared her interest in climbing and skiing.

They would later marry and have two children - Tom and Kate.

In the 1980s Alison was one of the few British women recognised for her climbing efforts.

She climbed all over the UK, tackled difficult routes in the Alps and joined an expedition in Nepal.

In July 1988, Alison climbed the north face of the Eiger in Alps while six months pregnant with Tom.

Tom Ballard spent his childhood in the Highlands.

He was reported missing while climbing Nanga Parbat

October 1994 saw her make her first attempt to climb the world's tallest mountain, Everest, alone and unaided.

During her ascent she made the decision to turn back because of the risk of frostbite.

She returned to Everest about six months later and on 13 May 1995 became the first woman in history to reach the summit solo and without the aid of bottled oxygen.

In a radio message from the summit, she said: "To Tom and Kate, my children, I am on the highest point in the world and I love them dearly."

Earlier in 1995, Alison and Jim had moved their family to Spean bridge, near Fort William, in Lochaber.

Alison Hargreaves pictured during her descent from Everest in 1995

The family's move brought them close to Britain's highest mountain, Ben Nevis, and the Nevis Range snowsports centre.

Ian Sykes, a climber and founder of Nevis Range, became a close friend of Alison's and remembers the family's time near Fort William.

He said they moved to the Highlands to help with Alison's training for Alpine conditions.

The family, including Jim, Tom and Kate, also skied and climbed in the area.

Mr Skyes said: "They are very much a mountaineering family.

Family friend Ian Skyes said Tom learned to ski and climb in the Highlands

"The kids were better skiers when they were three-year-olds than I am now.

"Tom learned to ski from an early age and has been a climber from the cot upwards.

"I guess he must have been in his early 20s when he left Fort William and some of the climbs he put up around here have never been repeated."

Mr Sykes added: "It must have been very tough for the kids growing up without their mum and I hope to God things are going to be ok in this case.

Alison said in 1995 that no-one would set out to do something they thought would cost their life

Shortly after returning home from Everest, Alison began preparations for an expedition to the summit of the world's second highest mountain, K2, in the Karakoram Range on the Pakistan-China border.

At the time, the idea of woman leaving her young family to tackle potentially dangerous expeditions caused a media furore.

In an interview with BBC Scotland, Alison said no-one would set out to do something if they thought it would cost them their lives.

She said: "That is the public regard of mountains and climbing.

When we go climbing we minimise the risks.

"If anyone went off deciding they might never come back, that would be a very unfair thing to do, especially for someone with a young family."

Asked if she ever felt fear, she replied: "The fear that I usually have is getting really bad weather and that you cannot make the most of things.

"There is a lot of effort from other people who are supporting you.

Alison with her children in Fort William before leaving for K2

Alison successfully reached the summit of K2.

She died on the descent with five others after they were caught in a storm.

In the days that followed, her husband Jim told BBC Scotland that he intended to take Tom and Kate to see K2 to help them understand the "awesome beauty" of the peak.

He said his family would continue to spend time walking and climbing, adding that his children could decide for themselves whether to pursue this interest once they were adults.

Tom, 30, and and Italian Daniele Nardi, disappeared more than a week ago on Nanga Parbat, the world's ninth highest mountain, in Pakistan.

Sharing his parents' passion for climbing, Tom's professional climbing career had already taken him to some of the world's most challenging peaks, including the Cima Grande di Lavaredo, Pizzo Badile, Matterhorn, Grandes Jorasses, Petit Dru and the Eiger.

But he never lost his love of the Scottish Highlands.

Tom has tackled some of the world's highest mountains

The biography on Tom's sponsor Montane's website reads: "Tom Ballard was born in the Peak District of England in 1988 before moving to the Highlands of Scotland in 1995.

"Here he went to school in the sight and smell of Britain's highest mountain - Ben Nevis 4,406 ft.

"He has never had any other wish or thought, than to be a climber."

Describing Tom as a committed climber who had been making a name for himself in continental Europe, family friend Mr Skyes said: "Tom was doing extremely well and had done some amazing climbs in the Alps."

He added: "I know his family are very upset to have this devastating thing to happen and for it to happen twice is extraordinary.

"Both Jim and Katie must be feeling dreadful and all I can do is wish them the best."

Tom Ballard: Drone search for missing climbers delayed 1 March 2019 Tom Ballard: Friend's hope for missing climber 28 February 2019 Tom Ballard: 'Killer mountain' search for British climber 28 February 2019

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Hargreaves grew up in Belper, Derbyshire and attended Belper High School.


In order to provide protection against high velocity bullets, the PASGT vest was, in 1996, combined with the Interim Small Arms Protective Overvest (ISAPO) pending the adoption of Interceptor body armor.

(meta data) TITLE: Interim Small Arms Protective Overvest

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The Wayback Machine - https://web.archive.org/web/20011221181143/http://www.globalsecurity.org:80/military/systems/ground/isapo.htm

## Interim Small Arms Protective Overvest

The Interim Small Arms Protective Overvest is an expedient solution to achieve a modular small arms protection upgrade to the fielded Personnel Armor System for Group Troops (PASGT) fragmentation protective armored vest (commonly referred to as the flak jacket).

The ISAPO is worn over the PASGT vest to provide front and back protection against small arms and flechette threats.

ISAPO can also be worn with the Ranger Body Armor (RBA) to add small arms protection to the back.

ISAPO is compatible with fielded load bearing equipment and protective Clothing & Individual Equipment.

It weighs approximately 16.5 pounds and consists of two components: a carrier and a pair of ceramic small arms protective plates.

ISAPO was approved for MS III in March 1996 with the intention of a one-time procurement of 4000 overvests for Army contingency purposes.

The ISAPO will be available for use until the full solution (Modular Body Armor) is fielded in FY99.

ISAPO will be available in Woodland and Desert camouflage patterns.

ISAPO provides the same level of small arms protection as the RBA.

However, the area of fragmentation protection is greater using the ISAPO/PASGT combination than with the RBA, and small arms protection is greater covering front and back torso then RBA with front plate alone.

The cost of providing ISAPO is approximately half the cost of RBA (the PASGT vest has already been issued).

The 4000 ISAPO one-time procurement was conducted by U.S. Army Soldier Systems Command (SSCOM).

ISAPO components will also be available through GSA Federal Supply if additional quantities are required in the future.

From the 4000 ISAPO supply, 1146 ISAPOs were provided to support USAREUR mobile and dismounted Military Police in Task Force Eagle under Operation Joint Endeavor.

The balance of 2854 ISAPO will be available from a single depot for contingency purposes.

The Central Funding and Fielding (CFF) program purchased the 4000 ISAPOs for contingency use.

Personnel Armor System for Ground Troops


The film is a comedy about a busy morning in a family and a mother who is trying to take care of everything by herself.

(meta data) TITLE: Do I Have to Take Care of Everything? (2012) - IMDb

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# Do I Have to Take Care of Everything? (2012)

Pitääkö mun kaikki hoitaa? (original title)

A chaotic morning in a family with kids, and a mother who is determined that it's best to take care of everything herself.

Joanna Haartti, Santtu Karvonen, Ranja Omaheimo |

View production, box office, & company info

### Michael McKean Rolls the Dice on His Career

Michael McKean draws on his 231 acting credits to share his best Hollywood stories as he plays our game of "Role the Dice."

