Tāṭakā is a minor yakṣī antagonist in the Rāmāyaṇa. Along with her children, Mārīca and Subāhu, Tāṭakā would harass and attack sages performing yajñas in the forest. They were ultimately slain by Rāma and Lakṣmaṇa on behest of their teacher, Viśvāmitra.

Rāmāyaṇa
In the Rāmāyaṇa, Viśvāmitra tells Rāma and Lakṣmaṇa the story of Tāṭakā when they reach a forest inhabited by her. Viśvāmitra states that a yakṣa named Suketu had undertaken austerities to obtain children, and was given a daughter with the strength of a thousand elephants named Tāṭakā, but not a son. When she became of age, she was married to Sunda, and gave birth to a son named Mārīca. After Sunda is killed, Tāṭakā and Mārīca attack the seer Agastya, who curses Mārīca to become a rākṣasa and curses Tāṭakā to become an ugly man-eater. Driven mad by the curse, she roams the region where Agastya used to live.

The Critical Edition of the Vālmīki Rāmāyaṇa does not mention many details of the previous narrative, but later commentators and recensions have more fleshed out versions of the story. According to three traditional commentaries on the Rāmāyaṇa, Sunda is killed due to a curse by Agastya, which Bhandare states gives proper cause for Tāṭakā's seemingly unwarranted attack on Agastya. The southern recensions of the epic state that Tāṭakā (prior to become a man-eater) tries to eat Agastya. An undated Malayālam script recension states that Taṭakā is smitten after seeing Agastya: stating that she proceeds to strip naked and run towards him singing with love. According to Goldman, this Malayālam script recension preserves an important part of the Tāṭakā legend that was suppressed in the Vālmīki Rāmāyaṇa.

Viśvāmitra, after narrating Tāṭakā's past, instructs Rāma that he must kill Tāṭakā, and he should not have any compassion for her or disgust for killing a woman, and he recounts other occasions where unrighteous women were killed by moral men. Rāma agrees, stating the killing of Tāṭakā is uttamam "[an] eminently justifiable action". He twangs his bowstring, which attracts Tāṭakā to the scene. Rāma then states that he will not kill her on account of she being a woman, but vows to merely cut off her ears and nose and disposses her of her strength and lair. Tāṭakā then charges Rāma, who proceeds to shoot and kill her with a single arrow to the chest.

Only in the southern recensions is the vow of Rāma cutting off Tāṭakā's ears and nose mentioned, and Rāma actually fulfils his vow in those recensions. The northern recensions neither mention the vow or its fulfillment, which leads Goldman to believe that the verses mentioning it are dubious.

References

External links
Taraka (Thataka)

Rakshasa in the Ramayana
Yakshas

Tataka


Walter of Châtillon (Latinized as Gualterus de Castellione) was a 12th-century French writer and theologian who wrote in the Latin language. He studied under Stephen of Beauvais and at the University of Paris.  It was probably during his student years that he wrote a number of Latin poems in the Goliardic manner that found their way into the Carmina Burana collection. During his lifetime, however, he was more esteemed for a long Latin epic on the life of Alexander the Great, the Alexandreis, sive Gesta Alexandri Magni, a hexameter epic, full of anachronisms; he depicts the Crucifixion of Jesus as having already taken place during the days of Alexander the Great. The Alexandreis was popular and influential in Walter's own times. Matthew of Vendôme and Alan of Lille borrowed from it and Henry of Settimello imitated it, but it is now seldom read. One line, referring to Virgil's Aeneid, is sometimes quoted:

Many poems in his style, or borrowing his themes, have been attributed to Walter on insufficient evidence. For example, he was not the author of the satirical Apocalypse of Golias once attributed to him. In addition to his poems, Walter wrote a dialogue refuting Jewish thought and biblical interpretation and a treatise on the Trinity, and he was possibly the author of Moralium dogma philosophorum. He died of bubonic plague early in the 13th century.

David Townsend summarizes one commentary on Walter's life as follows:

References

F. J. E. Raby, A History of Secular Latin Poetry in the Middle Ages, Vol. 2, Oxford: Clarendon Press, 1934, , pp. 72–80, 190–204.

