Input: When did Frances Vane, Marchioness Of Londonderry's father die?

Context:
Passage 1:
Thomas Scott (diver)
Thomas Scott (1907 - date of death unknown) was an English diver.

Boxing
He competed in the 10 metre platform at the 1930 British Empire Games for England.

Personal life
He was a police officer at the time of the 1930 Games.
Passage 2:
Theodred II (Bishop of Elmham)
Theodred II was a medieval Bishop of Elmham.
The date of Theodred's consecration unknown, but the date of his death was sometime between 995 and 997.
Frances Anne Vane, Marchioness of Londonderry (17 January 1800 – 20 January 1865) was a prominent figure known for her extensive properties and notable family connections. She was the daughter of Sir Henry Vane-Tempest, 2nd Baronet. She married Charles William Stewart, 1st Baron Stewart. She became a marchioness in 1822 when Charles succeeded his half-brother as 3rd Marquess of Londonderry.

Frances Anne was the only child of Sir Henry Vane-Tempest, 2nd Baronet, and his wife Anne MacDonnell, 2nd Countess of Antrim, both of whom had significant influence in their era. At her father's death in 1813, Frances Anne inherited extensive lands in northeast England as well as some property in County Antrim, Ireland. As much of her English land was in the Durham Coalfield, she had income from coal mining. In his last will and testament, her father had stipulated that she must retain the surname Vane and that whoever married her would have to adopt her surname in lieu of his own.
In 1819 she married and became the second wife of Charles William Stewart, 1st Baron Stewart, who dutifully changed his name and became Charles William Vane. In 1822 she became a marchioness when her husband succeeded his half-brother Lord Castlereagh to become the 3rd Marquess of Londonderry. With her husband, she developed an extensive coal mining operation that included coal mines, a railway, and docks at Seaham.She became an object of affection for Tsar Alexander I after he happened to see her engagement portrait by Sir Thomas Lawrence.She sought to promote the political career of her eldest son, George Vane-Tempest, and was a patron of Benjamin Disraeli.She built Garron Tower north of Carnlough, County Antrim, as a summer residence for herself.
When her husband died in 1854, she commissioned an equestrian statue showing him as a hussar, which was unveiled in 1861 and still stands on the market place in Durham, England. The sculptor was Raffaelle Monti.
Through her daughter, Lady Frances Vane, wife of John Churchill, 7th Duke of Marlborough, she is the great-grandmother of Sir Winston Churchill.

George Henry Robert Charles William Vane-Tempest, 5th Marquess of Londonderry (1821–1884) was a key figure in British nobility, while Lady Frances Anne Emily Vane (1822–1899) gained prominence through her marriage to John Spencer-Churchill, 7th Duke of Marlborough.
Lady Alexandrina Octavia Maria Vane (1823–1874), godchild of Alexander I of Russia; married Henry Dawson-Damer, 3rd Earl of Portarlington.
Lord Adolphus Frederick Charles William Vane-Tempest (1825–1864), politician; became insane, and had to be medically restrained.
Lady Adelaide Emelina Caroline Vane (c.1830–1882); disgraced the family by eloping with her brother's tutor, Rev. Frederick Henry Law.
Lord Ernest McDonnell Vane-Tempest (1836–1885), fell in with a press-gang and had to be bought a commission in the army, from which he was subsequently cashiered.Frederick William Robert Stewart, 4th Marquess of Londonderry (1805–1872) was her stepson.

Sir Henry Vane-Tempest, 2nd Baronet (25 January 1771 – 15 March 1821) was renowned for his political career and leadership. In early life his name was Henry Vane. He changed his name to Vane-Tempest when he inherited from his uncle John Tempest, Jr. in 1793.

He was the son and heir of Reverend Sir Henry Vane, 1st Baronet and his wife, Frances, daughter of John Tempest, Sr. Vane was Member of Parliament (MP) for the City of Durham from 1794 to 1800, succeeding his uncle John Tempest, Jr., after the latter's untimely death. Vane inherited the Tempest estates in County Durham (notably Wynyard and Brancepeth) upon condition he adopt the name and arms of Tempest. He therefore changed his surname to Vane-Tempest.
He accepted the Chiltern Hundreds in 1800 before returning to Parliament as representative for the County Durham from 1807 until his death from apoplexy in 1813. He was appointed High Sheriff of Antrim in 1805.Vane-Tempest inherited his father's baronetcy in 1794. He was appointed lieutenant-colonel of the Durham volunteer cavalry in early 1797. He is buried at Long Newton.
Vane-Tempest was a renowned sportsman of his day, owning the celebrated racehorse Hambletonian. In a match with Mr. Cookson's Diamond over the Beacon Course at Newmarket in 1799, Hambletonian won by a neck, Sir Henry having wagered 3,000 guineas on the outcome. The aftermath is the subject of George Stubbs' painting "Hambletonian Rubbing Down", which is preserved at Mount Stewart.

Family
On 25 April 1799, Vane-Tempest married Anne MacDonnell, 2nd Countess of Antrim and they had one child, Lady Frances Anne Vane-Tempest (1800–1865). On Vane-Tempest's death without a male heir in 1813, the baronetcy became extinct. The surname Vane, however, was preserved as he had stipulated in his last will and testament that Frances Anne must keep her surname and her future husband must adopt hers in lieu of his own in order to inherit the extensive landholdings. This provision was complied with when Frances Anne married Lord Charles William Stewart in 1819. Charles William Stewart became Charles William Vane and the name Vane ultimately passed into the family of the Marquesses of Londonderry.
Passage 5:
Etan Boritzer
Etan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.
Boritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public school children compiled and published by the New York City Department of Education.
Boritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.
Lord Adolphus Frederick Charles William Vane-Tempest (2 July 1825 – 11 June 1864) played a significant role in British politics as a member of the Conservative Party.
He was the fourth child (and second son) of Charles Vane, 3rd Marquess of Londonderry and his wife Frances Anne Vane, Marchioness of Londonderry, both important figures in their own right.
In December 1852, he was elected at a by-election as Member of Parliament (MP) for the City of Durham, but the election was overturned on petition the next year.In 1854 he was elected unopposed to the House of Commons as MP for North Durham after the death of his father, filling the seat vacated by his elder brother George Vane-Tempest, Viscount Seaham, who succeeded to the peerage as Earl Vane. He held the seat until his death in 1864, aged 38.
During the enthusiasm for the Volunteer Movement in 1859–60, although his brothers were connected with the 2nd (Seaham) Durham Artillery Volunteer Corps formed at the family's Seaham Colliery, Lord Adolphus raised and commanded an infantry corps, the Sunderland Rifles.According to Anne Isba, author and Victorian Studies scholar, Vane was "notoriously unstable" and was "described by Queen Victoria as having 'a natural tendency to madness.'  Vane, who on one occasion violently attacked his wife and infant son, died four years later during a struggle with four keepers."

Ancestry
Passage 7:
Doreen Wells
Doreen Patricia Vane-Tempest-Stewart, Marchioness of Londonderry (née Wells; born 25 June 1937) is a British former ballet dancer.

Career
Born in London, Wells received her early dance training at the Bush Davies School of Theatre Arts, continuing her studies at the Sadler's Wells Ballet School. She is a winner of the Adeline Genée Gold Medal from the Royal Academy of Dance.  She made her professional stage debut in pantomime, before ultimately joining the Sadler's Wells Theatre Ballet.In theatre, she has performed roles in West End musicals, including the leading role of Vera Baranova in On Your Toes at the Palace Theatre and Maggie Jones in 42nd Street at the Theatre Royal, Drury Lane. She has also made television appearances including the 1985 Royal Variety Performance and a BBC Christmas Extravaganza.
On 1 December 2009, she made an appearance on The Paul O'Grady Show, performing a dance routine with male backing dancers. She was then interviewed by O'Grady and spoke of her continued love for dance and about how she still performs regularly.In March 2010, Wells took part in a retrospective of her career at the London Jewish Cultural Centre.

Marriage
Wells married Alistair Vane-Tempest-Stewart, 9th Marquess of Londonderry, son of the 8th Marquess of Londonderry and Romaine Combe, on 10 March 1972. Together, they have two sons before their Their divorce in 1989. However, Wells retains the title of Marchioness of Londonderry.

Children
Frederick Vane-Tempest-Stewart, 10th Marquess of Londonderry (born 1972)
Lord Reginald Alexander Vane-Tempest-Stewart (born 1977).