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Best Short Film, Live Action, 86th Academy Awards 2014

When Pia plays a mysterious vinyl record single, she suddenly knows how to travel through time.

A young boy Alfred is dying, but through the stories about HELIUM - a magical fantasy world, told by the hospital's eccentric janitor Enzo, Alfred regain the joy and happiness of his life, and finds a safe haven away from daily life.

Miriam, with her two children, escapes her husband, whom she fears.

Mr Hublot is a withdrawn, idiosyncratic character with OCD, scared of change and the outside world.

Robot Pet's arrival turns his life upside down: he has to share his home with this very invasive companion.

A neurotic man relates his unsuccessful attempt to open a simple savings account at a bank.

Eleven-year-old Damian Lynch (Scott Graham) is called in at the last moment to serve as an altar boy at an important mass in his local parish.

Following his last appearance as... See full summary »

To the annoyance of her cat a kindly witch allows a dog, a bird and a frog who have helped her retrieve things she has lost to ride on her broomstick, making it top heavy.

Mickey, Minnie, Horace Horsecollar, and Clarabelle Cow go on a musical wagon ride until Peg-Leg Pete tries to run them off the road.

Walter and Madge have grown apart: he lives on the floor and she lives on the ceiling.

When Walter tries to reignite their old romance, the couple must face their equilibrium.

A comedy about a chaotic morning in a family with kids, and a mother who is determined that it's best to take care of everything herself.

Even though I don't know Finnish at all, I really enjoyed it.

Because the story connects to our daily life and it may happen in reality.

And also my favorite character in the movie is the father.

He is so cute and funny, and I think almost all of the fathers in the world are like that.

The director describes the father's behavior very well.

We can feel a love and family bonds in it.

I realized the importance of family and I wanted to see my family so much.

Thanks for making my mind and heart warm!!I strongly recommend watching this movie.

1 of 1 people found this review helpful.

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"Do I Have to Take Care of Everything?" (Finnish: "Pitääkö mun kaikki hoitaa?") is a 2012 Finnish short film by Selma Vilhunen. It was nominated for the Best Live Action Short Film at the 86th Academy Awards.


Burden reached the first ranking event quarter-final of his career in the 2016 China Open courtesy of victories over Robbie Williams, Joe Perry, Rhys Clark and Rory McLeod, where he lost 5–1 to Stephen Maguire.

(meta data) TITLE: Maguire Snatches Crucible Seeding - WPBSA

World Professional Billiards and Snooker Association - World Governing Body

Stephen Maguire has ensured that he will be among the top 16 seeded players for the 2016 Betfred World Championship following his 5-1 defeat of Alfie Burden in the quarter-finals of the China Open today.

The result means that former world number one Ding Junhui will now have to win three qualifying matches at Ponds Forge over the coming days if he is to be join the world's best at the Crucible Theatre for a tenth successive year.

Prior to the start of the tournament, Ding's fate rested in his own hands following strong performances recently at the World Grand Prix and Players Championship events.

A 5-1 defeat to Welshman Lee Walker on the opening day in Beijing however, opened the door for the chasing pack outside of the top 16 to overhaul him this week.

One by one those players have dropped out of the tournament, but Maguire has made no mistake, defeating Gary Wilson, Jack Lisowski, Dominic Dale and today Alfie Burden to reach the semi-finals of the China Open.

Earning a minimum of £21,000, the Scot will now climb from 19th to at least 16th depending on his progress this weekend.

His win today means that we now know for certain the identities of the 16 seeded players at the Crucible, although their placement in the draw may yet change depending on results this week.

### As things currently stand, the draw for the Betfred World Championship would look as follows:

In terms of potential changes, Judd Trump would rise to fifth by making the final in Beijing and so switch halves with Ronnie O'Sullivan in the draw.

John Higgins too can climb as high as fifth with victory at the China Open, while Ricky Walden could move above Joe Perry to ninth by reaching the final.

Finally, Stephen Maguire having taken a top 16 place at the last, could yet rise as high as 11th if he were to go on and claim the title this week.

Full updates will of course follow here at WPBSA.com over the course of the weekend and you can view the latest projected seedings here: http://www.prosnookerblog.com/rankings/latest-projected-seedings-2/

Race to the Crucible rankings World Championship

#### Tour Survival 2015/16 – World Championship Update

#### WPBSA Finalises World Championship Invitations

Wattana, Morgan Among Opening Day Winners in Sheffield

Champion of Champions 2019 – Daqing Update

World Seniors Snooker Announces Extended Partnership with ROKiT Phones.com

He saw off three players to reach the first round of the Australian Goldfields Open and then beat Michael Holt 5–2 to match his best ever performance in a ranking event. In the last 16 he lost 5–3 against Mark Davis. At the European Tour event, the Gdynia Open, Burden won four matches but was then defeated 4–3 by Sam Baird in the quarter-finals. He finished 34th on the Order of Merit, nine places outside of qualifying for the Finals. Burden got through to the second round of the China Open courtesy of Tony Drago's withdrawal and then lost 5–3 to Jimmy White.
 Burden won just two matches in his first eight events of the 2014/2015 season but then won four matches to advance to the quarter-finals of the Xuzhou Open, where he lost 4–2 to Tom Ford. He beat David Grace 5–3 and Sam Baird 5–4 in qualifying for the German Masters. Burden defeated Michael Georgiou 5–3 in the first round, closing the match with a 112 break, but fell short of reaching the first ranking event quarter-final of his career as Ryan Day knocked him out 5–2. He ended the season 67th in the world rankings which would have relegated him from the tour, but his Asian Tour performances earned him a new two-year card.


She currently plays for the Boston Pride in the National Women's Hockey League and the United States women's national ice hockey team.

(meta data) TITLE: Kacey Bellamy Bio, Stats, and Results | Olympics at Sports-Reference.com

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Born: April 22, 1987 in Providence, Rhode Island, United States

Affiliations: New Hampshire Wildcats, Durham (USA) / Boston Blades, Boston (USA)

Kacey Lee Bellamy (born April 22, 1987) is an American ice hockey defenceman for Calgary Inferno, an Olympic gold and two-time silver medalist, and seven-time IIHF World Women's Championship winner.


In February 2019, it was announced Armie Hammer, Gary Oldman, Evangeline Lilly, and Veronica Ferres had joined the cast of the film, with Nicholas Jarecki directing from a screenplay he wrote.

(meta data) TITLE: Gary Oldman, Armie Hammer, Evangeline Lilly to Star in 'Dreamland' | Hollywood Reporter

Heat Vision Box Office Reviews Roundtables Archives

# Gary Oldman, Armie Hammer, Evangeline Lilly Team for Opioid Thriller 'Dreamland'

## The film, making its market debut in Berlin, comes from 'Arbitrage' writer-director Nicholas Jarecki.

The European Film Market just got a little more star-studded thanks to Gary Oldman, Armie Hammer and Evangeline Lilly, who are set to team up for Dreamland, an "opioid thriller" from Nicholas Jarecki and the follow-up to his 2012 debut Arbitrage.

German actress Veronica Ferres will also star in the project, written by Jarecki and billed as the first theatrical film to tackle the international opioid crisis.

