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Creating the Future.

Reality seen from the Eyes of a TRIBalance.
Date is:
August 14, 2017

A Submarine not driven by the State that I am in.
Emma Hewitt - State That I'm In
Kim Wall: Danish submarine was 'deliberately sunk'
The pair were photographed just before departing on Thursday

Danish police believe that a submarine at the centre of an investigation into a missing Swedish journalist was deliberately sunk.

Kim Wall, 30, was last seen on Thursday evening on board the vessel with the owner, 46-year-old Peter Madsen.

The submarine later sank and Mr Madsen was rescued before being arrested and charged with manslaughter.

The stricken vessel, the Nautilus, has been raised but no body was found and the search for Ms Wall goes on.

Mr Madsen initially said that he dropped Ms Wall off before it sank but police say he has now changed his statement - although they have not said what to.

* Who is DIY submariner Peter Madsen?

Police gave no other information on why they thought the Nautilus was deliberately sunk, but it contradicts Mr Madsen's explanation that there was a technical fault.

Mr Madsen has denied involvement in Ms Wall's death, and will be held in custody for 24 days while investigations continue.

Ms Wall's boyfriend first reported her missing after she failed to return from what should have been a short trip on the submarine.
 Mr Madsen was filmed by a Danish TV crew escorted by police after his rescue

She had been writing about Mr Madsen and his submarine, which at one stage was the largest privately-made vessel of its kind.

Police are still appealing for witnesses who may have seen Ms Wall on Thursday evening.

"We're still hoping that we'll find Kim Wall alive, but we are preparing ourselves for the fact that she may not be," Copenhagen police homicide chief Jens Moller said.
Kim Wall has worked for the Guardian and the New York Times
Entertainment & Arts
Teen Choice Awards: Miley Cyrus explains her absence

3 hours ago From the section Entertainment & Arts
Miley said she was "beyond bummed" to miss the ceremony

Miley Cyrus was set to attend the Teen Choice Awards on Sunday to receive the ceremony's top honour... but things didn't quite go according to plan.

The 24-year-old had been due to collect the Ultimate Choice Award at the ceremony in person.

But within minutes of the show's start, presenter Victoria Justice said Miley wasn't going to make it after all.

Writing on Instagram later, Miley said her absence was down to creating "an unrealistic schedule" for herself.

* Fifth Harmony and Riverdale win big at Teen Choice Awards
Victoria Justice presented the Teen Choice Awards this year

"To my dearest fans, I want to say thank you from the very bottom of my heart for presenting me with the Ultimate Choice Award!" the singer said in a post which made full use of the exclamation mark.

"I am beyond bummed I couldn't make it to the show. I had every intention of being there to accept and celebrate this honour!"

Not so bummed, however, that she couldn't use the same post to plug her new single.

In an announcement she'd presumably been planning to make at the ceremony, she revealed the release date for her new track Younger Now.

"I look forward to making music for the rest of my life and I'm thankful everyday for those who listen!" she said.

"I am sending so much love and peace into the world right now because that's what we need most."

Previous winners of the Ultimate Choice prize include Selena Gomez, Ashton Kutcher and Taylor Swift.

The big winners at this year's ceremony, held in Los Angeles, included Wonder Woman, Finding Dory, Beauty and the Beast and Guardians of the Galaxy vol. 2, which took home the major film prizes.

Riverdale and The Vampire Diaries were among the TV winners, while Ariana Grande, Ed Sheeran and Fifth Harmony took home music prizes.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.
Tony Hall, Baron Hall of Birkenhead

Anthony William "Tony" Hall, Baron Hall of Birkenhead, CBE (born 3 March 1951) is the Director-General of the BBC.

He took up the post of Director-General on 2 April 2013. Previously he was Chief Executive of the Royal Opera House in Covent Garden, London from 2001 until March 2013, and Director of News at the BBC between 1993 and 2001.

Hall was created a Life Peer on 22 March 2010 and took his seat in the House of Lords as a crossbench member.

Death threats

On 25 March 2015, Hall announced his decision not to renew Top Gear presenter Jeremy Clarkson's BBC contract after an internal investigation found that Clarkson had assaulted the programme's producer. Hall and his wife received death threats which the BBC decided were 'credible', and they were subsequently guarded by police. On 28 March, Scotland Yard confirmed that officers were investigating the threats.