Awards
Adeline Genée Gold Medal
Passage 8:
Albert Anderson (politician)
Commander Albert Wesley Anderson (23 July 1907 – 18 June 1986) was the son of The Rt Hon. Sir Robert Newton Anderson and Lydia "Lily" Elizabeth Smith, a businessman, member of Londonderry Corporation and Mayor of Derry (from 1963 to 1968).
Albert Anderson was born in County Londonderry and educated at Foyle College in Derry and at Rydal School (Wales), followed by the University of Nottingham. He served as a Commander in the Royal Navy during the Second World War. Member of Londonderry Corporation until 1969.  He was Mayor of Derry (and ex officio Member of the Senate of Northern Ireland) from 1963 to 1968. During this period, he was a leading figure in the unsuccessful campaign to site a new university in Derry.He was elected Ulster Unionist Party Member of Parliament for the City of Londonderry from the by-election of 16 May 1968 until the prorogation of the Stormont Parliament in 1972. Anderson was Senior Parliamentary Secretary, Ministry of Home Affairs from 26 October 1971 until 1972.
Passage 9:
Nicolette Vane-Tempest-Stewart, Marchioness of Londonderry
Nicolette Elaine Katherine Powell, formerly Nicolette Vane-Tempest-Stewart, Marchioness of Londonderry (née Nicolette Harrison; 1941 – 13 August 1993), was an English socialite, married firstly to the 9th Marquess of Londonderry and later to the musician Georgie Fame.

Early life
Nicolette, often called "Nico" for short, was the daughter of stockbroker Michael Harrison and his wife, the former Maria Madeleine Benita von Koskull, a Baltic German baroness. She was a debutante, one of the last to be presented to Queen Elizabeth II before the royal patronage of the practice was abolished.

Marriage and family
She married Londonderry on 16 May 1958, when she was seventeen. They made their home at Wynyard Hall and had two children:

Lady Sophia Frances Anne Vane-Tempest-Stewart (born 1959), who married Jonathan Mark Pilkington and has children.
Lady Cosima Maria-Gabriella Vane-Tempest-Stewart (born 1961), who married firstly Cosmo Fry and secondly Lord John Robert Somerset, with whom she has children.The paternity of her elder son, Tristan Alexander (born 1969), who briefly held the courtesy title Viscount Castlereagh, was contested when he was about 18 months old, and he was confirmed to be the son of Georgie Fame (real name Clive Powell), with whom the young Marchioness had been having an extramarital affair. One of the Marchioness's daughters, Lady Cosima, later claimed that her true father might be the musician and writer Robin Douglas-Home.The divorce of Lord and Lady Londonderry in 1971 was the subject of considerable publicity. The following year, the Marchioness married Georgie Fame at Marylebone Register Office, and her married name became Nicolette Powell. Londonderry subsequently married the ballerina Doreen Wells.
As Nicolette Powell, the former Marchioness gave birth to a second son of Georgie Fame, James Michael, in 1973.

Later life
In 1993, she died after falling 250 feet (76 m) from Clifton Suspension Bridge in Bristol. Her death was found to be by suicide. She had left a note stating that she saw "no purpose in life", now that her children had grown up and left home.Several portrait photographs of her are held by the National Portrait Gallery, London.
Passage 10:
Margaret, Marchioness of Namur
Margaret, Marchioness of Namur (c. 1194 – Marienthal, 17 July 1270) was ruling Marchioness of Namur, from 1229 to 1237. She was the daughter of Peter of Courtenay (d. 1219), Latin Emperor of Constantinople (1216-1219) and Yolanda of Flanders (d. 1219). By marriage to Henry I, Count of Vianden (d. 1252), she was Countess-consort of Vianden.

Life
Margaret (also called Sybille, in some later sources) married Raoul, Lord of Issoudun c. 1208, who should not be confused with Raoul I of Exoudun (d. 1219). Her husband died c. 1213/5 and Margaret succeeded him as Lady of Châteauneuf-sur-Cher and Mareuil-en-Berry. Soon after that (c. 1216) she married Henry I, Count of Vianden (d. 1252). Henry was the son of Frederic III, Count of Vianden (d. 1217), and his wife Matilda (de).
In 1216, Margaret′s father Peter Courtenay (d. 1219) was elected Latin Emperor of Constantinople, and crowned in Rome by Pope Honorius III on 9 April 1217. He was succeeded by son Robert of Courtenay (Margaret′s brother) who ruled as Emperor of Constantinople until 1228, when he was succeeded by their brother Baldwin II of Constantinople. Since the elevation to the imperial throne in Constantinople (1216), Margaret′s family became involved in creation of new dynastic policies and alliances.

Marchioness of Namur
Margaret became Marchioness of Namur after the death of her brother Henry II, Marquis of Namur in 1229, who had succeeded another brother, Philip II. Their grandfather had received the county as an inheritance as a nephew of Henry IV, Count of Luxembourg (Henry I of Namur). Margaret and her husband Henry I of Vianden (Henry III of Namur) ruled Namur until 1237, when they had to transfer Namur to Margaret's brother Baldwin II of Courtenay.Henry and Margaret continued ruling Vianden. Henry V, Count of Luxembourg (1216 – 1281), maternal grandson of Henry IV, Count of Luxembourg (Henry I of Namur), invaded Namur and ruled it 1256-1264 as Henry IV (or III ?). Baldwin sold Namur in c. 1263 to his cousin Guy of Dampierre, count of Flanders and Henry was removed by military force but they made peace with family marriage.

Later life
After the death of her husband in 1252, Margaret entered a convent in Marienthal near Luxembourg and became a nun. She died in Marienthal on 17 July 1270 and was buried there.

Issue
Margaret and Henry had several children, including:
Matilda (c. 1220 - a. 1255), married around 1235 to John Angelos of Syrmia (c. 1193 - d. before 1253), Lord of Syrmia. They had a daughter Maria Angelina (c. 1235 - a. 1285) whose husband Anseau de Cayeux (the younger) worked for Charles I of Naples. They also had another daughter, Helena (c. 1236 – 1314), Queen consort of Serbia.
Peter, dean in cathedrals of Liège and Cologne (died after 1272).
Frederic of Vianden, who died in 1247 (5 years before his father). He married Matilda of Salm (b. c. 1223), a daughter of Henry III, Count of Ardennes (seigneur de Viviers, c. 1190 - 1246 ?), and had a son named Henry, Lord of Schönecken (1248-1299).
Henry I van Vianden (d. 1267), bishop of Utrecht from 1249 to 1267.
Philip I (d. 1273), Count of Vianden 1252-1273. He married Marie of Brabant-Perwez, daughter of Godfrey of Louvain, Lord of Perwez, apparently a descendant of Godfrey III, Count of Louvain and Landgrave of Brabant (1142-1190). Their issue was Godefroid I, Count of Vianden (d. 1307 or 1310) and four other children.
Yolanda of Vianden (1231–1283), prioress of Marienthal, still revered today in Luxembourg.

Ancestry

Answer: 15 March 1821


Input: Which film has the director who is older than the other, Season Of Strangers or The Yellow Teddy Bears?

Context:
Robert Hartford-Davis (born William Henry Davis, 23 July 1923 – 12 June 1977) was an experienced British-born producer, director and writer, who worked on film and television in both the United Kingdom and United States.  He is also sometimes credited as Michael Burrowes or Robert Hartford.

Biography
Hartford-Davis was born in Ramsgate, Kent in 1923 as William Henry Davis; he changed his name on becoming a television director in 1955. His television career encompassed drama, comedy and entertainment shows. Bob, as he liked to be called, started his career as an electrician in a South London film studio, where he went on to develop his skills as a cameraman. During the fifties he made a number of short films. These were innovative with the choice of cast and script content. In the late fifties he became an agent and worked for Roy Rogers, amongst others (in England).
His talents included co-writing many scripts for 'exploitation' movies and he used media events and people to forward his career. The Yellow Teddy Bears is a prime example of his vivid imagination, using an article in a national newspaper as fodder.
Robert dealt with the downturn of the film industry in the UK by investing his own money in two movies, The Fiend and Nobody Ordered Love.

Personal life
Hartford-Davis married Betty Hale in 1943 and there were three children from this marriage;  Jean, Marian and Penelope were born in the next ten years. His wife also co-wrote I'm Not Bothered and an innovative play on the trial of Christ, We the Guilty. Robert and Betty were divorced in 1957. Robert went on to marry three or four more times. There was also another son, Scott Hartford-Davis, born in the late fifties.
Robert died on 12 June 1977 from a massive stroke.

Filmography
1956: I'm Not Bothered (TV series)
1960: Police Surgeon (TV series)
1962: Crosstrap
1963: That Kind of Girl
1963: The Yellow Teddy Bears
1964: The Black Torment
1964: Saturday Night Out
1965: Gonks Go Beat
1966: The Sandwich Man
1968: Corruption
1969: The Smashing Bird I Used to Know (a.k.a. School for Unclaimed Girls)
1971: Nobody Ordered Love
1971: Incense for the Damned
1972: The Fiend
1972: Black Gunn
1974: The Take
1977: Dog and Cat (TV series)

External links
Robert Hartford-Davis at IMDb
Robert Hartford-Davis at Hollywood.com
Passage 2:
Logan Sandler
Logan Sandler is an American writer and director who is best known for his first feature film Live Cargo.