External links
Catholic Encyclopedia: Walter of Chatillon
Gautier de Châtillon at Association de généalogie des familles Gauthier

Online works in Latin
Alexandreis (Bibliotheca Augustana)
Satirical poems of Walter of Châtillon with translation by Robert Levine
Contra Judaeos, De Trinitate (Patrologia Latina via Google Books)

12th-century births
13th-century deaths from plague (disease)
Medieval Latin poets
French Christian theologians
12th-century French poets
University of Paris alumni
12th-century writers in Latin
12th-century French writers
Infectious disease deaths in France
Goliardic poetry
French male poets

Walter of Châtillon


"She Had Me at Heads Carolina" is a song co-written and recorded by American country music singer Cole Swindell. It is the third single from Swindell's fourth studio album Stereotype, and his thirteenth overall. The song contains lyrical and melodic references to Jo Dee Messina's 1996 debut single "Heads Carolina, Tails California", and credits that song's writers Mark D. Sanders and Tim Nichols as co-writers. The song peaked at number 16 on the Billboard Hot 100, Swindell's highest charting appearance to date. A remix version of the song featuring Messina was released on November 7, 2022 and the duo performed it at the 56th Annual Country Music Association Awards.

Content
For the creation of Swindell's 2022 album Stereotype, he wanted to collaborate with Thomas Rhett. He met Rhett at a songwriting collaboration in Nashville, Tennessee, in early 2022 along with Ashley Gorley and Jesse Frasure. Swindell had toured with Rhett in 2021, at which point the two of them decided they wanted to record a song that referenced a country music song from the 1990s. When a song publisher told Swindell of the popularity of Jo Dee Messina's 1996 hit "Heads Carolina, Tails California", Swindell and Frasure chose to use that song as inspiration.

Originally, the four writers conceived the song as a duet between Swindell and Rhett. Their first idea was to structure the song similarly to Michael Jackson and Paul McCartney's 1982 hit "The Girl Is Mine". As Rhett did not feel comfortable singing this lyrical theme, the two decided not to make the song a duet. They then decided to create a storyline where the song's narrator falls in love with a woman who sings "Heads Carolina, Tails California" at a karaoke bar. The song contains interpolations from "Heads Carolina, Tails California", although it is in a different key than that song. Because of this, producer Zach Crowell chose to have the musicians play that song's guitar riff in the altered key instead of sampling it. Guitarist Sol Philcox-Littlefield plays this riff, while Madeline Merlo provides backing vocals on the chorus.

Because of the interpolation, "Heads Carolina, Tails California" co-writers Tim Nichols and Mark D. Sanders are also credited. According to Swindell, when he contacted them for permission to do so, "they loved it". Swindell explained to Taste Of Country that he also approached Messina and stated that he would not have released the song without her permission and told her that "I want her to be a part of it, as much of it or as little of it as she wants to, because she's the original." The duet version featuring Messina was released on November 7.

Music video
The accompanying music video was released on August 11, 2022. Directed by Spidey Smith, it features Swindell performing on stage at a bar, while one of his friends tries to capture the attention of the girl singing "Heads Carolina, Tails California". His friend is ultimately successful, as seen at the end of the video where the girl flips a quarter to decide where he will take her, also a reference to Messina's original hit. Messina also makes a cameo appearance as the bartender.

Charts

Weekly charts

Year-end charts

Certifications

References

2022 songs
2022 singles
Cole Swindell songs
Jo Dee Messina songs
Male–female vocal duets
Songs about country music
Songs written by Cole Swindell
Songs written by Thomas Rhett
Songs written by Jesse Frasure
Songs written by Ashley Gorley
Songs written by Tim Nichols
Songs written by Mark D. Sanders
Warner Records Nashville singles
Song recordings produced by Zach Crowell

She Had Me at Heads Carolina


Robert Bruce McClelland  (born 26 January 1958) is an Australian judge and former politician who has served on the Federal Circuit and Family Court of Australia since 2015, including as Deputy Chief Justice of that court since 2018. He was previously Attorney-General of Australia from 2007 to 2011, and a member of the House of Representatives from 1996 to 2013, representing the Labor Party.

Early life and education
McClelland is the son of Doug McClelland, a former Senator for New South Wales between 1962 and 1987, and a minister in the Whitlam government and President of the Senate, serving between 1983 and 1987. His grandfather was Alfred McClelland, a state Labor MP from 1920 to 1932.

McClelland was educated at Blakehurst High School before studying at the University of New South Wales, where he gained bachelor's degrees in arts and law, and the University of Sydney where he gained a master's degree in law.

Career
Prior to entering politics, McClelland was an Associate to Justice Phillip Evatt of the Federal Court of Australia 1981–82 before becoming a solicitor and ultimately partner with law firm Turner Freeman.

Political career
Two years after his election to parliament, McClelland became a member of the Opposition Shadow Ministry. He was Shadow Attorney-General 1998–2003, Shadow Minister for Workplace Relations 2001–03, Shadow Minister for Homeland Security 2003–05, Shadow Minister for Defence 2004–06 and Shadow Minister for Foreign Affairs 2006–07.