Hall has written:

King Coal: Miners, Coal and Britain's Industrial Future (Penguin Books, 1981)

Nuclear Politics: The History of Nuclear Power in Britain (Penguin Books, 1986).
Tony Hall the arts' Mister Fix-it

First Tony Hall saved the Royal Opera House. Now he's charged with rescuing the Cultural Olympiad. Charlotte Higgins spends a day with the most powerful man in the arts
 'We are not grant junkies' Tony Hall. Photograph: Graeme Robertson


Charlotte Higgins
Monday 30 November 2009 21.30 GMT

ony Hall, chief executive of the Royal Opera House, is an unlikely impresario. There's nothing flash about this softly spoken, modestly besuited man, someone who might be your accountant or GP. As we talk in his office (leather sofas, executive bathroom, a PA who addresses him as "sir", presumably with gentle irony), he betrays irritation only once when talking about Michael Portillo, whom he has heard is denouncing arts organisations as parasitical "grant junkies".

"The notion that we are grant junkies is just wrong. Absolutely wrong. It's just wrong," he says. "What I see in the arts is creative, cultural entrepreneurs who, yes, take a pound from the public purse. But for every pound, we make three it's the parable of the talents. I have to say I think the funding system in this country works better than any other system I have seen around the world." He lowers his voice, sounding sad. "As is typical with the British, we never quite appreciate what we've got."

Hall, 58, is about to start his 10th year running Covent Garden, where, on a salary of 250,000, he is the highest paid administrator in the British subsidised arts and certainly among the most powerful. Aside from the day job, he is now chairing the Cultural Olympiad, and has a seat on the board of the London Organising Committee of the Olympic Games (Locog). Hall's job there is to bring a discredited process back from the brink. He says he will appoint a director of the Cultural Olympiad by Christmas (the job has stood empty for over a year), announce the music strand early in 2010, and, with his newly appointed board, either develop or ditch the projects envisaged by Southbank artistic director Jude Kelly, who was previously in charge. Hall's current concern is the legacy to the five "Olympic" boroughs in east London: Greenwich, Hackney, Newham, Tower Hamlets, Waltham Forest. "We've got to involve the whole of the UK, but in 2013 if those five boroughs don't feel there has been a genuine change in arts there, then we won't have done our job properly."

He has ambitious plans for the Opera House, too. Not only does Hall want to create an incarnation of Covent Garden in Manchester, but he is also drawing on his old BBC career (he was chief executive of BBC news) to turn the ROH into, in his words, "a mini-broadcaster", filming and recording its shows for its own CD and DVD label, as well as for TV and the web. "There will come a point," he says, "when what we can do is equivalent to a BBC4 or whatever, and the audience will be global." There's also a new venture called Royal Opera House Enterprises, a kind of BBC Worldwide: the idea is to put every potential money-making opportunity under one umbrella, whether the shop, restaurant, recordings or other merchandise; in business-speak, it's all about exploiting the brand. "We won't be buying Lonely Planet," says Hall, referring to BBC Worldwide's most controversial acquisition. "You've gotto be careful with anything commercial that it is adding to what you have. But I hope what people see is that we are helping ourselves, and we are not grant junkies."
It is hard to overestimate just how much things have changed at Covent Garden. A decade ago, the House was enduring a damaging period of closure and teetered on the brink of ruin: the entire board famously resigned, and a procession of short-staying chief executives trooped in and, defeated, trooped out. Meanwhile, the then chairman, Colin Southgate, was making unhelpful remarks about how he disliked patrons who wore "smelly trainers". These days, by contrast, Hall enthuses about the possibility of some kind of ROH Wii game, about opera and ballet video on demand, and about the potential of 3D for its cinema broadcasts.
In late 2000, when Hall's name was first mentioned as a possible new Covent Garden chief, he was seen as a real outsider. "I felt, perhaps with some sort of arrogance, that running a crazy broadcasting operation [at the BBC] was very similar to working in a very creative theatrical, musical, balletic organisation," he says. But the problem then was that the ROH had no credibility, despite the stabilising influence of his immediate predecessor, American Michael Kaiser. "The place lacked public legitimacy," says Hall. "Despite a lot of good work and talented people, you had this penumbra, this dark shadow of the closure period and the sense of a large amount of public money that had gone to something that was essentially for a smaller number of well-off people. That had to be tackled."