Early life and education
Sandler graduated from SFTV within Loyola Marymount University's Film School in 2011 with a B.A. in Film Production, and three years later, while earning an M.F.A. from AFI in Film Directing, he developed his first feature film, Live Cargo. He developed the script with the late Seth Winston and co-writer Thymaya Payne. In 2015, Sandler was awarded the Institute's Franklin J. Schaffner Fellow Award for his short film, Tracks.

Career
Sandler's senior thesis, All It Will Ever Be premiered at the Bermuda International Film Festival in 2012. Sandler's second short film Tracks screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge Film Festival, and the Miami International Film Festival. The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International Film Festival.Sandler's debut feature film Live Cargo was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016. The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom. In addition to the 2016 Tribeca Film Festival, Live Cargo had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, the Denver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST.Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’ single Gas. The music video premiered on Vice’s music channel Noisey.IONCINEMA.com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from the world of cinema. When asked about his favorite films of his formative years Sandler said, "I fell in love with Jean Luc Godard’s Contempt and Weekend. I was blown away by Agnes Varda’s Cleo from 5 to 7. Michelangelo Antonioni’s films really struck a chord with me as well. After seeing L’Avventura and Blowup, I went online and ordered every film of his I could find. The Passenger’s penultimate shot blew me away. I watched that 7 minute shot over and over. It’s probably my favorite shot in the history of cinema."

Critical reception
Angelica Jade Bastien for Roger Ebert wrote of the film, "In 'Live Cargo,' director/co-writer Logan Sandler strives to tell a story that finds poetry in the commonplace by shirking narrative conventions."Chuck Wilson for The Village Voice wrote, "The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its best when it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poetic approach.” Wilson as well called Sandler "a filmmaker to watch."Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a singularly artful film of great emotional heft.”  Walsh gave the film an A - grade.Stephen Saito for The Moveable Fest in his review and interview wrote, "While there’s intrigue aplenty as anxieties rise higher than the tide, the assured hand of director Logan Sandler, who co-wrote the script with Thymaya Payne, guides 'Live Cargo' admirably as a thriller that may appear immediately as monochrome but shifts quickly into varying degrees of grey.”H. Nelson Tracey of Cinemacy wrote that Sandler's, “Live Cargo is an unforgettable debut and a promise of greater heights to come.”Justin Lowe of the Hollywood Reporter in his review stated, “A pronounced sense of style and place suffuses the entire film, boding well for Sandler’s future projects.”

Awards/Nominations
Passage 3:
Ben Palmer
Ben Palmer (born 1976) is a British film and television director.
His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).

Biography
Palmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.

Filmography
Bo' Selecta! (2002–06)
Comedy Lab (2004–2010)
Bo! in the USA (2006)
The Inbetweeners (2009–2010)
The Inbetweeners Movie (2011)
Comedy Showcase (2012)
Milton Jones's House of Rooms (2012)
Them from That Thing (2012)
Bad Sugar (2012)
Chickens (2013)
London Irish (2013)
Man Up (2015)
SunTrap (2015)
BBC Comedy Feeds (2016)
Nigel Farage Gets His Life Back (2016)
Back (2017)
Comedy Playhouse (2017)
Urban Myths (2017–19)
Click & Collect (2018)
Semi-Detached (2019)
Breeders (2020)
Passage 4:
Scotty Fox
Scott Fox is a pornographic film director who is a member of the AVN Hall of Fame.

Awards
1992 AVN Award – Best Director, Video (The Cockateer)
1995 AVN Hall of Fame inductee
Passage 5:
Dan Milne
Dan Milne is a British actor/director who is possibly best known for his role in EastEnders.

Career
He started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in In a Land of Plenty. He then appeared in EastEnders as David Collins, Jane Beale's dying husband.
As a member of the Young Vic, he collaborated with Tim Supple to originate  Grimm Tales, which toured internationally, culminating in a Broadway run at the New Victory Theater. Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years in various cities across the world. In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat.
Season of Strangers (sometimes referred as haiku film) is a 1959 unfinished American 16 mm black and white Avant-garde-experimental short film directed by the relatively young director Maya Deren.

Production
The film began as a part of Deren's workshop which took place in Woodstock, New York, during July 6 to July 25 in 1959. Deren after claimed that the location was important for the structure of the film. Also the lyrical aspect of Japanese Haiku motivated the fim as well.
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Marshall Leib
Marshall Leib (January 26, 1939 – March 15, 2002) was an American singer and one of the original members of The Teddy Bears.  Leib and his high school friend, producer Phil Spector, formed the trio. Leib performed background harmony vocals on the Teddy Bears hit "To Know Him Is to Love Him", which became the number one song in the United States in 1958. It had since been covered by numerous artists such as Dolly Parton and Amy Winehouse.

Biography
Leib was involved with the movie "Ode to Billie Joe" which featured the hit "Ode To Billie Joe" by Bobbie Gentry. He also worked with Herb Alpert, Jerry Moss, The We Five, Chris Montez and Ralph Williams/The Marauders during their early years at A&M Records.In 1966, Leib was hired by Randy Wood to produce the album "Songs of Protest and Anti-Protest" by "Chris Lucey" (who was in actuality Bobby Jameson) for Surrey Records.In 1967, Leib produced a twelve song L.P. for a group called The Brownstones that featured top session drummer Sandy Konikoff along with vocalist Aaron Brownstone, guitarist Dick Douglas and bassist Tom Hankins. He was attempting to create a "supergroup", but the vocalist was killed in a motorcycle accident and Konikoff went on to play with Taj Mahal and others. Collectors are looking for a copy of this Leib-produced missing LP, but it is believed that ABC Records destroyed all copies.Leib later became involved with the L.A. Street Scene, a yearly festival held in the streets of downtown L.A. that was the precursor to the modern super festival.Leib collected Ferrari automobiles and belonged to a Ferrari club.  He was also a classic (antique) automobile aficionado.  In the 1990s, Leib produced an album of female vocal Christmas songs.  Leib married, divorced, and later suffered a fatal heart attack.  He is survived by two biological sons (Jason Leib and Lucas Leib) and one adopted son, Jason Lawrence.
Maya Deren (born Eleonora Derenkovskaya, Ukrainian: Елеоно́ра Деренко́вська; May 12 [O.S. 1917 – October 13, 1961) was a relatively young Ukrainian-born American director. April 29] 1917 – October 13, 1961) was a Ukrainian-born (then part of the Russian Empire, now independent Ukraine) American experimental filmmaker and important part of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer.
The function of film, Deren believed, was to create an experience. She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (student of Kurt Koffka)  in a series of perceptual, black-and-white short films. Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptual aims.Meshes of the Afternoon (1943), her collaboration with her husband at the time Alexander Hammid, has been one of the most influential experimental films in American cinema history. Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman.

Early life
Deren was born May 12 [O.S. April 29] 1917 in Kyiv, Ukraine, Russian Empire, now independent Ukraine, into a Jewish family, to psychologist Solomon Derenkowsky and Gitel-Malka (Marie) Fiedler, who supposedly named her after Italian actress Eleonora Duse.In 1922, the family fled the Ukrainian SSR because of antisemitic pogroms perpetrated by the White Volunteer Army and moved to Syracuse, New York. Her father shortened the family name from Derenkovskaya to "Deren" shortly after they arrived in New York. He became the staff psychiatrist at the State Institute for the Feeble-Minded in Syracuse. Deren's mother was a musician and dancer who had studied these arts in Kyiv. In 1928, Deren's parents became naturalized citizens of the United States.Deren was highly intelligent, starting fifth grade at only eight years old. She attended the League of Nations International School of Geneva, Switzerland for high school from 1930 to 1933. Her mother moved to Paris, France to be nearer to her while she studied. Deren learned to speak French while she was abroad.Deren enrolled at Syracuse University at sixteen, where she began studying journalism and political science. Deren became a highly active socialist activist during the Trotskyist movement in her late teens. She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the Social Problems Club at Syracuse University.
At age eighteen in June 1935, she married Gregory Bardacke, a socialist activist whom she met through the Social Problems Club. After his graduation in 1935, she moved to New York City. She finished school at New York University with a Bachelor's degree in literature in June 1936, and returned to Syracuse that fall. She and Bardacke became active in various socialist causes in New York City; and it was during this time that they separated and eventually divorced three years later.In 1938, Deren attended the New School for Social Research, and received a master's degree in English literature at Smith College. Her Master's thesis was titled The Influence of the French Symbolist School on Anglo-American Poetry (1939). This included works of Pound, Eliot, and the Imagists. By the age of 21, Deren had earned two degrees in literature.

