H6910 HOW I WON the WAR (GREAT BRITAIN, 1967) (Other Titles: Comment, J’Ai Gagne La Guerre)

Total Page:16

File Type:pdf, Size:1020Kb

H6910 HOW I WON the WAR (GREAT BRITAIN, 1967) (Other Titles: Comment, J’Ai Gagne La Guerre) H6910 HOW I WON THE WAR (GREAT BRITAIN, 1967) (Other titles: Comment, j’ai gagne la guerre) Credits: director, Richard Lester ; writer, Charles Wood ; novel, Patrick Ryan. Cast: Michael Crawford, John Lennon, Roy Kinnear, Lee Montague. Summary: War/comedy set in North Africa and Europe during WWII. Lt. Ernest Goodbody (Crawford), a middle-aged British veteran of WWII reminisces about his triumphs in the British Army. His warm memories, however, belie the realities of a disastrous career leading one of the worst units in the British Army. According to Michael Lanning (below), Vietnam provided the motivation for this anti-war, anti-officer, anti-military film. Vietnam is mentioned at film’s end when one soldier asks another: “There’s a new war shaping up in Vietnam; do you think you’ll be in it?” The second soldier responds “No, I don’t like the director.” Armstrong, Marion. “Savage satire” Christian century 85 (Jan 24, 1968), p. 117-18. Billington, Michael. “Film that tilts at war films” Times (London) (Oct 18, 1967), p. 8. Braucourt, Guy. “Comment, j’ai gagne la guerre (How I won the war)” Cinema 126 (May 1968), p. 103-6. Britt, Gwenneth. “How I won the war” Films in review 18 (Nov 1967), p. 579-80. C., P. “How I won the war” Helix (Seattle) 3 (Feb 14, 1968), p. 8. Ciment, Michel. “How I won the war” Positif 95 (1968) Coleman, John. [How I won the war] New statesman 74 (Oct 20, 1967), p. 517. Corliss, Richard (see under Kozloff, Max) Crowther, Bosley. “How I won the war” New York times (Nov 9, 1967), p. 56. Dawson, Jan. “How I won the war” Monthly film bulletin 34/406 (Nov 1967), p. 168-9. Dent, Alan. “A materpiece - and three messes” Illustrated London news 252 (Nov 4, 1967), p. 35. Devine, Jeremy M. Vietnam at 24 frames a second [GB] (p. 31) Gill, Brendan. “I laugh, therefore I am” New Yorker 43 (Nov 18, 1967), p. 137. Gilman, Richard. “Shooting them up” New republic 157 (Nov 25, 1967), p. 32-5. Gross, Leonard. “John Lennon: Beatle on his own” Look 30 (Dec 13, 1966), p. 58- 60, 62, 66. Hampe, Barry. “An evening of fun at World War II” Distant drummer (Philadelphia) 1 (1968), p. 20. Haroldson, Thomas. “‘How I won the war’ - Brilliant” Fifth estate (Detroit) 2 (Dec 15, 1967), p. 17. Hartung, Philip T. “No flag, no rally” Commonweal 87 (Dec 15, 1967), p. 359-60. Hatch, Robert. “Films” Nation 205 (Nov 13, 1967), p. 506, 508. Houston, Penelope. “How I won the war” Sight and sound 36 (autumn 1967), p. 202. “How I won the war” American dream (Tempe, Ariz.) 1 (1968), p. 11. [How I won the war] Daily cinema n.9424 (Sep 22, 1067), p. 6. “How I won the war” Filmfacts 10 (Jan 1, 1968), p. 360-62. “How I won the war” Good morning teaspoon (San Francisco) 4 (May 1, 1968), p. 6. [How I won the war] Kine weekly n.3128 (Sep 23, 1967), p. 10. [How I won the war] Listener 116/2976 (Sep 4, 1986), p. 27. “How I won the war” Motion picture guide (edited by Jay Robert Nash and Stanley Ralph Ross) Chicago : Cinebooks, 1985. (v. 4, p. 1301) [How I won the war] Playboy 15 (Jan 1968), p. 38. Johnson, William (see under Kozloff, Max) Kleiss, Werner. “Wie Ich den Krieg Gewann (How I won the war)” Film 5 (Dec 1967), p. 26. Knight, Arthur. “SR goes to the movies: Once around the world lightly” Saturday review 50 (Nov 18, 1967), p. 57. Kozloff, Max; Johnson, William; and Corliss, Richard. “Shooting at wars: Three views” Film quarterly 21 (winter 1967/68), p. 27-36) Krantz, Leif. “Hur Jag vann kriget (How I won the war)” Chaplin 77 (1967), p. 345. Lanning, Michael Lee. Vietnam at the movies [GB] (p. 248-9) “Lester” Logos (Montreal) 1 (Mar 1968), p. 13. “Londres: Encuentro con Richard Lester” Nuestro cine 83 (Mar 1968), p. 13-16. Mallett, Richard. [How I won the war] Punch 253 (Oct 25, 1967), p. 633. Martin, James. “How I won the war” Open