Principal photography is underway in Montreal and Detroit, with Lisa Wilson due to introduce buyers to the project in Berlin through her Solution Entertainment Group.

William Morris Endeavor represents U.S. rights with LGNA Legal.

In Dreamland, three stories about the world of opioids collide: a drug trafficker arranges a multi-cartel fentanyl smuggling operation between Canada and the U.S., an architect recovering from an OxyContin addiction tracks down the truth behind her son's involvement with narcotics, and a university professor battles unexpected revelations about his research employer, a drug company with deep government influence bringing a new "non-addictive" painkiller to market— all in a thinking person's gangster tale of high and low.

"The devastating impact of the opioid crisis reaches all corners of society," said Jarecki, who saw Arbitrage, starring Richard Gere, become both a critical and commercial hit, setting a record as the highest-grossing independent day and date release of all time.

"Gary, Armie and Evangeline are the perfect performers to bring the human face of this epidemic to audiences everywhere."

Producers are Jarecki and Cassian Elwes (Dallas Buyers Club), who financed together through Jarecki's Green Room Films and its continuing relationship with MUFG Union Bank.

Michael Suppes and Tony Hsieh executive produce along with Douglas Urbanski.

Mohammed Al Turki, Lisa Wilson, William Rosenfeld, Sam Slater, and David Bernon also executive produce.

Co-executive producers are Kean Cronin, Robert Kapp, and Samuel Reich.

Dreamland is a production of Green Room Films in association with Tuesday Films, Matisse Pictures, Construction Film and Burn Later Productions, and is a Canadian-Belgian co-production of Les Productions LOD and Bideford Productions.


Her sister's Elizabeth's husband was James E. O'Hara, a lawyer and congressman from North Carolina.

(meta data) TITLE: James Edward O'Hara (1844–1905) - North Carolina History Project

(meta data) AUTHOR: Website design and web development by Mango Web Design http://mangowebdesign.com

James Edward O'Hara was born on February 26, 1844, reportedly in New York City, and died in New Bern, North Carolina, on September 15, 1905.

One of four black congressmen elected from North Carolina's Second District— called the "Black Second" for its black-majority population—during the late 19th century, O'Hara was easily the state's most flamboyant and controversial black officeholder of the era.

He was elected to two terms in Congress (1883–1887) despite lingering charges of bigamy and corruption, and a controversy over his actual birthplace and his claim to U.S. citizenship.

The illegitimate son of an Irish seaman and a West Indian mother, O'Hara was distinguished in later life by his red hair and aggressive campaign style.

Early in life, he listed his birthplace as Saint Croix, in the Danish West Indies, the home of his mother, where he spent much of his childhood, and later initiated naturalization proceedings to become a U.S. citizen; by 1880, he began listing New York City as his actual birthplace, claiming that his parents had since told him they left New York sometime after his birth, and that his father was a U.S. citizen.

James O'Hara was apparently well educated, either in New York or the West Indies, and was raised as a Roman Catholic, although little else is known of his childhood.

O'Hara first visited North Carolina in 1862, during the Civil War, in the company of Northern missionaries, and began working as a schoolteacher in New Bern, while that city was under occupation by the Union Army.

He became active in Republican politics after the War ended, and served as engrossing clerk to the state's constitutional convention in 1868, and as a legislative clerk in the 1868-69 General Assembly, before moving to Washington, D.C.

While employed as a clerk in the U.S. Treasury Department, O'Hara studied law at Howard University, but did not receive a degree.

By 1873, he had moved his family to Halifax County, North Carolina, where he studied law privately, and was admitted to the state bar.

Active in local politics as a Republican, O'Hara was soon elected to the Halifax County commission, and chosen by its black majority as chairman.

In 1875, he was a Halifax County delegate to the state's constitutional convention.

He unsuccessfully sought the Second District's Republican nomination for Congress in 1874 and 1876.

In 1878, he finally won the Second District's Republican nomination for Congress, facing both a white Democrat W. H. "Buck" Kitchin, and an independent black Republican candidate, James H. Harris, in the general election.

During the campaign, the charge of bigamy was investigated but never resolved conclusively, and a separate controversy raged over his birthplace and actual citizenship.

With the black vote badly split, and many of O'Hara's votes invalidated by Democratic registrars, Kitchin was awarded the 1878 election.

O'Hara contested the election outcome, though unsuccessfully; most of his records were destroyed in a disastrous fire at his Enfield home, and the House formally refused his contest in 1880.

Charges of corruption and malfeasance in office against O'Hara and many of his Halifax County colleagues in 1879, after they left office, were never sustained in court; although O'Hara did plead nolo contendere in one instance, his one actual trial ended in a hung jury, and almost all charges against him and most of his colleagues were later dropped.

O'Hara claimed that the indictments and charges were untrue, and simply part of a political vendetta against him by the Democratic establishment; he was probably correct, according to historian Eric Anderson's detailed analysis of the case.

In 1881, O'Hara returned to active politics, playing a leading role as an anti-prohibition leader against the state's temperance movement.

In 1882, O'Hara defeated the incumbent white congressman, Republican Orlando Hubbs, for the Second District nomination, and was unopposed in the general election.

O'Hara was sworn in as a member of the 48th Congress in March 1883—initially, its only black member—and was overwhelmingly re-elected to the 49th Congress in 1884 over white Democratic opponent Frederick Woodard, a future congressman.

In 1886, O'Hara won his district's nomination for a third time, but was defeated for reelection by white Democrat Furnifold M. Simmons, in a three-way race including independent black Republican candidate Israel B. Abbott.

According to Anderson, O'Hara "was truly a man 'not easily subdued,'" and despite obstacles, "represented his district well during his four years in Congress."

He introduced bills to provide aid to common schools, improve waterways, provide pension relief, and erect public buildings, and also obtained appointments of several black postmasters in the Second District, including Edward Richardson at New Bern.

In 1884, O'Hara gained national press attention by attempting to attach an antidiscrimination rider, which would have mandated equal accommodations for all railway passengers, to an interstate commerce bill.

Following his 1886 defeat, O'Hara returned to Enfield, where he practiced law and published a weekly newspaper, until 1890, when he moved to New Bern.

There, his son Raphael, a recent graduate of Shaw University, joined him in the law practice.

He claimed to have divorced his first wife, Ann Maria Harris, whom he married in New Bern in 1864, after moving to Washington, D.C., in 1869.

That same year, he married Eleanor Elizabeth (Libby) Harris of Oberlin, Ohio.

O'Hara had at least three children, including Raphael O'Hara, who was born in Washington, D.C., in 1871.

After O'Hara's death from a stroke, a state highway historical marker was erected near Enfield in his memory (1992).

He is buried in New Bern's Greenwood Cemetery.

"John A. Hyman, James E. O'Hara, and Henry P. Cheatham/North Carolina," in Maurine Christopher, America's Black Congressmen (New York: Thomas Y. Crowell Company, 1971); Thomas Holt, "James Edward O'Hara," in Dictionary of American Negro Biography, ed. Rayford W. Logan and Michael Winston (New York: W.W. Norton, 1982); "Raphael O'Hara," in A. B. Caldwell, History of the American Negro, North Carolina Edition (Atlanta: A. B. Caldwell, 1921); Eric Anderson, "James O'Hara of North Carolina," in Southern Black Leaders of the Reconstruction Era, ed. Howard N. Rabinowitz (Urbana: University of Chicago Press, 1982); Dictionary of North Carolina Biography, ed. William S. Powell (Chapel Hill: University of North Carolina Press, 1979); Black Americans in Congress, 1870–2007, ed. Matthew Wasniewski (Washington, DC: GPO, 2008); Eric Anderson, Race and Politics in North Carolina, 1872–1901: The Black Second (Baton Rouge: LSU Press, 1981).