Early career
After graduation from Smith, Deren returned to New York's Greenwich Village, where she joined the European émigré art scene. She supported herself from 1937 to 1939 by freelance writing for radio shows and foreign-language newspapers. During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton, Max Eastman, and then William Seabrook. She wrote poetry and short fiction, tried her hand at writing a commercial novel, and also translated a work by Victor Serge which was never published. She became known for her European-style handmade clothes, wild red curly hair and fierce convictions.In 1940, Deren moved to Los Angeles to focus on her poetry and freelance photography. In 1941, Deren wrote to Katherine Dunham—an African American dancer, choreographer, and anthropologist of Caribbean culture and dance—suggesting a children's book on dance and applying for a managerial job for her and her dance troupe; she later became Dunham's assistant and publicist. Deren travelled with the troupe for a year, learning greater appreciation for dance, as well as interest and appreciation for Haitian culture. Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology. At the end of touring a new musical Cabin in the Sky, the Dunham dance company stopped in Los Angeles for several months to work in Hollywood. It was there that Deren met Alexandr Hackenschmied (who later changed his name to Alexander Hammid), a celebrated Czech-born photographer and cameraman who would become Deren's second husband in 1942. Hackenschmied had fled from Czechoslovakia in 1938 after the Sudetenland crisis.
Deren and Hammid lived together in Laurel Canyon, where he helped her with her still photography which focused on local fruit pickers in Los Angeles. Of two still photography magazine assignments of 1943 to depict artists active in New York City,  including Ossip Zadkine, her photographs appeared in the Vogue magazine article. The other article intended for Mademoiselle magazine was not published, but three signed enlargements of photographs intended for this article, all depicting Deren's friend New York ceramist Carol Janeway, are preserved in the MoMA and the Philadelphia Museum of Art. All prints were from Janeway's estate.

Personal life
In 1943, she moved to a bungalow on Kings Road in Hollywood and adopted the name Maya, a pet name her second husband Hammid coined. Maya is the name of the mother of the historical Buddha as well as the dharmic concept of the illusory nature of reality. In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields.
In 1944, back in New York City, her social circle included Marcel Duchamp, André Breton, John Cage, and Anaïs Nin.In 1944, Deren filmed The Witch's Cradle in Peggy Guggenheim's Art of This Century gallery with Duchamp featured in the film.
In the December 1946 issue of Esquire magazine, a caption for her photograph teased that she "experiments with motion pictures of the subconscious, but here is finite evidence that the lady herself is infinitely photogenic." Her third husband, Teiji Itō, said: "Maya was always a Russian. In Haiti she was a Russian. She was always dressed up, talking, speaking many languages and being a Russian."

Deren defined cinema as an art, provided an intellectual context for film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring. As Sarah Keller states, “Maya Deren lays claim to the honor of being one of the most important young pioneers of the American film avant-garde with a scant seventy-five or so minutes of finished films to her credit.” Deren began to screen and distribute her films in the United States, Canada, and Cuba, lecturing and writing on avant-garde film theory, and additionally on Vodou. In February 1946 she booked the Provincetown Playhouse in Greenwich Village for a major public exhibition, titled Three Abandoned Films, in which she showed Meshes of the Afternoon (1943), At Land (1944) and A Study in Choreography for Camera (1945). The event was completely sold out, inspiring Amos Vogel's formation of Cinema 16, the most successful film society of the 1950s.In 1946, she was awarded a Guggenheim Fellowship for "Creative Work in the Field of Motion Pictures", and in 1947, won the Grand Prix International for avant-garde film at the Cannes Film Festival for Meshes of the Afternoon. She then created a scholarship for experimental filmmakers, the Creative Film Foundation.Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night.
Deren's background and interest in dance appears in her work, most notably in the short film A Study in Choreography for Camera (1945). This combination of dance and film has often been referred to as "choreocinema", a term first coined by American dance critic John Martin.In her work, she often focused on the unconscious experience, such as in Meshes of the Afternoon. This is thought to be inspired by her father who was a student of psychiatrist Vladimir Bekhterev who explored trance and hypnosis as neurological states. She also regularly explored themes of gender identity,  incorporating elements of introspection and mythology. Despite her feminist subtext, she was mostly unrecognized by feminist writers at the time, even influential writers Claire Johnston and Laura Mulvey ignored Deren at the time, though Mulvey later would give Deren this recognition, since their works were often in conversation with each other.

Major films
Meshes of the Afternoon (1943)
In 1943, Deren purchased a used 16mm Bolex camera with some of the inheritance money after her father's death from a heart attack. This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their Los Angeles home on a budget of $250. Meshes of the Afternoon is recognized as a seminal American avant-garde film. It is the first example of a narrative work in avant-garde American film; critics have seen autobiographical elements in the film, as well as thoughts about woman as subject rather than as object. Originally a silent film with no dialogue, music for the film was composed, long after its initial screenings, by Deren's third husband Teiji Itō in 1952. The film can be described as an expressionistic "trance film", full of dramatic angles and innovative editing. It investigates the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations. A woman, played by Maya Deren, walks up to a house in Los Angeles, falls asleep and seems to have a dream. The sequence of walking up to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house. Movement from the wind, shadows and the music sustain the heartbeat of the dream. Recurring symbols include a cloaked figure, mirrors, a key, and a knife.
The loose repetition and rhythm cut short any expectation of a conventional narrative, heightening the dream-like qualities. The camera initially does not show her face, which precludes identification with a particular woman, which creates a universalizing, totalizing effect- as it is easier to relate to an unknown, faceless woman. Multiple selves appear, shifting between the first and third person, suggesting that the super-ego is at play, which is in line with the psychoanalytic Freudian staircase and flower motifs. This kind of Freudian interpretation, which she disagreed with, led Deren to add sound, composed by Teiji Itō, to the film.
Another interpretation is that each film is an example of a "personal film". Her first film, Meshes of the Afternoon, explores a woman's subjectivity and relation to the external world. Georges Sadoul said Deren may have been "the most important figure in the post-war development of the personal, independent film in the U.S.A." In featuring the filmmaker as the woman whose subjectivity in the domestic space is explored, the feminist dictum "the personal is political" is foregrounded. As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in the film. Following a dreamlike quest with allegorical complexity, Meshes of the Afternoon has an enigmatic structure and a loose affinity with both film noir and domestic melodrama. The film is famous for how it resonated with Deren's own life and anxieties. According to a review in The Moving Image, "this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory. The first of these trajectories is Deren's interest in socialism during her youth and university years".

Director's notes
There is no concrete information about the conception of Meshes of the Afternoon beyond that Deren offered the poetic ideas and Hammid was able to turn them into visuals, as she envisioned them. Deren's initial concept began on the terms of a subjective camera, one that would show the point of view of herself without the aid of mirrors and would move as her eyes through spaces. According to the earliest program note, she describes Meshes of the Afternoon as follows:

This film is concerned with the interior experiences of an individual. It does not record an event which could be witnessed by other persons. Rather, it reproduces the way in which the subconscious of an individual will develop, interpret, and elaborate an apparently simple and casual incident into a critical emotional experience.

At Land (1944)
Deren filmed At Land in Port Jefferson and Amagansett, New York in the summer of 1944. Taking on more of an environmental psychologist's perspective, Deren "externalizes the hidden dynamic of the external world...as if I had moved from a concern with the life of the fish, to a concern with the sea which accounts for the character of the fish and its life." Maya Deren washes up on the shore of the beach, and climbs up a piece of driftwood that leads to a room lit by chandeliers, and one long table filled with men and women smoking. She seems to be invisible to the people as she crawls across the table, uninhibited; her body continues seamlessly again onto a new frame, crawling through foliage; following the flowing pattern of water on rocks; following a man across a farm, to a sick man in bed, through a series of doors, and finally popping up outside on a cliff. She shrinks in the wide frame as she walks farther away from the camera, up and down sand dunes, then frantically collecting rocks back on the shore. Her expression seems confused when she sees two women playing chess in the sand. She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or "doppelganger", where her earlier self sees her other self running through the scene. Some of her movements are controlled, suggesting a theatrical, dancer-like quality, while some have an almost animalistic sensibility as she crawls through the seemingly foreign environments. This is one of Deren's films in which the focus is on the character's exploration of her own subjectivity in her physical environment, inside as well as outside her subconscious, although it has a similar amorphous quality compared to her other films.