After McClelland indicated on 8 October 2007 his party's disapproval of death sentences for all south Asian countries, his leader Kevin Rudd criticized the speech as "insensitive" because it was made on the eve of the anniversary of the Bali bombings. McClelland apologized, but critics called the positions inconsistent and Rudd chose not to appoint McClelland as Foreign Minister when Labor won the 2007 election. Instead, he was appointed Attorney-General. As Attorney-General McClelland introduced the Crimes Legislation Amendment (Torture Prohibition and Death Penalty Abolition) Act 2010.

In the 2007 federal election, McClelland was re-elected to the seat of Barton with a 4.53% swing toward the Labor Party.

In February 2008, McClelland stated that it was unacceptable that the ACT government, which proposed to allow same-sex couples to enter into civil unions, would give the right to hold public ceremonies to celebrate their unions. McClelland was criticised by Greens Senator Bob Brown, who said it was displaying the ugly face of Labor conservatism.
In September 2008 McClelland introduced the Same-Sex Relationships (Equal Treatment in Commonwealth Laws—General Law Reform) Bill 2008 which gave same sex couples equal rights in respect to social security, taxation and superannuation laws.

McClelland has said those protesting against Australian Christian Lobby would not have recognised that the ACL had supported amendments to 84 pieces of Commonwealth legislation that removed discrimination against same-sex couples.

McClelland remarked that on Polygamy in Australia "There is absolutely no way that the government will be recognising polygamist relationships. They are unlawful and they will remain as such. Under Australian law, marriage is defined as the union of a man and a woman to the exclusion of all others. Polygamous marriage necessarily offends this definition."

McClelland was responsible for implementing the recommendations of the Victorian Bushfire Royal Commission including the implementation of a National Emergency Warning System.

As Attorney-General, McClelland undertook an extensive review of the International Arbitration Act. That review formed the basis of amendments to the Act that were introduced in 2010. The Amendments gave arbitral tribunals a wider degree of flexibility in controlling arbitral proceedings and included inserting an object to emphasise the importance of international arbitration in facilitating international trade and commerce. Provisions were also introduced to require Courts applying the Act and the United Nations Commission on International Trade Law (UNCITRAL) Model Law on International Commercial Arbitration Law to have regard to the fact that arbitration is an 'efficient, impartial, enforceable and timely' method of dispute resolution.

McClelland also introduced amendments to federal family law, including by giving the federal family law courts jurisdiction over the financial affairs of de facto spouses.

In the 2010 federal election, McClelland was re-elected to the seat of Barton, but suffered an 8.08% swing against the Labor Party.

As part of a cabinet reshuffle in December 2011 he was moved to oversee the portfolio of emergency management and housing. In a further cabinet reshuffle in February 2012 following Kevin Rudd's leadership challenge, McClelland returned to the backbench.

On 29 January 2013, McClelland announced that he would not contest the 2013 federal election.

Judicial career

On 28 May 2015, McClelland was appointed to the Family Court of Australia by Attorney-General George Brandis. He is based in the Court's Sydney registry and his appointment commenced on 16 June 2015. He was appointed Deputy Chief Justice of that court with effect from 10 December 2018.

Honours
In 2022, McClelland was appointed Officer of the Order of Australia in the 2022 Queen's Birthday Honours for "distinguished service to the people and Parliament of Australia, to the law, social justice and law reform".

See also
 First Rudd Ministry
 First Gillard Ministry
 Second Gillard Ministry

References

External links
Personal homepage
Attorney-General homepage

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1958 births
20th-century Australian politicians
21st-century Australian politicians
Attorneys-General of Australia
Australian Labor Party members of the Parliament of Australia
20th-century Australian lawyers
Australian people of Scottish descent
Australian solicitors
Labor Right politicians
Judges of the Family Court of Australia
Living people
Members of the Australian House of Representatives for Barton
Members of the Cabinet of Australia
Officers of the Order of Australia
Politicians from Sydney
Sydney Law School alumni
University of New South Wales Law School alumni
21st-century Australian judges

Robert McClelland (Australian politician)


The James Arthur Morrison House, also known as the Morrison-Walker House, is a historic Spanish Colonial Revival style house and garage/guest house in Mobile, Alabama, United States.  The two-story stucco and concrete main house was completed in 1926.  It features Mission-style side parapets on the main block, red tile roofing, a central entrance courtyard with a decorative gate, a rear arcaded porch, and arched doorways on the exterior and in the interior.  The matching garage/guest house has a two-story central block with a massive chimney and is flanked to each side by one-story garage door bays.  The house and garage were added to the National Register of Historic Places as a part of the Spanish Revival Residences in Mobile Multiple Property Submission on July 12, 1991.