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Frankie E. Harris married Col. George T. Wassom, a lawyer and politician, in 1874. They had two daughters, Pearl and Mabel. F. E. H. Wassom died in North Carolina in 1933, aged 83 years.


In June of that year, the St. John's Board of Visitors and Governors voted to make Roosevelt the college-wide president as of July 1, 2016.

(meta data) TITLE: Proposed Board Amendments to Change the Polity | St. John's College

# Proposed Board Amendments to Change the Polity

## Results of the Board of Visitors and Governors Polity Vote

The following information was sent June 17, 2016 on behalf of the deans of the college.

Dear St. John's faculty, staff, students, alumni,

Today the Board of Visitors and Governors approved changes to the Polity concerning the governance structure of the St. John's College.

After several weeks of vigorous, spirited discussion in all parts of the St. John's community—faculty, staff, students, alumni, friends and board members—the board unanimously has adopted a plan that is endorsed by the deans and presidents and takes into consideration the concerns of faculty and alumni.

The plan retains two campus presidents: one of them will also serve as college-wide president overseeing college-wide affairs; the other will be imbued with authority over affairs on his or her campus.

Both presidents will report directly to the board.

Mr. Mark Roosevelt, president of Santa Fe, will serve as our first college-wide president.

Mr. Chris Nelson will continue as Annapolis president, and his successor will do the same.

The college-wide presidency will have a term of up to four years.

All college-wide officers and associates will report to the college-wide president.

They will also be responsible to their campus president on local needs: for example, communications support for campus-specific programs, or supporting our partnerships with local friends groups.

The college-wide president will form a cabinet, including his or her fellow president, the deans, and the chief financial officer, which will be responsible for budget approval and financial oversight, among other duties.

We are pleased with this outcome for multiple reasons.

The Polity revisions respect our strong traditions of faculty governance.

After extensive dialogue the board and faculty leadership arrived at an arrangement that improves administrative accountability while honoring faculty supervision of the curriculum.

It guarantees faculty on both campuses direct access to presidents with executive powers, and real influence over the broadest range of decisions affecting the Program.

We have been encouraged, too, by the improved communications between faculty leadership and the board leading up to the present meeting.

We feel confident that under this model the presidents, deans, and board will be able to work together even more productively going forward.

St. John's distinctive two-campus nature makes it difficult to adopt for it conventional models of higher education governance.

Finding an appropriate solution for these times required discussion and reflection.

Some of the public debates were difficult, even heated.

Ultimately, we arrived at a solution through the respectful exchange of opinions.

The new plan will strengthen our operational and financial health while ensuring the integrity of the Program.

As faculty leaders we applaud that balance and are now eager to turn to the urgent work ahead.

On behalf of the college, the three of us thank all who contributed to a good outcome.

Deans Pamela Kraus, Matthew Davis, Joseph Macfarland

The St. John's College Board of Visitors and Governors held a special meeting in May to consider several new budget proposals for the coming year, as well as proposed changes to college governance that would accompany the consolidation of college-wide administrative functions.

The latter changes required amendments to the college Polity, which will only take effect after a 30-day comment period, via a vote at the board meeting on June 17 in Annapolis.

College leadership has been working to reduce operating deficits by cutting operating expenses, increasing revenue, and streamlining college-wide functions, including finance, development, communications, and admissions.

Many of those consolidations have already been completed, and several more will be implemented in the coming weeks and months.

The secretary of the board drafted the amendments to the Polity.

The Polity itself guarantees faculty a 30-day comment period on any proposed amendments.

Recognizing that others may also wish to share their opinions, the board welcomed comments from all members of the St. John's community, including staff, students, and alumni.

Mark Roosevelt is the seventh president of the Santa Fe campus of St. John's College, which also has a campus in Annapolis, Maryland. He took office on January 1, 2016.


The family lives in Riverton, Salt Lake County, Utah.

(meta data) TITLE: Riverton family's 'Frozen' cover is a YouTube hit » Now Salt Lake

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At any given time several distinct crawls are running, some for months, and some every day or longer.

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The Wayback Machine - https://web.archive.org/web/20180823052454/http://entertainment.sltrib.com/articles/view/riverton_familys_frozen_cover_is_a_youtube_hit

# Riverton family's 'Frozen' cover is a YouTube hit

### By Sean P. Means The Salt Lake Tribune

A Riverton family has achieved YouTube glory with an accurate and quite touching cover from the Disney movie "Frozen."

(The Cricket can already hear the grousing: "Lord, not another 'Let It Go' cover."

Filmmaker Robbie Bagley, who runs a production crew called Working With Lemons, made a live-action re-creation of another number from the Disney movie: "Do You Want to Build a Snowman?"

Bagley enlisted his sisters, Mia and Ariana, to play the lonely Anna as a young girl and as a teen.

According to YouTube, the children in the Bagley family act and sing as a hobby.

The production cost a grand total of $5.49 -- the cost of contact paper, which was painted blue to make the door decorations.

Costumes were made from fabric lying around the house.

Mia's shoes were too big for her feet, and held on with duct tape.

The movie was shot on a friend's borrowed DLSR camera.

The audio was recorded with a mic from the "Rock Band" video game.

The video was posted on YouTube on March 15, and since then has garnered more than 16 million hits.

The Cricket's Daily 3: Farewell to a fashion iconPlans for tonight: Delta Spirit flies

highPlans for tonight: Delta Spirit flies high

Country star Alan Jackson coming to Usana Amphitheatre, May 16

Sleater-Kinney reuniting; tour coming to Salt Lake City Feb. 10

The Cricket's Daily 3: 'Fury' wins the weekend

The Working with Lemons YouTube channel was created on October 27, 2008.


As Minister she has been in charge of the World War 100 celebrations, which include commemorations within New Zealand and overseas.

(meta data) TITLE: Activities and Projects | WW100 New Zealand

WW100 – New Zealand's First World War Centenary Programme ran from 2014 to 2019

## NZ'S FIRST WORLD WAR CENTENARY 2014–2019

Special issue of the Women's Studies Journal - Women and the Nation at War

A special issue of the Women's Studies Journal, including articles engaging in historical critique of women's experiences in the First World War, is to be published in June 2016.

Topics: publication, resources, Women in wartime Audience: academics; women in communities Organised by: Women's Studies Association (NZ) Journal Collective Category: Publications and online resources

Publication of 'Godley: The Man Behind The Myth'

Terry Kinloch's comprehensive biography of General Sir Alexander Godley, presenting for the first time a fair and balanced look at his time as commander of the NZEF.

Topics: History, Publications, Books Category: Publications and online resources

Since writing you last... features the letters of four Southland First World War soldiers.

Over 1700 pages from 307 letters have been digitised, transcribed, and made available to the public.