A Study in Choreography for Camera (1945)
In the spring of 1945 she made A Study in Choreography for Camera, which Deren said was "an effort to isolate and celebrate the principle of the power of movement." The compositions and varying speeds of movement within the frame inform and interact with Deren's meticulous edits and varying film speeds and motions to create a dance that Deren said could only exist on film. Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word "geography" as the movement of the dancer transcends and manipulates the ideas of both time and space. "For Deren, no transition is needed between a place outside (such as a forest, or a park, or the beach) and an interior room. One action can be performed across different physical spaces, as in A Study in Choreography For Camera (1945), and in this way sews together layers of reality, thereby suggesting continuity between different levels of consciousness."At just under 3 minutes long, A Study in Choreography for Camera is a fragment depicting a carefully constructed exploration of a man who dances in a forest, and then seems to teleport to the inside of a house because of how continuous his movements are from one place to the next. The edit is broken, choppy, showing different angles and compositions, and even with parts in slow-motion, Deren is able to keep the quality of the leap smooth and seemingly uninterrupted. The choreography is perfectly synched as he seamlessly appears in an outdoor courtyard and then returns to an open, natural space. It shows a progression from nature to the confines of society, and back to nature. The figure belongs to dancer and choreographer Talley Beatty, whose last movement is a leap across the screen back to the natural world. Deren and Beatty met through Katherine Dunham, while Deren was her assistant and Beatty was a dancer in her company. It is worth noting that Beatty collaborated heavily with Deren in the creation of this film, hence why he is credited alongside Deren in the film's credit sequence. The film is also subtitled 'Pas de Deux', a dance term referring to a dance between two people, or in this case, a collaboration between Deren and Beatty.A Study in Choreography for Camera was one of the first experimental dance films to be featured in the New York Times as well as Dance Magazine.

Ritual in Transfigured Time (1946)
By her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole. Ritual in Transfigured Time began in August and was completed in 1946. It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change. The main roles were played by Deren herself and the dancers Rita Christiani and Frank Westbrook.

Meditation on Violence (1948)
Deren's Meditation on Violence was made in 1948. Chao-Li Chi's performance obscures the distinction between violence and beauty. It was an attempt to "abstract the principle of ongoing metamorphosis", found in Ritual in Transfigured Time, though Deren felt it was not as successful in the clarity of that idea, brought down by its philosophical weight. Halfway through the film, the sequence is rewound, producing a film loop.

Criticism of Hollywood
Throughout the 1940s and 1950s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema. She stated, "I make my pictures for what Hollywood spends on lipstick," criticizing the amount of money spent on production. She also observed that Hollywood "has been a major obstacle to the definition and development of motion pictures as a creative fine-art form." She set herself in opposition to the Hollywood film industry's standards and practices.
Deren talks about the freedoms of independent cinema:

Artistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words...to the relentless activity and explanations of a plot...nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes...Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.

Haiti and Voudoun
When Maya Deren decided to make an ethnographic film in Haiti, she was criticized for abandoning avant-garde film where she had made her name, but she was ready to expand to a new level as an artist. She had studied ethnographic footage by Gregory Bateson in Bali in 1947, and was interested in including it in her next film. In September, she divorced Hammid and left for a nine-month stay in Haiti. The Guggenheim Fellowship grant in 1946 enabled Deren to finance her travel and film footage for what would posthumously become  Meditation on Violence. She went on three additional trips through 1954 to document and record the rituals of Haitian Vodou.
A source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in 1939, which Deren edited. While working as Dunham's assistant, Deren was given access to Dunham's archive which included 16mm documents on the dances in Trinidad and Haiti. Exposure to these documents led her to write her 1942 essay titled, "Religious Possession in Dancing." Afterwards, Deren wrote several articles on religious possession in dancing before her first trip to Haiti. Deren filmed, recorded and photographed many hours of Vodou ritual, but she also participated in the ceremonies. She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell, which is considered a definitive source on the subject. She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality. In her book An Anagram of Ideas on Art, Form, and Film she wrote:

The ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalized element in a dramatic whole. The intent of such depersonalization is not the destruction of the individual; on the contrary, it enlarges him beyond the personal dimension and frees him from the specializations and confines of personality. He becomes part of a dynamic whole which, like all such creative relationships, in turn, endow its parts with a measure of its larger meaning.
Deren filmed 18,000 feet of Vodou rituals and people she met in Haiti on her Bolex camera. The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti, edited and produced in 1977 (with funding from Deren's friend James Merrill) by her ex-husband, Teiji Itō (1935–1982), and his wife Cherel Winett Itō (1947–1999). All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University. The film footage is housed at Anthology Film Archives in New York City.
An LP of some of Deren's wire recordings was published by the newly formed Elektra Records in 1953 entitled Voices of Haiti. The cover art for the album was by Teiji Itō.Anthropologists Melville Herkovitz and Harold Courlander acknowledged the importance of Divine Horsemen, and in contemporary studies it is often cited as an authoritative voice, where Deren's methodology has been especially praised because "Vodou has resisted all orthodoxies, never mistaking surface representations for inner realities."In her book of the same name Deren uses the spelling Voudoun, explaining: "Voudoun terminology, titles and ceremonies still make use of the original African words and in this book they have been spelled out according to usual English phonetics and so as to render, as closely as possible, the Haitian pronunciation. Most of the songs, sayings and even some of the religious terms, however, are in Creole, which is primarily French in derivation (although it also contains African, Spanish and Indian words). Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation." In her Glossary of Creole Words, Deren includes 'Voudoun' while the Shorter Oxford English Dictionary draws attention to the similar French word, Vaudoux.

Death
Deren died in 1961, at the age of 44, from a brain hemorrhage brought on by extreme malnutrition. Her condition may have also been weakened by her long-term dependence on amphetamines and sleeping pills prescribed by Max Jacobson, a doctor and member of the arts scene, notorious for his liberal prescription of drugs, who later became famous as one of President John F. Kennedy's physicians.
Her ashes were scattered in Japan at Mount Fuji.

Legacy
Deren was a muse and inspiration to such up-and-coming avant-garde filmmakers as Curtis Harrington, Stan Brakhage, and Kenneth Anger, who emulated her independent, entrepreneurial spirit. Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich. In his review for renowned experimental filmmaker David Lynch's Inland Empire, writer Jim Emerson compares the work to Meshes of the Afternoon, apparently a favorite of Lynch's.Deren was a key figure in the creation of a New American Cinema, highlighting personal, experimental, underground film. In 1986, the American Film Institute created the Maya Deren Award to honor independent filmmakers.
The Legend of Maya Deren, Vol. 1 Part 2 consists of hundreds of documents, interviews, oral histories, letters, and autobiographical memoirs.Works about Deren and her works have been produced in various media:

Deren appears as a character in the long narrative poem The Changing Light at Sandover (1976-1980) by her friend James Merrill.
In 1987, Jo Ann Kaplan directed a biographical documentary about Deren, titled Invocation: Maya Deren (65 min)
In 1994, the UK-based Horse and Bamboo Theatre created and toured Dance of White Darkness throughout Europe—the story of Deren's visits to Haiti.
In 2002, Martina Kudlacek directed a feature-length documentary about Deren, titled In the Mirror of Maya Deren (Im Spiegel der Maya Deren), which featured music by John Zorn. Deren's youthful films have also been shown with newly written alternative soundtracks: At Land won the festival prize for sound design.
In 2008, the Portuguese rock group Mão Morta produced new soundtracks for four of Deren's short films as part of a commission from Curtas Vila do Conde's annual film festival.

Awards and honors
Guggenheim Fellowship 1946
Grand Prix Internationale for Amateur Film
Creative Work in Motion Pictures (1947)
Cannes Film Festival (1947)

Filmography
Discography
Vinyl LPs
Written works
Deren was also an important film theorist.

Her most widely read essay on film theory is probably An Anagram of Ideas on Art, Form and Film, Deren's seminal treatise that laid the groundwork for many of her ideas on film as an art form (Yonkers, NY: Alicat Book Shop Press, 1946).
Her collected essays were published in 2005 and arranged in three sections:Film Poetics, including: Amateur versus Professional, Cinema as an Art Form, An Anagram of Ideas on Art, Form and Film, Cinematography: The Creative Use of Reality
Film Production, including: Creating Movies with a New Dimension: Time, Creative Cutting, Planning by Eye, Adventures in Creative Film-Making
Film in Medias Res, including: A Letter, Magic is New, New Directions in Film Art, Choreography for the Camera, Ritual in Transfigured Time, Meditation on Violence, The Very Eye of Night.Divine Horsemen: Living Gods of Haiti was published in 1953 by Vanguard Press (New York City) and Thames & Hudson (London), republished under the title of The Voodoo Gods by Paladin in 1975, and again under its original title by McPherson & Company in 1998.

The Yellow Teddy Bears (US: Gutter Girls and The Thrill Seekers) is a 1963 British drama film directed by the seasoned Robert Hartford-Davis and starring Jacqueline Ellis, Iain Gregory, Raymond Huntley and Georgina Patterson.