As a first step, the finances were sorted out: the ROH has broken even or registered a small surplus every year since. And then there was the slow work of trying to open up the House, to prove that it wasn't just for the elite. That's a job that is far from done. However hard the ROH works in its community programmes in Thurrock, Essex (where it delivers cultural education to 120 schools, and is developing a national skills academy to teach technical and backstage jobs), however many times Hall points out that half his tickets are 50 (and go right down to 4 for standing seats), many people still believe that Covent Garden, which this year received 28m from the state, is an extravagant waste of money.

At war with New York's Met

Nobody could claim that Hall does not set about the task of challenging that view with missionary zeal. He points to schemes such as two season-openers exclusively made available to Sun readers; the efforts to get ROH's work out on big screens and on to the web; the 4,000 first-time visitors from the Thurrock area; and even the 100 people who came through the doors for the first time after joining the Royal Opera House's 17,000-strong Facebook group. The average night there still feels pretty glitzy and exclusive; but Hall is, I think, gradually chipping away at the old feeling of entrenched privilege.

Before I interviewed Hall, I spent a morning shadowing him. I got the feeling his was a happy ship, though you never know if you are being treated like one of those credulous visitors to a carefully staged version of Stalinist Russia. First came a meeting between senior management and Opus Arte, the CD label which the Royal Opera bought in 2007, where a new Opus Arte website was discussed. When it goes live in January, the site aims to become a kind of Amazon for classical music. Covent Garden's music director, Antonio Pappano, is making a BBC TV series for broadcast early next summer called Opera Italia ("I've banged on about him for ages; he's a natural for TV," says Hall); the Opera House wants to cash in with a Pappano Traviata DVD. Various wrangles about rights were mentioned: this is the most significant potential impediment to Covent Garden's filming or recording its own work, especially when dealing with an artist's estate, or a singer on an exclusive record deal or an artist who is simply bloodyminded. I was also intrigued to hear of competition with the Metropolitan Opera in New York over exclusivity deals signed for opera screenings with cinema chains: Hall suggested setting up a meeting with Met chief Peter Gelb to smooth things over.

Later, there was a meeting with the director of development. She ran through the figures (above target) and talked about a particular couple whom the House is courting as patrons. A meeting had been delayed, and lunch next spring to admire the daffodils in their garden had been mooted. But Hall thought that was too late. "Snowdrops," he said. "Tell them I'll come and see the snowdrops." There was another mention of the Met, this time in relation to "guerrilla warfare" over a potentially important patron.

But the most revealing part of our morning came when we stood at the back of the Grand Tier for half an hour of the general rehearsal for Tchaikovsky's The Tsarina's Slippers. Hall completely disappeared into the picture-book, Christmassy production and the lush score, his face a study in rapture. I asked whether he often nipped into rehearsals, or whether it was just a treat laid on for the visiting interviewer. "Oh yes, of course," he says. "It keeps you sane. It really, really does."
Metallica - /Fade To Black/ Live Nimes 2009 1080p HD_HQ

Emma Hewitt - "State That I'm In"

I took a ride
Fallen in the state that I'm in
Away from the lights
An ending before so we can begin now...

And it's all I see
This scene's burnt out
So meet me tonight
We'll leave behind all that we've been

Don't let it slide further away
With our eyes closed, in circles again
When I'm waiting and hoping for you to say that we'll go...

And then we'll ride out
A silent escape that I'm craving
I figured out, for all our mistakes we could win...

(It's all I see...
These dreams call out
It's all I need
And I need this now...)

I took a ride
Driven by the state that I'm in...
Fade To Black - Metallica

Life it seems to fade away
Drifting further everyday
Getting lost within myself
Nothing matters no one else
I have lost the will to live
Simply nothing more to give
There is nothing more for me
Need the end to set me free

Things not what they used to be
Missing one inside of me
Deathly loss this can't be real
Cannot stand this hell I feel
Emptiness is filling me
To the point of agony
Growing darkness taking dawn
I was me but now, he's gone

No one but me can save myself, but its too late
Now I can't think, think why I should even try

Yesterday seems as though it never existed
Death greets me warm, now I will just say goodbye

Written by James Alan Hetfield, Lars Ulrich, Kirk L. Hammett, Clifford Lee Burton Copyright Universal Music Publishing Group

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