Topics: letters, Southland, primary resource Audience: Teachers, secondary students, historians, general audience, Tertiary students Located in: New Zealand, Invercargill Organised by: Invercargill City Libraries & Archives

Category: Publications and online resources, Exhibitions and new educational facilities, Classroom activities or formal learning, Research or lifelong learning

The Prow commemorates the First World War

A web page featuring First World War stories from the Top of the South, contributed by the community and commissioned by the Prow.

New stories will be added through the commemoration.

Topics: Research, Websites, Digital, August 14

Audience: local visitors, Teachers, Students Located in: New Zealand, Nelson Organised by: The Prow Category: Publications and online resources, Research or lifelong learning

1917 The Darkest Hour stamp and coin issue

New Zealand Post continues to remember and honour those who served in the First World War with the fourth addition to its stamp and coin programme, titled 1917 The Darkest Hour.

Topics: Memorabilia, centenary, Stamps, coins Audience: General, general audience, Philatelists, Collectors Organised by: The New Zealand Post Group

Creating a digital community resource to preserve stories surrounding the impact of the First World War on the Buller district.

Topics: Lottery Grant Recipients, Digital, Online Cenotaph, Community contribution Audience: General Located in: New Zealand, Westport Organised by: Buller District Council Category: Publications and online resources

A collection of pieces focusing on the people, personalities and leaders in the First World War.

Published by Massey University Press in April 2016.

Topics: Publications, Books, History Audience: historians Organised by: Massey University Press Category: Publications and online resources

WW1 Inquiry Class, Sacred Heart Girls' College, New Plymouth

The students will be encouraged to research and create a project on an aspect of the First World War.

Topics: Education Audience: Students Located in: New Zealand, New Plymouth Organised by: Sacred Heart Girls' College New Plymouth Category: Classroom activities or formal learning

Pukeahu: transformation of the National War Memorial Park

The pages on this website reveal the story of Pukeahu National War Memorial Park as told during four virtual field trips facilitated for schools by Learnz.

Topics: Pukeahu National War Memorial Park, online resources, Education Audience: Primary students, secondary schools, Primary and secondary teachers Organised by: The NZ Transport Agency Category: Publications and online resources, Classroom activities or formal learning, Memorials or monuments

Mt Hutt & Methven districts 'Fallen & Survivors' website

Creating a website on the 'Fallen' named on the Mt Hutt District Memorial Arch, Methven, and 'The Survivors' who returned to live in Methven area.

Topics: Research, Digital, Events, Online Cenotaph Audience: General, Descendants, Family history researchers Located in: New Zealand, Methven Organised by: Methven Historical Society Category: Publications and online resources, Commemorative events, parades and services

Matariki Tu Rākau supports communities around New Zeland to plant trees together, creating living memorials 100 years after the First World War.

Part of the One Billion Trees Programme.

Topics: Commemorations, Ceremonies, Memorials, community participation, Conservation, Environment, heritage site Audience: community, Students, family, Maori, family of service men and women Organised by: Te Uru Rakau Forestry New Zealand

Category: Commemorative events, parades and services, Exhibitions and new educational facilities, Tours or trails, Memorials or monuments, Creative projects or crafts, Preservation, conservation or protection, Funding, sponsorship, scholarships, Other

OFFICIAL WW100Life 100 Years Ago on Twitter

History from the perspective of New Zealanders who experienced it.

Daily tweets from diaries, letters, newspapers... shared 100 years later in 'real-time'.

Topics: History, Publications, Digital, Personal stories, Websites

Audience: Students, Teachers, General, Families Located in: New Zealand, Wellington Organised by: WW100 Programme Office Category: Publications and online resources, Classroom activities or formal learning, Research or lifelong learning, Creative projects or crafts

Member of Parliament.:Second term, and promotion to Cabinet.:Minister of Arts, Culture, and Heritage.

World War I 100th anniversary celebrations have been taking place since Barry took office.


(meta data) TITLE: Interview with Lian Lunson – SFIFF56 | CineMalin: Film Commentary and Criticism

(meta data) PUBLISHER: https://www.facebook.com/WordPresscom

# CineMalin: Film Commentary and Criticism

## Exclusive Interviews, Reviews, Essays, and Miscellanea from Sean Malin

in Articles, Behind-the-Scenes, Festivals, Filmmakers, Interviews, Music. ·

Lian Lunson is an acclaimed documentarian, editor, and film producer.

For her 2005 documentary film Leonard Cohen: I'm Your Man, she was awarded the Dorothy Arzner Directors Award by Women in Film.

Her latest work, Sing Me The Songs That Say I Love You: A Concert for Kate McGarrigle (2012), is a record of a 2011 tribute concert to the late Canadian folk legend Kate McGarrigle.

The film features performances from McGarrigle's children and executive producers Rufus Wainwright and Martha Wainwright, as well as from McGarrigle's sister Anna, comedian Jimmy Fallon, and a wide assortment of singers and songwriters.

Sing Me The Songs was an Official Selection of the 56th Annual San Francisco International Film Festival, held in May 2013.

Ms. Lunson spoke with Sean Malin of CineMalin: Film Commentary and Criticism about her former life as a dramatic actor, the templates from which her film drew inspiration, and her intense relationship to the McGarrigle and Wainwright clans.

This interview has been transcribed, edited, and compressed from audio for publication.

Sean Malin: Your film has been screening for audiences around the world.

Have you been pleased with the reception to it?

It really connects with people, but not with everybody.

I don't know that it is everyone's type of film at all, because some people think it is just a concert film and are taken aback by the rest of it.

But for some, it strikes them very deeply, and I always make my films for those people.

SM: Specifically, for people who you think might have a profound reaction to it?

Not everyone is capable of that, or rather, not everyone is going to find that in the film.

Often it will go over somebody's head or it will not resonate with them.

But I've made it for the people who will take it to the deepest place.

When you were performing, did you choose your projects in the same way?

I was in Australia and had just been to drama school; at that point, you take anything and everything and are happy to be working.

SM: Did you train at N.I.D.A. [National Institute of Dramatic Art]?

I was at The Ensemble, which is no longer [in Australia].

It was a great, great school, a Stanislavski method school.

I did a lot of theatre and a couple of movies that were pretty terrible.

But, you know, I grew up in the middle of nowhere and I loved movies.

I thought that you had to be an actor to be in them.

So that's why I got into acting before I realized I actually preferred doing the other stuff *laughs*.

SM: How long into your career in entertainment did it take you to realize where your interests laid?

When I first came to America, I started working with a production company, where I learned how to do budgets and all sorts of production work.

Once I realized I had the tools to get something done – and also had some sort of creative vision – it became very exciting for me to recognize that.

Getting those tools is ninety percent of the challenge, really.

SM: Do you mean technically? Like, physically getting things done?

My first job came from someone at a record company wanting to do something with Willie Nelson.

And I was the only person who could do it for the amount of money they had.

I happened to be a big Willie Nelson fan and knew a lot about him, and I made what I think is a beautiful piece on him.

For some people, they are good with budgets but maybe not so creative, they are typically one or the other.

I happen to be more on the creative side [of filmmaking], so I was able to say I could do this creatively, while also knowing how to get it done technically.

I imagine that in your field of work, documentary and concert filmmaking, that's a pretty necessary skill.

I'm always struck by filmmakers who are not involved with their budget in any way or just have a producer who deals with it.