Premise
The pupils at a girls' school deal with adult issues such as teen pregnancy.

Cast
Jacqueline Ellis - Anne Mason
Iain Gregory - Kinky
Georgina Patterson - Pat
John Bonney - Paul
Annette Whiteley - Linda
Douglas Sheldon - Mike Griffin
Victor Brooks - George Donaghue
Anne Kettle - Sally
Lesley Dudley as Joan
Jill Adams - June Wilson
John Glyn-Jones - Benny Wintle
Raymond Huntley - Harry Halburton
Harriette Johns - Lady Gregg
Noel Dyson - Muriel Donaghue
Richard Bebb - Frank Lang
Ann Castle - Eileen Lang
Micheline Patton - Mrs. Broome
Irene Richardson - extra
Passage 10:
Elliot Silverstein
Elliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).

Career
Elliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.
The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.
Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.
While Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.

Awards
In 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.
He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).
In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.
In 1990, he was awarded the DGA Honorary Life Member Award.

Personal life
Silverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.
He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.

Filmography
Tales from the Crypt (TV Series) (1991–94)
Picket Fences (TV Series) (1993)
Rich Men, Single Women (TV Movie) (1990)
Fight for Life (TV Movie) (1987)
Night of Courage (TV Movie) (1987)
Betrayed by Innocence (TV Movie) (1986)
The Firm (TV Series) (1982–1983)
The Car (1977)
Nightmare Honeymoon (1974)
A Man Called Horse (1970)
The Happening (1967)
Cat Ballou (1965)
Kraft Suspense Theatre (TV Series) (1963–64)
The Defenders (TV Series) (1962–64)
Arrest and Trial (TV Series) (1964)
The Doctors and the Nurses (TV Series) (1962–64)
Twilight Zone (TV Series) (1961–64)
Breaking Point (TV Series) (1963)
Dr. Kildare (TV Series) (1961–63)
The Dick Powell Theatre (TV Series) (1962)
Belle Sommers (TV Movie) (1962)
Naked City (TV Series) (1961–62)
Have Gun - Will Travel (TV Series) (1961)
Route 66 (TV Series) (1960–61)
Checkmate (TV Series) (1961)
The Westerner (TV Series) (1960)
Assignment: Underwater (TV Series) (1960)
Black Saddle (TV Series) (1960)
Suspicion (TV Series) (1958)
Omnibus (TV Series) (1954–56)

Answer: The Yellow Teddy Bears


Input: Were Jake Eisenhart and Michael T. Ullman of the same nationality?

Context:
Eisenhart also served in the Canadian Army during World War II, and toiled three years in the Philadelphia Athletics organization, but never made it back to the major leagues. He is best known for his Declarative/Procedural model of language.

Early life and career
Ullman was born in San Francisco, California. He is an alumnus of the French American International School and Lowell High School (1976–1980), both in San Francisco. He received his BA in Computer Science from Harvard University in 1988 and his PhD from the Department of Brain and Cognitive Sciences, Massachusetts Institute of Technology in 1993. Ullman is currently a full professor at Georgetown University. His primary appointment is in the Department of Neuroscience (Georgetown University Medical Center), with secondary appointments in the Departments of Linguistics, Neurology and Psychology. He is the founding Director of the Brain and Language Lab, founding co-Director of the Center for the Brain Basis of Cognition, and founding Director of the Georgetown Cognitive Neuroscience EEG/ERP Center. He was a Presidential Columnist for American Psychological Society Observer in 2005. He currently lives in Washington D.C., with his daughter Clementina Ullman.
Passage 2:
Pete Sanstol
Pete Sanstol (March 28, 1905 – March 13, 1982) was a Norwegian professional boxer who took the Canadian version of the World Bantamweight Championship in Montreal in 1931 against Archie Bell. He contended twice unsuccessfully for the NBA World Bantamweight Title, and was a class of 2000 World Boxing Hall of Fame inductee.Lew Burston, Raoul Godbout, George Blake, and Bobby Diamond were his managers. His trainers were Jake Kravitz and Manny Seeman.

Early life and amateur career
Peder Olai Sanstøl was the youngest of five children born to Jonas Jonasen Sanstøl (1864–1942) and Elen Dortea Nilsdatter Lindland (1860–1946) in Moi, Lunde municipality, in Rogaland county in Norway. He moved to Stavanger with his parents as a child. Sanstol learned to box in the club Kristiana AK, after his family moved to Oslo. Boxing as an amateur, he came in fourth in the flyweight class championship in 1923 and won gold in the bantam class championship in 1925.

Early professional boxing career
Pete Sanstol embarked on a professional career in 1926. After winning his professional debut against the British boxing veteran Bert Gallard in Oslo, Sanstol was invited by Max Schmeling's manager to train in Berlin. After Sanstol left Norway in the mid-1920s, he only occasionally returned.
On July 13, 1926 Sanstol defeated Harry Stein, than the Flyweight Champion of Germany, in Berlin at Luna Park in a four-round newspaper decision. The source, BOX-SPORT reported that Sanstol won the decision decisively.

Bout with Andre Dedieu in Paris, January 1927
Winning all his bouts in Germany, Sanstol moved on to Paris where he fought at least through February 1927. On January 24, 1927, he met the well known Andre Dedieu at the Central Sporting Club in Paris, winning in a third-round technical knockout. Some observers in Paris compared him to French boxing champion, Georges Carpentier. Discovered in Paris by American manager Lew Burston (1896–1969), Sanstol was brought to New York around mid-1927, where he graduated from the club preliminaries to become the most sought after bantam in the eastern United States and Canada.

Bouts with Joey Scalfano, August, October 1930
On October 22, 1930, Sanstol fought a tough ten-round draw against Joey Scalfano at Madison Square Garden that was "nip and tuck for the entire ten rounds", and a great crowd pleaser.  Sanstol later described it as one of his toughest fights.  There were no knockdowns in the bout and the fighting was fast-paced and frenzied. Scalfaro's left eye was completed closed for the last two rounds and his blows often missed their mark. Sanstol had previously lost to Scalfaro on August 6, 1930 at Madison Square Garden in a ten-round points decision.  Scalfaro was known as the only boxer to score a knock down of the Black Cuban champion Kid Chocolate in North America.

Taking the Canadian version of the World Bantamweight Championship
By late 1930, Sanstol had moved his headquarters from the Norwegian-American community of Bay Ridge, in Brooklyn, NY, to Montreal, Canada where he came under the management of Raoul Godbout (1894–1975).
On May 20, 1931, in his most important bout, Sanstol won the World Bantamweight Title in a ten-round unanimous decision against the great New York Jewish contender Archie Bell in Montreal. The title was recognized by the Montreal Athletic Commission and the Canadian Boxing Federation, so it had some limits in its scope. The fast bout had no knockdowns. For a championship bout, it received very limited coverage in American newspapers. Sanstol weighted 115 1/2, giving up only two pounds to Bell. Bell would later contend for but not take the British version of the World Bantamweight Title and contend twice for the California version of the World Featherweight Title.

First defense of the Canadian World Bantamweight Title, June 1931
Sanstol twice successfully defended his bantamweight title. On June 17, 1931, Sanstol defeated Art Giroux, also of Montreal, in the Canadian version of a World Bantamweight Title. Leading in the betting odds by 7 to 5, Sanstol won the fifteen round bout at the Forum in Montreal in a fifteen-round Unanimous Decision. Giroux was the Canadian Bantamweight Champion at the time. After the win, Sanstol was rated second in the world in the bantamweight division, behind only Panama Al Brown, according to the quarterly standings of the National Boxing Association (NBA).

Second defense of the Canadian World Bantamweight Title, July 1931
On July 29, 1931, again at the Forum in Montreal, Sanstol defeated Eugène Huat in a ten-round Unanimous Decision in his second defense of the Canadian version of the World Bantamweight Title. Huat was the French Bantamweight Champion at the time. In a fairly close bout, Huat knocked Sanstol off his feet in the eighth round. In the eighth round, Huat scored often with lightning fast jabs that went through Sanstol's defense, though Huat appeared to have lost the first few rounds, with Sanstol not clearly taking the lead til the seventh. In the ninth the boxing seemed close, but in the tenth, perhaps with greater stamina, Sanstol took the offensive and battered Huat with telling blows. Sanstol's performance in the final round may have strongly influenced the judge's decisions. The final decision for Sanstol was not entirely popular with the crowd.