city (Los Angeles) 2 (Feb 2, 1968), p. 14. McCaffrey, Donald W. “War and holocaust for some painful laughter” Chap. 3 in his Assault on society : satirical literature to film Metuchen, N.J. : Scarecrow Press, 1992. (p. 46-7) McMahan, Ida and Whitehorn, Ethel. “How I won the war” PTA magazine 62 (Jan 1968), p. 39. Morgenstern, Joseph. “A hard day’s war” Newsweek 70 (Nov 20, 1967), p. 106. Murphy, Arthur D. (Murf). “How I won the war” Variety 248 (Oct 25, 1967), p. 6. Page, Malcolm. “Charles Wood: ‘How I won the war’ and ‘Dingo’” Literature/film quarterly 1/3 (1973), p. 256-62. “Richard Lester” [interview] New Yorker 43 (Oct 28, 1967), p. 50-51. Richardson, Royce. “Dick Lester and his war” Take one 1 (Dec 1967), p. 4-6. Ripp, Judith. “How I won the war” Parents’ magazine 42 (Dec 1967), p. 27. Robinson, Barry. “How I won the war” Media and methods 4 (Jan 1968), p. 42-3. Rosenfeldt, Diane. Richard Lester: a guide to references and resources Boston : G.K. Hall, 1978. (p. 30-31+) Schickel, Richard. “The pop-pop-pop film is ad ud against war” Life 63 (Nov 17, 1967), p. 8. Schlesinger, Arthur, Jr. “Brilliant, unnerving” Vogue 150 (Dec 1967), p. 175. Schreck, Stephen. [How I won the war] Prairie fire (Regina, Ont.) 1 (Feb 10, 1968), p. 6. [Reprinted from Ramparts] Shapiro, Jerry. [How I won the war] News project (Flushing, N.Y.) 1 (Dec 17, 1967), p. 11. Sheed, Wilfrid. [How I won the war] Esquire 69 (Jan 1968), p. 29, 32. Sone, Hal L. “Anti-war film in spotlight” North Valley free press (Chico, Calif.) 1 (Feb 7, 1968), p. 8. Sweeney, Louise. “Lester’s ‘How I won the war’” Christian science monitor 59 (Nov 24, 1967), p. 14. Tynan, Kenneth. “Lester: Mir wird schlect” [interview of Lester and Charles Wood] Film 6 (Jan 1968) “Vaudeville of the absurd” Time 90 (Nov 17, 1967), p. 105. Walker, Valerie L. “How I won what?” Seed (Chicago) 2 (1968), p. 16. Walsh, Moira. “How I won the war” America 117 (Nov 25, 1967), p. 668. Weldon, Michael. The psychotronic video guide New York : St. Martin’s Griffin, 1996. (p. 277) Wendt, Ernst. “Fuck for peace (Make films not war)” Film 6 (Jan 1968) Whitehorn, Ethel (see under McMahan, Ida) Youngblood, Gene. “Lester wins the war by default” Los Angeles free press 5 (Feb 9, 1968), p. 12. .
Recommended publications
  • Guide to the Stephen H. Warner Collection
    Guide to the Stephen H. Warner Collection Gettysburg College, Musselman Library Special Collections & College Archives Processed by Joseph R. Tucker Summer 2004 MS-044. Stephen H. Warner Collection (30 boxes, 8.1 cubic feet) Inclusive Dates: 1955-1971 Bulk Dates: 1970-1971 Processed by Joseph R. Tucker, '03 Summer 2004 Biography [Taken from the Stephen Warner Online Exhibit (2004-2018) at http://www.gettysburg.edu/special_collections/exhibits/warner/intro.dot] Stephen Warner attended Gettysburg College from 1964-1968, a relatively quiet period in the college's history. According to a sampling of the Gettysburgian from the 1964-1965 academic year, the student newspaper did occasionally mention United States involvement in southeast Asia. However, there were no indications of widespread student concern about this matter at that time. As a major in History, Steve Warner came to focus his interests on civil rights and social justice. His academic advisor, Roger Stemen, emeritus professor of History, described Warner as having been "radically intellectual, a non-collegiate type interested in the arts, history, and economics." Stephen Warner was perceived by those who knew him to be open-minded and considerate of others, but intense about those social and ethical matters that concerned him most. He was on the staff of the Gettysburgian and eventually became a Feature Editor. He was instrumental in establishing new campus organizations, including a human relations forum and the Ad Hoc Committee Against the Vietnam War. During his senior year he was inducted into the Phi Beta Kappa National Honor Society. He also was accepted to the Yale University Law School.