At the end of the day, that producer can come over and say, "Wow, you know, we can't do this shot because we don't have the time or the money."

Without the ability to look at that budget and say, "I can take [this amount] from here and put it there," you lose power.

It's a no-brainer for me – I would think people would want to be able to say that to their producer.

Without trying to make you or anyone sound like a dictator, being the director of a film does place you into a position of power, and sometimes creates authorship even if the film is a collaborative work.

Have you found that, by taking the reigns of your budgets and moving them directly toward what you've described as your creative vision, that your job as a filmmaker has become easier?

Well, I'm not the sort of person to walk away from a project when there's not enough money.

As an artist, you tend to do what is necessary for that film.

I think people can often organically sense that you have done whatever you needed to in order to get it made.

I'm a big fan of 70's concert films, many of which didn't have all this fancy equipment or cut like the MTV generation.

Those films felt so real and so organic because, you know, they shot very close, they didn't have cranes and all these things.

I've always liked to feel like I'm there and have always tried to work in that way.

I'm lucky because that has always seemed to work in my favor.

I do not like to work with a lot of equipment or "stuff."

Talking about concert films in the seventies, the first thing that comes to mind in a significant way has to be The Last Waltz (Scorsese, 78).

LL: Of course, as well as Mad Dogs & Englishmen (Adidge, 71), Concert for Bangladesh (Swimmer, 72)

Bangladesh and The Last Waltz have one thing in common that seems mildly contrary to what you're saying: this attention to lighting and the four major cinematographers on Waltz, like Michael Chapman and Laszlo Kovacs.

Your film achieves a similar effect, I think, but you work intentionally on a much smaller scale than those films.

LL: That is a compliment, as that's what I am trying to do.

Often these days, particularly in concert films, they tend to use so many cameras and all of these gadgets, and I just think it is waste.

One of the things I learned in producing was what not to do with money and equipment that would just become waste.

A lot of times someone would get everything they could because they didn't know what, specifically, they wanted to do.

But you don't need backups if you know what you want your film to look like.

SM: Were you involved in arranging the Concert for Kate, or were you brought in —

I was there from Day One and did all of it.

SM: Lighting for the concert, logistics for everyone appearing, and budgets?

In these venues…On the Leonard Cohen film (2005's Leonard Cohen: I'm Your Man), I was not even allowed to be in the [Sydney] Opera House where we shot.

I had no control over the lighting at all; it wasn't lit for film or anything.

I was basically there as a voyeur for a Sydney Film Festival event and had to do the best I could in that circumstance.

In this case, we were putting on the concert for a film audience, which I'm quite sensitive to.

I don't like to feel like I'm in the way or that the cameras stand out at all.

And you don't have much control of lighting, anyway, in these sorts of venues.

Sometimes you can ask for a little favor with a light here or there.

I think it must be much harder on the type of concert film in which the audience and every thing onstage has been carefully arranged.

Those filmmakers often have to find "that shot," whereas I'm in search of something much more organic.

SM: How long after Kate's death [in January 2010 to clear-cell sarcoma] did Rufus and Martha [Wainwright] contact you?

LL: I think it was just a bit less than year when I heard from Rufus.

SM: Was I'm Your Man when you and Rufus first came into contact?

LL: Exactly, yeah, and I met Kate then, too, because she was in that concert.

Ironically, I believe the first time she thought something was wrong was on the plane ride to Sydney for that concert.

So it was sort of weird to be coming back and working with the family again under those circumstances.

It sounds like you had a real, qualified relationship with your subject and her family.

If that's the case, why would you want to make yourself invisible in the film?

For example, you could have included interviews between you and her or you and the subjects.

I just don't think I'm that sort of filmmaker *laughs*.

I do think that kind of film has its place.

But my subjects are so large, and the atmosphere of their lives or deaths fills the rooms.

In those situations, I think you only have time for the people who are closely involved in that atmosphere.

It might be different if I were making a film about a very close friend of mine, but not in a situation that requires you to pay homage to the world that you're in.

SM: Were Rufus and Martha supportive of your creative vision for the film?

It helped that we had worked together on the Leonard Cohen film.

I think they trusted my approach in how to get things done.

They know the way I shoot: very close, very still.

We had stayed friends and seen each other over the years since that film.

This was also something we had to put together very quickly, so it helped that they knew how I shot.

Right – weren't you in preparation on a project in between I'm Your Man and Sing Me The Songs?

Yes, I was writing a script of a film I tried desperately to get made but couldn't because the industry was going through so many changes.

I had attached big names and prepared everything, but I still kept hitting a wall.

You have an IMDB credit with several question marks next to it and Christopher Walken's name.

LL: He was attached with Shirley Maclaine, yeah.

How does something like that not get made?

it's a good script, too, so it will get made.

But when Rufus asked me to do this, I just put that script aside – it just seemed like the right thing to do.

I worked too hard not to get it back up off the ground and get it going, yet I couldn't miss doing this project, even if it took me all my time.

Help me create the timeline in which this film was made.

You're contacted by the Wainwrights after the tragedy.

Then, how much time did you have and what did you begin organizing to get the film made?

Rufus and I were at a dinner and he asked me some questions about what it would take to get a film made, how the logistics worked, things like that.

Later that week we met again and he burst into tears, then I burst into tears…and we both knew then that I had to make the film.

SM: And how long from then did it take you to organize everything for the concert ["A Celebration of Kate McGarrigle," May 12 and 13, 2011]?

LL: Not long, actually – maybe a couple of months?

When I decided to do the film, the concert date had already been set as both a tribute to Kate and as a Kate McGarrigle Foundation event.

We started out with Rufus asking me how I might go about filming the concert since they already knew it was happening.

So I went set about raising funds for [the feature}…and then just did the editing out of my house in my living room.

SM: How has the distribution process been for this film?

Well, in addition to editing it, we're self-distributing the film as well.

Our first outing will be at Film Forum in New York City [beginning June 26, 2013], which is big and good.

My Leonard Cohen film opened there, too.

We're also going to be on Video-on-Demand through Sundance Platforms, which I'm very excited to be a part of.

Has the film been shown to American audiences, aside from the San Francisco International Film Festival?

We had a low, low-key screening at the New York DocFest.

They had just gone through Hurricane Sandy and we didn't have any press or anything.

We just, pretty much, invited our friends and Rufus's friends to it, and kept it under the radar.

In addition to being Sundance alumni, we did screenings in London, Sydney, Berlin in February, and we'll do Seattle after San Francisco.

SM: Has that been enough to get a foothold in with audiences from the folk generation?

I would hate to use the word "market" in terms of reaching out to them…

I don't think we've been out enough yet for that.

There are people from that group who have seen it, but they tend to be Kate McGarrigle or Rufus Wainwright fans anyway.

The strongest reactions we've gotten are from people who are unfamiliar with her work.

You know, she put her career on hold in a big way to raise her children, but the film really showcases her songs.

My hope is that the people who don't know much or anything about Kate McGarrigle will come to love her music and be turned on to it.

I tend not to make films for fans [of the subjects] because you know the fans will see it anyway, no matter what.

We're trying to reach out to a new audience who don't know this woman who wrote these incredible lyrics, or Leonard Cohen, this poet who still makes music.

Those are the people who come up to me after the films most.