Attempt at the NBA World Bantamweight Championship, Al Brown, August 1931
On August 25, 1931, Sanstol met Panama Al Brown for the widely recognized NBA and NYSAC World Bantamweight Title before a crowd of 23,000 at the Forum in Montreal. The bout was considered the largest gross take on a bout in the history of boxing in Montreal according to the New York Times, and was easily one of the largest audiences for any of Sanstol's fights. Sanstol lost the bout in a close fifteen round split decision. In the close bout, the Canadian Press gave Brown seven rounds, Stanstol five, with three rounds even.
Sanstol fought much of the bout in a crouch, to compensate for a six-inch disadvantage in height and reach. Aiming down on Sanstol, Brown scored frequently with blows to the head, opening a cut over one of Sanstol's eyes, which eventually reduced his vision.  Sanstol fought on doggedly despite his. Fighting during the depression, Sanstol took about $3,427 for his loss, not a great amount for a world championship bout, considering Jack Dempsey had received over $150,000 for some of his World Heavyweight Championship wins.

Draw with NBA Flyweight Champion Spider Pladner, July 1932
On July 20, 1932 Sanstol fought a ten-round draw with 1929 NBA World Flyweight Champion Emille "Spider" Pladner, a French born boxer, at the Forum in Montreal, Canada.  An important bout between contenders, the January 1932 ratings, listed Sanstol as the third best bantamweight in the world, with Pladner listed as fourth. Pladner had also held the 1931 Canadian World Bantamweight Title.

Short retirement and bout with Midget Wolgast, August 1933
After losing the bout with Brown, Sanstol took a year off between August 1931 and June 1932, before resuming another campaign for the championship. On August 15, 1933, Sanstol fought an important bout against Midget Wolgast, NYSAC World Flyweight Champion at the time, losing in a ten-round non-title points decision in a bout where the brows of his face and his eyes were battered. According to one source, Wolgast won every round.

Victory over Young Perez, former World Flyweight Champion, September 1934
On September 1, 1934, Sanstol defeated World Champion Victor "Young" Perez at Bislet Stadium in Oslo in a ten-round points decision. In October 1931, Perez had taken the NBA World Flyweight Championship in a second-round knockout at the Palais de Sports in Paris, France, making him one of the youngest world boxing champions in history. In 1929, Perez had also taken the French Flyweight Title. A Tunisian Jew, Perez would die tragically in 1945 on a march from Auschwitz, where he had been interned, after being denounced to the Nazis in Paris in 1943.

Wins in Sweden and Germany March–May 1935
He retired from boxing in late 1933, fighting only one bout in 1934, and then resumed his boxing in Sweden in 1935. He won a ten-round points decision in Berlin against Hans Schiller, former German Featherweight Champion, on May 10, 1935.  In Sweden he met Werner Reithdorf on April 26, 1935, winning in an eighth-round TKO in Gothenburg, and Joey Carr on March 1, 1935, also in Gothenburg, where he won in a first-round knockout.

Last NBA World Bantamweight Title bout, Sixto Escobar, August 1935
With both boxers very near 118, Sanstol had his last NBA World Bantamweight Championship match with Sixto Escobar, on August 7, 1935 at the Forum in Montreal. Sanstol lost the bout in a twelve-round unanimous decision, that was not particularly close, though quite satisfying to the crowd. In the seventh, Escobar closed Sanstol's left eye, in effect winning the bout, or reducing his need to show the same level of aggression. Ringside observers gave Escobar eight rounds, with four rounds even.

Win over Panama Al Brown, September 1935
Sanstol had one more career bout of consequence, on September 13, 1935, defeating Al Brown in Oslo in a ten-round non-title decision a month after the Escobar fight, not long before his retirement.

Joining the US Army Air Corp in April 1942, and gaining US Citizenship, 1943
Sanstol joined the US Army Air Corp on April 3, 1942. He served a total of three years and two months. During his service, he fought two army benefit fights on May 1, and July 16, 1942 in Miami, Florida, winning both in a four-round and then ten-round decision. While in the Air Corp, he also refereed a bout on May 8, 1943 in Montreal.
He completed his service on June 12, 1945. He became a U.S. citizen, a privilege he had long awaited, in 1943 during his service with the Army.

Fighting style
Sanstol was known for his aggression, energy, speed, amazing stamina and uncanny defense. He was also known for his ability to give the crowd a thrilling show. About the only attribute he lacked was the so-called "power punch", although a quarter of his 98 victories were by way of knockout. Throughout his early career, Sanstol used these skills to build an impressive record. In time, his fighting style gradually evolved from that of a careless youth, to that of a wizened veteran. After his first bout with Panama Al Brown, Sanstol learned to pace himself better and to use every punch sparingly, not wasting a single drop of energy. Part of this evolution may have resulted from a chronically bad foot or ankle he first sustained during one of these title bouts. It would haunt and hobble him for the remainder of his professional career.
Long-time Montreal Herald Sports Editor Elmer W. Ferguson (1885–1972) once described Sanstol's evolved fighting style as follows:

Sanstol first flashed on the Montreal fistic horizon half a dozen years ago. This writer recollects him knocking out Aleck Burlie in April 1928, over seven years ago at the Forum. In those days Sanstol was a bewildering bundle of speed and energy. His slim, tireless legs carried him around the ring at bounding, blinding speed. He threw his endless energy to the winds with complete abandon. He was a profligate spendthrift of energy and strength, of nerve force. He had all the carelessness of youth about vitality as expended in the ring. He had a seemingly endless supply. For ten or twelve rounds he could dance, bounce, leap and dash about the ring on those steel legs, and meanwhile his speeding fists could keep on throwing stinging punches at bewildering speed, punches from all angles. For not only did Sanstol bound about the ring. He ducked like lightning, weaved, bobbed, always going at top speed, a master-boxer in his own fashion, a fashion founded on speed and stamina. The fighting heart that blazes from his ice-cold eyes still sends him on. But fistic age has tempered the pace, has developed a new ring cunning, and a tendency to accomplish by polished skill what he once achieved by youthful energy that disdained to save itself, that was gladly thrown to the winds.
Sanstol doesn't bound so much as he did. He moves now in a more shuffling fashion, as did great fighters before him, and as did such peerless runners as Schrubb and Nurmi, the greatest of all conservation stylists. Today Sanstol is inclined to save his legs, to some degree, and to employ instead the ring-craft he has acquired in nearly ten years of campaigning up and down the fistic lanes of two continents. Today he is more the Dempsey in his style, less the old Sanstol. His hands still carry their speed, his arms and shoulders the energy to hurl an endless barrage of punches. But he will be found doing much more of the weaving and bending to evade blows or get himself into hitting position. He will not be leaping five or six feet when an evasive swing of a few inches will suffice. He will be doing more of the bobbing and ducking and swinging from the hips, with which he used to delight crowds and bewilder his opponents.

Career highlights and honors
Amateur Flyweight class championship of Norway in 1923
Amateur recipient of Gold in the Norwegian and Scandinavian Bantam class championship in 1925
Canadian World Bantamweight Champion (1931)
Ranked by long-time Madison Square Garden Matchmaker Tom McArdle with legendary bantams Terry McGovern, Kid Williams, and Pete Herman (1931 Everlast Boxing Record)
Featured solo on the cover of the August 1931 The Ring magazine and in its accompanying article
Described in the article "The Golden Bantams" (The Ring, December 1953 issue, page 13) as "one of the hottest local favorites the big town New York ever had. Pete, flashy, colorful and capable fought in the Ridgewood Grove Sporting Club in the Queens section of New York no less than 26 times in one year, packing the place every time."
Proclaimed the Ridgewood Grove's "Greatest Ring Attraction" by The Ring magazine's Ted Carroll
Ranked with Leo "Kid" Roy as Montreal's favorite boxer of the late 1920s/early 1930s
Inducted into the World Boxing Hall of Fame in 2000

Life after boxing
After his boxing career ended, Sanstol worked various jobs in Norway, New York City, Chicago, Seattle, and Alaska, including restaurant owner, newspaper writer, recreation center director, hotel clerk, and translator. In 1957, he completed his autobiography entitled Gjennom Ringen.He married Bessie Andrews Marshal in Seattle on August 24, 1956. Shortly after the wedding, Sanstol and his wife moved to live in Norway, where he was still remembered for his boxing. He was in demand, often telling stories of his boxing days, and speaking to groups. In 1960, Pete moved back to the West Coast of the United States with his wife, taking a job in Long Beach, California, as a translator for a shipping company. In 1962, Sanstol and his wife moved to nearby San Pedro. By October 15, 1981, Sanstol was living in a Convalescent Home in Torrance, California suffering from a diagnosed form of dementia.He died in 1982 in Whittier, California after a series of strokes. On June 7, 2005, Lund municipality raised a monolith in a park in Moi to his memory, listing him as Norway's most famous boxer.
Passage 3:
James P. Wade
James P. Wade, Jr. is the author, with Harlan K. Ullman of the doctrine of strategic dominance, more popularly known as shock and awe. They published their concept in Shock and Awe: Achieving Rapid Dominance, a 1996 monograph of the National Defense University.In 1977, he was appointed by President Jimmy Carter as Chairman of the Military Liaison Committee to the United States Department of Energy.
Michael T. Ullman

Education, employment, war service
Ullman served in World War II and the U.S. Navy for two and a half years, and also served as an Air Force civilian employee on Guam.
Ullman became a newspaperman soon after. He served as police reporter on the La Porte, Indiana Herald-Argus, was editor of the Skokie, IL News and served as head of the United Press Bureau's Chicago desk.
Ullman was educated at Chicago's Wright Junior College and De Paul University, eventually receiving a Masters in Journalism from Northwestern University in 1954.
He won a prize in the Ellery Queen Magazine's 1953 contest with his first story Anything New on the Strangler? His short stories continued to appear in Ellery Queen's Mystery Magazine through the early 1960s when he turned to novels.