    [Show full text]
  • Don't Let the Truth Be Air-Brushed
    Newsletter December 2016 Don’t let the truth be air-brushed Conferences Where you2017 can see us next? As the old saying goes, ‘a picture various studios until his death Solicitors Group Conferences speaks a thousand words’: and helped him to preserve Date Venue sometimes, however, that’s not memories of his children. 1 - 2 Mar Birmingham enough words to get a full picture. Holiday Inn, He was ultimately reunited with A useful example of this can be Airport his children when they became provided in the story relating to adults but sometimes there is no 7 - 8 Mar Leeds a painting entitled ‘Design for a The Met Hotel such happy ending and children/ Portrait Group’, painted by British family members continue their 4 - 5 Apr London artist Sir Herbert James Gunn Kensington lives unaware of what has (1893-1964) a name that came Conference Hall transpired before them. to our attention when we were 25 - 26 Apr Gateshead/ recently instructed in connection Minimise risk with our Family Newcastle to one of his descendants. Tree Verification Service. Hilton The painting shows three If your client provides you with a 16 - 17 May Manchester family tree in relation to someone The Lowry children relaxing on a summer’s Hotel day, it does little to highlight who has died contact us. If the the underlying tension and the initial information/ family tree Home & Away: turmoil that the artist must have that is correct we will still provide with you all the way felt painting it. you with a report free of charge.
    [Show full text]
  • “My Name Is Juggernaut”
    but mostly this is played completely The scores for both films were written straight, with even Lester’s visual style by Lester’s frequent musical collabora - completely in service of the material. tor, Ken Thorne. Thorne’s score for Jug - Unfortunately, the film didn’t do that well gernaut is very brief but very effective – at the box-office, although it did receive it is filled with tension, has some great many excellent reviews. But in the inter - action scoring when the bomb squad is “MY NAME vening years, the film has achieved cult, parachuting aboard the Brittanic, and IS JUGGERNAUT” if not classic, status – some films are his music heightens every scene in just a victim of timing or public taste or which it’s used. There’s also a very nd with that line, so begins one of whatever – but ultimately if they’re great, pretty theme to accompany scenes with the great unsung films of the as this film is, they find their audience. Shirley Knight and Omar Sharif, but A1970s, Richard Lester’s 1974 film, Everything about the film works well, es - mostly his music plays the same cat and Juggernaut . Lester was, by that time, pecially its cast – Harris and Hemmings mouse game that the characters play. known for his two wonderful Beatles’ are superb, Omar Sharif, Shirley Knight, films, A Hard Day’s Night and Help! , the Ian Holm, Lester regular Roy Kinnear, a Thorne’s score for The Bed Sitting film version of the Broadway show A young Anthony Hopkins, and especially Room is the polar opposite of Jugger - Funny Thing Happened on the Way to Freddie Jones, are equally great.
    [Show full text]
  • FISH Newsletter February 16
    Living is Easy with Eyes Closed (Spain 2014) DIRECTOR : David Trueba RUNNING TIME : 108mins RATING : M Synopsis: Set in Franco-era Spain, a free-spirited English teacher sets out to meet his idol John Lennon, who is filming on the other side of the country. Antonio wants to understand the lyric to the newly released Norwegian Wood. Review: Philippa Hawker Spanish filmmaker David Trueba came across the subject matter for his new film quite by accident. It wasn't just the tale of John Lennon's 1966 Spanish sojourn that intrigued him. It was the account of a teacher of English with a Beatles obsession who was determined to meet Lennon and ask him about his lyrics – lyrics that he used as a teaching aid in the classroom. Trueba read about this man in 2006, when the town of Almeria was celebrating the 40th anniversary of Lennon's presence; he had come there to take an acting role in a satirical comedy with director Richard Lester called How I Won The War. The other significant element in the project was a personal one. The novelist and filmmaker is the youngest of eight brothers; at the time Lennon was in Spain, Trueba's second brother was locked in a struggle with his father about the length of his hair. "He was trying to get his hair long, because he was a crazy fan of the Beatles and the Rolling Stones. And my father was a typical Spanish father of the time of Franco, very authoritarian. So he told him to cut his hair.