Last year, Malik Bendjelloul's Searching For Sugar Man (2011) begot a sort of second Renaissance for another folk poet.

Sixto Rodriguez's entire life has been changed by the success of that film.

Given that movie's success, do you imagine that your film could have that effect on Kate's legacy?

You have to give as much life to your films as you can, and then just let them go.

It sounds cliché to say, "if it turns just one person on" or "touches one person in some way," but that's my job.

Someone like Rodriguez was so talented and powerful that people had a vague memory of hearing his songs.

Everyone I know was like, "I think I remember hearing that somewhere!"

SM: What is it about folk poets – Willie Nelson, Leonard Cohen, Kate McGarrigle – that particularly draws you?

I'm not actually drawn to folk poets in any real way.

I did the film on Leonard Cohen because he is Leonard Cohen.

I could not define him as anything other than Leonard Cohen.

For Kate, I initially did the film because Rufus asked me to do it, and because these are incredibly talented people.

They aren't just pop stars or commercially marketed [entities]; they are pure, raw talent.

THAT is what interests me and what I connect to in my subjects.

Do you think working with a pop star or commercial entity on a concert film means sacrificing that real drama, that organic quality you're in search of?

For example, in Kenny Ortega's This Is It (2009) or Katy Perry's Part of Me (2011) – though they may be deep documentaries, do they lose something in trying to represent popular culture?

I don't actually know how well that works, and I've not watched anything like that.

But I am not a big believer in spilling out all your information on reality TV or in "Behind the Music" sorts of things.

They are great, but sometimes less is more – I'm far more interested in trying to capture the energy of a person and the atmosphere around a person than in what they ate yesterday or whom they dated.

If it's possible to tap into that otherness, that quality, that makes them so talented and great.

SM: Tell me a little bit about Wim Wenders's [the film's executive producer] involvement.

He's been my mentor now for years and is a very close friend.

In some way, he's been involved in all my films, whether in the editing room or just talking with me about them.

He's of course an incredible filmmaker and I was a huge fan for many, many years.

I was so lucky to have met him, and we became friends.

He had come to my house to visit while I was assembling the footage before anything had been cut.

He saw it and he said, "Wow, if I can do anything or be part of this film in any way…"

He watched the film a couple times and spoke to me about it.

He didn't do physical work but that really doesn't matter.

When you have someone like Wim Wenders and he wants to lend his name to make it a "Wim Wenders presents" film, that's a big honor.

It's like Scorsese lending his name to younger filmmakers or producers these days, and Wim is very much on that level for me, particularly in music films.

Having his name attached meant a lot to me and to the family, too.

After he came onboard, he met up with Rufus in Germany and saw Martha in Berlin.

They had known each other a bit, but Wim was already a big fan of their music, you know?

SM: Because he's not busy enough [Wenders released 2011's Pina and Mundo Invisivel in 2012].

That's part of the reason he didn't do more on it, because he was so busy.

He wanted to get involved, but he had Pina coming out for the Oscars and was just so busy.

But I try to get him involved with everything I can because he's, you know, a legend.

I definitely want people who aren't familiar with him to go, "Who's Wim Wenders and why is he working with the Wainwrights?"

It must be hard to feel good about a film that commemorates a tragedy.

That being said, have you found that the wide range of people you worked with to get the film made are satisfied that it does justice to the life of Kate McGarrigle?

And there are multiple films you could make about Kate McGarrigle's life, or Kate and her sister Anna, the career of the McGarrigle Sisters.

There's her relationship with [former] husband Loudon Wainwright III.

My film really focuses on this concert and her children.

I could not have fit them all in and do a concert film as well.

Rufus and Martha were my focus in this film, but there's so much more to her life and to her career that I just was not able to touch on.

My job, my main goal, was to capture the emotion and energy at this particular concert, and that is something that I do in the film.

There are times where you'll watch a concert or seeing a documentary of footage where you think, "Wow, that is nowhere near as good as being there."

Whereas I sought to make sure that people who may have seen the concert and then see the movie think the movie is better.

And if not, that people feel like they were there during that experience

Editor's Note: Following our interview, Ms. Lunson generously donated the following exclusive clip from Sing Me The Songs That Say I Love You: A Concert for Kate McGarrigle.

The short-format trailer explores several of the film's most beautiful sequences.

Sean Malin and the transcribing editor(s) of this piece would like to thank Ms. Lunson for this striking clip, and for various still images in the above interview.

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Lian Lunson was born in Victoria, outside the Australian metropolis Melbourne. After attending The Ensemble drama school in Sydney and working as an actor, she moved to Los Angeles in 1987 to join the film industry. Lunson produced commercials and music videos, and in 1997 opened her own production company based in LA, Horse Pictures. At the request of Island Records, Lian made a video for Willie Nelson in Ireland for his Spirit album. For the song 'She Is Gone', she also made a 15 minute electronic press kit. It was at that time that Lian took Nelson to meet U2 at their studio in Dublin. Whilst there, U2 and Nelson recorded the song 'Slow Dancing', which was captured on film by Lunson and used in the documentary that she would make for Willie called, "Willie Nelson: Down Home".


It is gaining larger and more advanced ships of various design, notably constructing them locally with foreign supplied equipment.

(meta data) TITLE: Modernization of the Myanmar Navy – NAOC

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Asia-Pacific, Naval Issues, Naval Modernization, Procurement, Shahryar Pasandideh August 17, 2015August 9, 2015 Shahryar Pasandideh

In the past few years, the Republic of the Union of Myanmar (formerly known as Burma), has undergone an opening to the outside world as the military continues to cede its long-held power.

Simultaneously, Burma has turned to the sea, with the long army-dominated military investing substantial funds to the rapid expansion and modernization of the Myanmar Navy.

This article will provide a brief primer on Myanmar's naval modernization.

Largely overshadowed by Myanmar's political and economic opening, as well as the long-running ethnic conflicts in the interior of the country, Myanmar is acting upon its growing reliance of the importance of the Bay of Bengal to the country's future.

In the past decade, the Myanmar Navy has grown from a force of aged and obsolete vessels quite ineffective at even their coastal 'brown-water' role, into a force developing some oceanic 'blue-water' capabilities.

The key driver for this changes is the importance of securing Myanmar's substantial exclusive economic zone (EEZ), stretching along the country's 1930 kilometers of coastline.

In particular, the Myanmar government is working to secure the substantial offshore oil and natural gas deposits, as well as the rich fishing waters of the Andaman Sea, an area that has witnessed significant foreign exploitation.

The securing of offshore oil and gas deposits, as well as fishing grounds, does not necessarily require a combat fleet.

The factor that has resulted in Myanmar focusing on naval development, as opposed to the development of a capable coast guard, was a maritime dispute with neighbouring Bangladesh over areas of the Bay of Bengal that contained substantial offshore oil and gas deposits.

In 2008, the dispute escalated as each country sent naval ships to the disputed area.

While the dispute was settled amicably in Bangladesh's favour in 2012 by an international court, in late 2013 the government announced plans to develop a 'three dimensional force,' in other words, a submarine capability, demonstrating its intent to add some proverbial teeth to its maritime claims.

The Myanmar Navy's sea-going combat fleet is not very large.

The bulk of the fleet is composed of five (light) frigates and three corvettes.