References

National Register of Historic Places in Mobile, Alabama
Houses on the National Register of Historic Places in Alabama
Houses in Mobile, Alabama
Houses completed in 1926
Spanish Colonial Revival architecture in Alabama

James Arthur Morrison House


John "Jack" Marshall was an American artist best known for his sculptures.

Biography
Marshall was born in Quincy, Massachusetts, on February 27, 1932, son of Francis J. and Josephine (Ghigli) Marshall. He enlisted in the U.S. Army for three years as a linguistic specialist and was honorably discharged June 5, 1951.

He received a Bachelor of Arts degree in design from the Massachusetts College of Art. He obtained a graduate degree from Boston University in studio arts and one from the Yale School of Architecture in environmental design and installation art on a full scholarship.

He died on July 7, 2009, at his home in Keene, New Hampshire, at the age of 77.

Achievements
Marshall held patents for the "Foam Method of Cementitious Casting" and "A Fiber-Optic Perception Device."

His awards include: first place award in sculpture: New Haven and Providence Arts Festivals, four prizes for sculpture at The New England Annuals Arts and Crafts Festival at Silvermine Guild Arts Center in New Canaan, Connecticut, the Olivetti Award for Contemporary Sculpture and a Ford Foundation Purchase Award. He also received grants from: Blanche Coleman Foundation, Whiting Foundation, Spaulding-Potter Foundation, Thorne-Sagendorph Trust, DuPont Corp., Union Carbide Corp., the American Society of Plastics Engineers and the Comune di Santa Croce sull'Arno for a traveling exhibit throughout Tuscany.

Marshall's works have been shown regionally at the Fuller Museum in Brockton, Massachusetts, DeCordova Museum in Lincoln, Massachusetts, Baak Gallery in Cambridge, and Carl Siembab, Sunne Savage and Ellie Reiglehaupt Galleries on Newbury Street in Boston; in New York City at the Whitney Biennial, the Awards Exhibit of the American Academy and Institute of Arts and Letters, the American Institute of Architecture, Lever House, The New School, Allan Stone Gallery and most recently in a solo show at Ward Nasse Gallery in SoHo, Manhattan. In Europe he has had shows in Milan, Pisa, Florence, Copenhagen, Geneva and Zurich. His work is in numerous collections, many of which are monumental commissions: public and private in this country and internationally. He recently retired professor emeritus from teaching after almost 30 years as director of 3-D Studies at Keene State College, prior to which he had taught at the schools of Art and Architecture at Yale, the New School for Social Research and Manhattanville College. He had studios in Keene, New Hampshire, and Carrara, Italy.

References

1932 births
2009 deaths
Massachusetts College of Art and Design alumni
Boston University College of Fine Arts alumni
Yale School of Architecture alumni
Yale University faculty
Manhattanville College faculty
People from Quincy, Massachusetts
The New School faculty
20th-century American sculptors
20th-century American male artists
American male sculptors

John Marshall (American sculptor)


Presentes Por el Socialismo (PPS) is a Colombian political party of the left, founded in 1996. Its militants come from different currents including Trotskyism and Marxism-Leninism. It was active part of the foundation of the Social and Political Front (FSP) and Democratic Alternative. As a member of the FSP, it participates in the Alternative Democratic Pole. Its political position is for socialism, the autonomy of the mass organizations and the Marxist alternative to the Capitalist System. It participates in the São Paulo Forum and stands in sympathy with the Trotskyist reunified Fourth International. It has strong bases amongst college students, the trade unions in the banking industry, mass movements and the teaching profession. In the last parliamentary elections it supported the candidacy of the unionist Alexander López Maya to the Senate.

External links
PPS document on Autonomy of Social Organizations in Colombia in Times of War and Globalisation
Article by PPS leader Fermin Gonzales
Presentes Por El Socialismo website In Spanish
Frente Social y Político article about the PPS In Spanish
Communist parties in Colombia
Fourth International (post-reunification)
São Paulo Forum

Presentes por el Socialismo


Wild Hogs is a 2007 American biker road comedy film directed by Walt Becker and starring Tim Allen, John Travolta, Martin Lawrence and William H. Macy. It was released nationwide in the United States and Canada on March 2, 2007. It was the last film by Tollin/Robbins Productions.

It was the last Touchstone Pictures film to be distributed by Buena Vista Pictures Distribution, after Disney retired the Buena Vista moniker across their company's divisions in the same year and also the theatrical distribution label became Walt Disney Studios Motion Pictures.