    [Show full text]
  • Review of Help!
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2007 Review of Help! Michael Adams City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/138 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Help! (Capitol, 11.6.2007) Once upon a time, boys and girls, there were these mopheads from Liverpool. They made these songs that made everybody happy. Then these men in suits said, “There’s even more gold in them thar boys.” And a movie was begat real fast cause everybody knew they were flashes in the pan. An American expatriate, Richard Lester, was chosen to make it because he had made It’s Trad, Dad! and knew all about quickly fading musical fads. And behold, A Hard Day’s Night was a masterpiece, and everybody was very, very happy. And the suits said, “Dick, do it again,” and Help! was born. It also made people happy, but it is not a masterpiece. Somewhere in the mysterious East, Clang (Leo McKern) is about to sacrifice a virgin when he discovers the would-be victim has sent the required sacrificial ring to Ringo Starr, famous jewelry fetishist. So Clang, his men, and the lovely Ahme (Eleanor Bron) head for London to get the ring back. Ringo is willing to give it up but can’t get it off, so the boys seek the help of Foot (Victor Spinetti), a mad scientist, and Algernon (Roy Kinnear), his bumbling assistant.
    [Show full text]
  • The Taming of the Shrew
    THE TAMING OF THE SHREW Reader in Drama and Theatre Studies, Royal Holloway, London University The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK West th Street, New York, -, USA Williamstown Road, Port Melbourne, , Australia Ruiz de Alarcón , Madrid, Spain Dock House, The Waterfront, Cape Town , South Africa http://www.cambridge.org © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Ehrhardt /. pt. System QuarkXPress [BTS] A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication Data Shakespeare, William, – The Taming of the Shrew / edited by Elizabeth Schafer p. cm. – (Shakespeare in Production) Includes bibliographical references and index (hdbk) – (pbk) . Married people – Drama. Padua (Italy) – Drama. Shakespeare, William, –. Taming of the Shrew. Shakespeare, William, – – Dramatic production. Shakespeare, William, – – Stage history. Schafer, Elizabeth. Title. .¢–dc ISBN hardback ISBN paperback CONTENTS List of illustrations page viii Series editors’ preface ix Acknowledgements xi Editor’s note xiii List of abbreviations xiv List of productions xv Introduction The Taming of the Shrew and commentary Appendix : Sly Interludes from A Shrew Appendix : spin-offs and adaptations Bibliography Index vii ILLUSTRATIONS Henry Woodward as Petruchio in David Garrick’s Catharine and Petruchio. Courtesy of the Garrick Club. page Benjamin Webster’s Taming of the Shrew, designed by J. R. Planché. Courtesy of the Illustrated London News.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • TBS GCSE MUSIC A4 Revison.Indd
    GCSE Music. Comprehensive resource pack to support the popular Music area. GCSE Music. Contents. 1. Introduction 2. Learning Aims and Objectives 3. Before Sgt Pepper 4. The ‘concept album’. 5. Pop Art, Peter Blake and the importance of album art in the 60s and beyond 6. L yric Analysis: (exploring melody, harmony, structure, rhythm and meaning behind the lyrics) — Lucy in the Sky — Within You/Without You — With a Little Help from my Friends 7. Worksheets – exploring structure: With a Little Help from My Friends and Within You, Without You 8. Sgt Pepper lectures @ The Beatles Story 9. The Beatles story and Liverpool Hope Partnership 10. Booking a visit to the Beatles Story 11. L yrics: With a Little Help from My Friends, Lucy in the Sky, Within you, Without You 12. Fascinating facts about the album 13. Recommended reading list/websites 2 Introduction. Located within Liverpool’s historic Albert Dock, the Beatles Story is a unique visitor attraction that transports you on an enlightening and atmospheric journey into the life, times, culture and music of the Beatles. Since opening in 1990, the Beatles Story has continued to develop our learning resources to create a fun and educational experience for all. Our commitment to life-long learning ensures every guest has a valuable experience, whatever their age or ability. We have linked the story of the Beatles, their early lives, their fame and combined creativity to selected areas of the National Curriculum: history, literacy, art and music to actively encourage and involve pupils in their own learning. This resource pack focuses on GCSE Music in accordance with the AQA specification.