Novels
Ullman's first novel The Neon Haystack won Simon & Schuster's Inner Sanctum Mystery Award in 1963. The story centers around Steve Kolchak, who arrives in "a mid-western city" in search of his brother who disappeared exactly one year earlier. Kolchak takes the same hotel room, walks into the same dive bars and befriends the same shady characters who last saw his brother before his disappearance.
Ullman's 1966 novel, The Venus Trap, follows a similar theme: its protagonist goes in search of his father who went missing many years earlier, last having been seen leaving home with a strange man and a million dollars in diamonds in the heel of his shoe.
This theme of family members gone missing held a certain attraction to Ullman, and eventually encouraged the writing of this article. Ullman, his work, and his biography – like one of his mystery novel characters –  had seemed to simply disappear without a trace in the digital online age.
Perhaps Ullman's most popular and enduring work appeared in 1981, titled How to Hold a Garage Sale. Still popular as a how-to book among enthusiasts of the backyard sale, the book can still be found on Amazon and other markets. In 1986, Ullman co-authored the similarly themed Dow Jones-Irwin Guide to Using IRA's.
In 1987, Ullman and his 1954 short story Dead Ringer were honored by appearing in the collection Murder & Mystery in Chicago, a collection of mysteries set in the city Ullman called home. Ullman died in 1997.
Passage 5:
James P. Wade
James P. Wade, Jr. is the author, with Harlan K. Ullman of the doctrine of strategic dominance, more popularly known as shock and awe. They published their concept in Shock and Awe: Achieving Rapid Dominance, a 1996 monograph of the National Defense University.In 1977, he was appointed by President Jimmy Carter as Chairman of the Military Liaison Committee to the United States Department of Energy.
Jake Eisenhart The 6'3½", 195 lb. left-hander was a native of Perkasie, Pennsylvania.
Jacob Henry "Ol' Jake" Eisenhart (October 3, 1922 – December 20, 1987) was a Canadian left-handed pitcher in Major League Baseball who appeared in one game for the Cincinnati Reds in 1944. After attending Juniata College, he was signed by the Reds to a 30-day trial contract, but his only big league action came on June 10, 1944 in a home game against the St. Louis Cardinals at Crosley Field. He entered the game with two out in the top of the ninth inning, and the Reds behind 18–0. The pitcher he came in to relieve was 15-year-old Joe Nuxhall, who had just made his major league debut. Eisenhart walked the first batter he faced, George Fallon, then got the last out, retiring opposing pitcher Mort Cooper on a foul out. His total major league experience ended up lasting only 1/3 of an inning. He was released by the Reds on June 24. Eisenhart is one of many Canadian ballplayers who only appeared in the major leagues during World War II. He died in 1987 in Huntingdon, Pennsylvania.
Michael T. Ullman (born July 29, 1962, San Francisco, California) is an American neuroscientist whose main field of research is the relationship between language, memory and the brain.

Education, employment, war service
Ullman served in World War II and the U.S. Navy for two and a half years, and also served as an Air Force civilian employee on Guam.
Ullman became a newspaperman soon after. He served as police reporter on the La Porte, Indiana Herald-Argus, was editor of the Skokie, IL News and served as head of the United Press Bureau's Chicago desk.
Ullman was educated at Chicago's Wright Junior College and De Paul University, eventually receiving a Masters in Journalism from Northwestern University in 1954.
He won a prize in the Ellery Queen Magazine's 1953 contest with his first story Anything New on the Strangler? His short stories continued to appear in Ellery Queen's Mystery Magazine through the early 1960s when he turned to novels.

Novels
Ullman's first novel The Neon Haystack won Simon & Schuster's Inner Sanctum Mystery Award in 1963. The story centers around Steve Kolchak, who arrives in "a mid-western city" in search of his brother who disappeared exactly one year earlier. Kolchak takes the same hotel room, walks into the same dive bars and befriends the same shady characters who last saw his brother before his disappearance.
Ullman's 1966 novel, The Venus Trap, follows a similar theme: its protagonist goes in search of his father who went missing many years earlier, last having been seen leaving home with a strange man and a million dollars in diamonds in the heel of his shoe.
This theme of family members gone missing held a certain attraction to Ullman, and eventually encouraged the writing of this article. Ullman, his work, and his biography – like one of his mystery novel characters –  had seemed to simply disappear without a trace in the digital online age.
Perhaps Ullman's most popular and enduring work appeared in 1981, titled How to Hold a Garage Sale. Still popular as a how-to book among enthusiasts of the backyard sale, the book can still be found on Amazon and other markets. In 1986, Ullman co-authored the similarly themed Dow Jones-Irwin Guide to Using IRA's.
In 1987, Ullman and his 1954 short story Dead Ringer were honored by appearing in the collection Murder & Mystery in Chicago, a collection of mysteries set in the city Ullman called home. Ullman died in 1997.
Passage 8:
David Ji
David Longfen Ji is an American businessman who co-founded Apex Digital, an electronics manufacturer.In 2004, he was arrested in China following a dispute with Sichuan Changhong Electric, a supplier owned by the city of Mianyang and the province of Sichuan. Changhong accused him of defrauding them through bad checks. Ji was taken, according to an account by his lawyer, to the senior management and told, "I decide whether you live or die." He has been held in China without charges.
Ji's case highlighted an "implicit racism" in dealings with American businessmen. As a U.S. citizen he was not granted the same treatment by authorities as non-ethnically Chinese businessmen sharing the same nationality.
Passage 9:
Andrew Esinhart
Andrew Esinhart (December 27, 1838 – ca 1915) was a merchant and political figure in Quebec. He represented La Prairie in the Legislative Assembly of Quebec from 1871 to 1875 as a Conservative.
He was born in La Prairie, Lower Canada, the son of Andrew Eisenhart and Charlotte Barbeau, and became a merchant there. Esinhart owned a sawmill at Sainte-Clothilde and also operated a brick factory which failed in 1870. In 1867, he married Marie-Ézelda Valotte. He was defeated by Léon-Benoît-Alfred Charlebois when he ran for reelection to the Quebec assembly in 1875. In 1876, he moved to Iberville, where he owned a general store and grain warehouse. Esinhart was mayor of Iberville from 1882 to 1883. He later moved to the United States, where he died around 1915.
Passage 10:
Emma Russack
Emma Russack is an Australian singer and songwriter, who grew up in Narooma, New South Wales, where she graduated from high school in 2005. She currently lives in Melbourne.In 2004, when she was 16, she won the contest Fresh Air of the Australian Broadcasting Corporation for young talents with her song "Used To This". By 2008, she was already known on YouTube, where she had posted eight covers, as well as two songs of her own, playing the guitar. For some time between 2007 and 2008, she took on the artistic name Lola Flash, while being the singer of a band of the same name. The group members were Jake Phillips (bass), Alec Marshall (guitar), Paul Mc Lean (drums) and Kate Delahunty (violin). The single "Psycho", published in 2009, is from that period. She spent a year travelling around in South America. In 2010, the EP Peasants was published, and in 2012 her first album, Sounds Of Our City, including ten songs, was released. Articles about her have appeared in the German and Australian editions of Rolling Stone and in the Australian magazine Frankie. She had her song "All My Dreaming" featured in the ending of The Walking Dead's Season 9 11th episode, "Bounty".

Discography
Solo
Peasants (EP) (2010)
Sounds Of Our City  (2012)
You Changed Me (2014)
In A New State (2016)
Permanent Vacation (2017)
Winter Blues (2019)

Emma Russack & Lachlan Denton
When It Ends (2018)
Keep On Trying (2018)
Take The Reigns (2019)

Awards and nominations
EG Awards / Music Victoria Awards
The EG Awards (known as Music Victoria Awards since 2013) are an annual awards night celebrating Victorian music. They commenced in 2006.

Answer: no