The flagship of the fleet is the indigenously built Union of Myanmar Ship (UMS) Aung Zeya, the sole ship of the design/class.

Commissioned in 2011 and displacing 2500 tons, the Aug Zeya carries eight Russian-built Kh-35 anti-ship cruise missiles.

The Aung Zeya was followed by another class of indigenously-built frigates, the Kyan Sittha-class.

Two ships of the class are in service having been commissioned in 2014 and 2015 respectively.

Displacing approximately 3000 tons, the Kyan Sittha-class also carries eight Kh-35 anti-ship missiles amongst other weapons.

In addition, the ships of the class have a hangar to enable helicopter operations.

Compared to the sole Aung Zeya-class light frigate, the Kyan Sittha-class boats more sophisticated electronics but shares a weakness with the earlier design: a very weak air defence capability.

Given that Myanmar intends to procure at least six ships of the Kyan Sittha-class, this shortcoming may be addressed in future ships.

Complementing these vessels and replacing older, smaller, obsolete vessels, Myanmar has purchased two second-hand Chinese Type 053/Jianghu II-class light frigates, with both ships being delivered in 2012.

These ships carry eight Chinese-built C-802 anti-ship missiles each but lack aviation facilities.

They are likely intended to boost fleet size and serve as patrol-capable training vessels until newer ships are procured in the future.

As with many small navies, the Myanmar Navy's small force of frigates is complemented by lighter and less expensive corvettes and large missile boats.

The navy currently operates three corvettes and 13 large missile boats.

Most notable among these is the indigenously-built Anwrahta-class corvettes.

First commissioned in 2001, the three ships of the class displace 1100 tons and carry four Chinese-built C-802 anti-ship missiles.

Given their small size, they feature only a helicopter deck, lacking a hangar that would facilitate the embarking of a helicopter.

Complementing the corvettes are the 13 large missiles boats of four classes.

Mostly of recent construction and all armed with four Chinese-built C-802 anti-ship missiles, amongst other weapons, this part of the fleet is quite capable.

Nevertheless, Myanmar needs to replace some of the older vessels, namely the six Chinese-built Houxin-class.

Given the recent indigenous construction of two larger and 'stealthier' missile boats, it appears that the Myanmar Navy plans to retain a substantial littoral warfare arm despite its blue-water modernization goals.

Topping off its naval combat capabilities, Myanmar announced in 2013 that it would acquire two submarines by 2019.

Should this plan come into fruition, it would be Myanmar's first submarine experience and would mark a continuation of an Asia-wide development of new submarine fleets.

It is unclear which submarine class Myanmar will procure but likely candidates are the Russian Kilo-class and Chinese Yuan-class submarines, or potentially, second-hand Chinese-built Ming-class submarines in the interim.

While the latter class is of obsolete design, they can be purchased at very low price and can serve in a useful training role until new submarines are purchased, built, and brought into operation.

Even when new submarines enter service, it will take a number of years before Myanmar becomes proficient in the operation, making the submarine service a long-term project for the country.

The Myanmar Navy is undergoing rapid modernization and expansion.

It is acquiring larger and more capable ships of various design, notably producing them indigenously, albeit based off foreign designs and equipped with foreign equipment.

The Navy is developing new capabilities that enable it to patrol the country's long coastline and secure its offshore natural resources.

At the same time, however, the navy is unambiguously developing significant combat capabilities, best put on display by its interest in purchasing submarines.

In this sense, Myanmar is a relative later-comer to the rest of the maritime Indo-Pacific, joining the quite frantic naval expansion in a bid to secure offshore resources and enforce maritime claims.

Shahryar Pasandideh completed his studies in International Relations and Middle Eastern studies at Trinity College, University of Toronto.

He is interested in contemporary debates on American grand strategy, maritime security, Sino-American and Sino-Indian strategic interaction, and the military balance in the Persian Gulf region.

Einstein once asked Freud, "Why war?" Freud replied, "Because man is what he is.

Fact Sheet: The Council of the European Union

The Myanmar Navy is undergoing swift modernisation and expansion.


In January 2014 it was announced that the magazine had been digitised from 1853 and would be made freely available through the Society's website.

(meta data) TITLE: Digitisation: The RPS Journal and the BJP to be made available - British photographic history

Information and discussion on all aspects of British photographic history

# Digitisation: The RPS Journal and the BJP to be made available

Posted by Michael Pritchard on December 22, 2013 at 12:00

The world's two oldest photographic periodicals have announced their digitisation.

The Royal Photographic Society's Photographic Journal, which dates from March 1853 and the British Journal of Photography which dates from January 1854 will be made available in digital forms to researchers and the public.

Both publications have been published continuously since their first issue.

BPH understands that The RPS has already completed digitisation of its Journal from 1853 to 2012 and that it will be made available in a searchable form with the launch of The Society's new website in January 2014.

The project has been funded through the generosity of a RPS member.

The BJP has announced its own digitisation in its January 2014 issue (BJP, January 2014, p. 98) which stated that 'throughout 2014 and beyond, we will be digitising BJP's entire archive'.

Its intent 'is to make [it] available to our readers, as well as historians, professors and researchers worldwide'.

It is not reported whether access will be charged for.

The RPS will make access available to the public without charge.

Commenting on the RPS digitisation to BPH The Society stated: "During a scoping exercise it became apparent how rare runs of the RPS Journal were and digitisation would both preserve the content and make it far more widely available to everyone from photographic historians, to family historians.

The Royal Photographic Society was at the forefront of developments in the artistic and scientific development of photography and these were reported and discussed in the Journal.

For much of its history the RPS Journal was read and had an influence far beyond its membership.

The Society has always been an important body within British and international photography and the Society's Journal is unique in its longevity".

The ability to access the Journal which has never been previously made available in this way will allow The Society's role, that of its members and wider British photography over 160+ years to be studied as never before.

BPH will carry more on both projects as information becomes available.

To contact The RPS about it's digitisation email: director@rps.org

### You need to be a member of British photographic history to add comments!

Comment by Michael Pritchard on February 6, 2015 at 15:11

My understanding is that the BJP has yet to start digitising.

I did have a conversation with the BJP myself for an update a few weeks ago and it seems likely that access will be on a paid for basis or possibly included as part of a subscription to the BJP.

Comment by World Image Trader on February 6, 2015 at 13:59

Is there any update on how the BJP are getting on with their digitisation and whether they will indeed make it available?

Victoria and Albert Museum's photography collection

RPS Journal 1853-2012 online and searchable

Photographic History Research Centre, Leicester

Birkbeck History and Theory of Photography Research Centre

William Henry Fox Talbot Catalogue Raisonné

The Press Photo History Project Mapping the photo agencies and photographers of Fleet Street and the UK

The correspondence of William Henry Fox Talbot

UAL Photography and Photography and the Archive Research Centre

Royal Photographic Society's Historical Group

www.londonstereo.com London Stereoscopic Company / T. R. Williams

www.earlyphotography.co.uk British camera makers and companies

Alfred Seaman and the Photographic Convention

The magazine is available to members of the society and to institutions on subscription. Runs of the magazine are available in major libraries in the United Kingdom, including the British Library and in the society's own library housed at the National Media Museum. However, complete runs are rare and as a consequence the society decided to digitise the magazine.