    [Show full text]
  • Nothing but the Night
    Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 20th January 2020 FREESAT 306 | VIRGIN 445 Nothing But The Night on Talking Pictures TV Starring: Christopher Lee and Peter Cushing, this chilling tale of murder in an isolated Scottish orphanage features a brilliant cast, including: Diana Dors, Georgia Brown, Keith Barron, Gwyneth Strong, Fulton Mackay, Michael Gambon and Kathleen Byron. Christopher Lee co-produced the film, which was directed by Peter Sasdy, who has a prolific track record in the horror genre. This intriguing story begins as a crime thriller and becomes a sci-fi horror with occult overtones, culminating in a fiery climax. Diana Dors is also fiery as a redhead on a mission and the pairing of Cushing and Lee is, as always, unmissable. Grittier and more naturalistic than their usual horror films, this twisted tale keeps the audience guessing right up until the dramatic finale. Nothing But The Night airs on Sunday 26th January at 10pm. Mon 20th Jan 09:10 Wed 22nd Jan 15:05 Sparrows Can’t Sing (1963) Night Without Stars (1951) Comedy, directed by Joan Littlewood. Drama, directed by Anthony Pélissier. Stars: James Booth, Barbara Windsor & Stars: David Farrar, Nadia Gray, Roy Kinnear. Charlie returns to London Maurice Teynac. A partially blind after two years at sea to find his house Englishman falls for the widow of demolished and wife Maggie gone. a French Resistance fighter who is Mon 20th Jan 19:10 involved with smugglers. Personal Affair (1953) Wed 22nd Jan 18:45 Drama, directed by Anthony Pelissier.
    [Show full text]
  • Sonic Vocality: a Theory on the Use of Voice in Character Portrayal
    Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 8-11-2015 Sonic Vocality: A Theory on the Use of Voice in Character Portrayal Cindy Milligan Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Milligan, Cindy, "Sonic Vocality: A Theory on the Use of Voice in Character Portrayal." Dissertation, Georgia State University, 2015. https://scholarworks.gsu.edu/communication_diss/64 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. SONIC VOCALITY: A THEORY ON THE USE OF VOICE IN CHARACTER PORTRAYAL by CINDY ANN MILLIGAN Under the Direction of Patricia G. Davis, PhD ABSTRACT The primary purpose of this study was to discover whether and how the voice alone can change audiences’ perception of character in films. It further sought to determine some of the specific changes in vocal performance that might construct that difference. Data were gathered from three focus groups that screened film clips between two and five minutes long. The clips were edited from five pairs of matched films—an original and its remake. Films were chosen to represent a variety of genres and release dates, and they included scenes where the dialogue was identical or similar. Although each focus group experienced the same set of edited film clips from the matched film pairs, one group experienced only the sound without any visuals, a second group watched only the visuals of the same clips without any sound, and a third group watched the clips as they were produced with sound and visuals.
    [Show full text]
  • Historicizing the Liminal Superhero
    BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence.
    [Show full text]
  • Register of Lords' Interests
    REGISTER OF LORDS’ INTERESTS _________________ The following Members of the House of Lords have registered relevant interests under the code of conduct: ABERDARE, L. Category 1: Directorships Director, WALTZ Programmes Limited (training for work/apprenticeships in London) Category 10: Non-financial interests (a) Director, F.C.M. Limited (recording rights) Category 10: Non-financial interests (c) Trustee, Berlioz Society Trustee, St John Cymru-Wales Trustee, National Library of Wales Category 10: Non-financial interests (e) Trustee, West Wycombe Charitable Trust ADAMS OF CRAIGIELEA, B. Nil No registrable interests ADDINGTON, L. Category 1: Directorships Chairman, Microlink PC (UK) Ltd (computing and software) Category 7: Overseas visits Visit to Azerbaijan, 30 May - 3 June 2013, to meet ministers and other political leaders, NGOs and business figures; cost of visit met by European Azerbaijan Society Category 8: Gifts, benefits and hospitality One ticket for final of men's badminton, Olympic Games, 5 August 2012; two tickets for opening ceremony of Paralympic Games, 29 August 2012, as a part of duties as a parliamentary ambassador for the London Olympic Games 2012 * Category 10: Non-financial interests (d) Vice President, British Dyslexia Association Category 10: Non-financial interests (e) Vice President, UK Sports Association Vice President, Lakenham Hewitt Rugby Club ADEBOWALE, L. Category 1: Directorships Director, Leadership in Mind Ltd (business activities; certain income from services provided personally by the Member is or will
    [Show full text]