Plot

Doug Madsen, Woody Stevens, Bobby Davis, and Dudley Frank are disillusioned middle-aged everymen in a Cincinnati suburb. Doug is a dentist with trouble bonding with his son Billy; Dudley is a single computer programmer afraid to talk to women; Bobby is a henpecked plumber disrespected by his wife Karen and daughters; and Woody is a wealthy lawyer married to a supermodel.

They escape their routine lives on weekends by riding in their motorcycle club, the Wild Hogs.

Woody's wife is divorcing him, rendering him bankrupt so he convinces the other three to take a road trip to California. After several encounters on the trip they run into a roadhouse bar where they encounter the Del Fuegos, an outlaw biker gang headed by Jack Blade. Feeling disrespected by the Wild Hogs, Jack steals Dudley's bike, so he has to travel in a sidecar.

Woody suggests they return to the bar to get Dudley's bike back but no one joins him. He secretly retrieves the bike and cuts the fuel lines of the gang's bikes, falsely telling the others he threatened a lawsuit. The Del Fuegos attempt to pursue the Wild Hogs to no avail. Jack's dropped cigarette ignites the leaking fuel and burns the bar down. The Wild Hogs run out of gas and push their bikes to Madrid, New Mexico, where they are initially mistaken for the Del Fuegos. They learn that the Del Fuegos have been terrorizing the town, and Dudley falls in love with the diner owner Maggie.

Two Del Fuegos, however, spot them, reporting their location to Jack. He tells them not to harm the Wild Hogs until he gets there, leaving them unable to fight back when Bobby confronts the pair and scares them off. The Wild Hogs are hailed as heroes and celebrate well into the night.

The next day, the Wild Hogs' departure is interrupted by the arrival of the Del Fuegos. Jack threatens to wreck the town unless the Wild Hogs pay for their bar. Woody admits to the others what he did to get Dudley's bike back, as well as his real reason for the trip - his bankruptcy. Jack and the Del Fuegos take over Maggie's diner and threaten to burn it but Dudley confronts them; he is held hostage.

After failing to rescue Dudley, the Wild Hogs then decide to fight four of the members (Jack, Red, Murdock, and "Tiny" a member trained in martial arts); the Wild Hogs are badly beaten but refuse to give up. The townspeople band together and just as Jack threatens to take on the rest of the town, Damien Blade, Jack's father and the founder of the Del Fuegos, arrives, and lectures Jack for his behavior. He also reveals the bar (which he had built) was an insurance scam, and says the Wild Hogs did him a favor by destroying it. Damien says it is a good opportunity for the gang to ride the open road as intended.

Doug's and Bobby's wives arrive, and Doug reconciles with Billy. Karen orders Bobby to return with her, but he convinces her to let him finish the ride. The Wild Hogs arrive in Southern California where everyone except Dudley crashes into a surfboard. During the credits, it is revealed that the Wild Hogs called Extreme Makeover: Home Edition to give the Del Fuegos a new bar. The Del Fuegos react in joy while the Wild Hogs watch the event on television.

Cast

Motorcycles
Harley-Davidson provided the motorcycles for the making of this film.

 XL1200C Sportster Custom for Dudley.
 FXSTS Springer Softail for Bobby.
 Black Fatboy with a chrome front wheel for Doug.
 Screamin' Eagle Fatboy for Woody.

Many of the motorcycles used by the Del Fuego gang were customized choppers. The motorcycle used by Jack featured the logo for Orange County Choppers, run by Paul Teutul Sr. with design work by Paul Teutul Jr. Both Teutuls make cameo appearances in the film.

Tim Allen, a noted automotive collector, gave input to the design of his motorcycle. Of the bikes used in the film by the four main characters, his is the most customized model.

Production

Producer Brian Robbins believed casting was essential to the success of the film, and emphasized the importance of working with movie stars. Robbins praised Disney for trusting in four older, experienced, but more expensive actors, and said "A lot of studios today are afraid to take those chances of hiring. Disney wasn't afraid, and it paid off."

Although the story is set in Ohio and other locations, with the exception of the final scene in southern California, it was filmed in New Mexico.  The opening scenes in Cincinnati were filmed in and around Albuquerque. The ending showdown scenes in Madrid, New Mexico, are that of the real town of Madrid, New Mexico, with many of its local townspeople used as extras in June 2006.

Reception

Box office
Wild Hogs opened on March 2, 2007, the film grossed $39.7 million on its opening weekend, ranking #1 in box office sales and nearly tripling the debut of fellow opener Zodiac.
The film performed well throughout its entire run, falling just 30.5% in its second weekend and ultimately grossing $168.2 million domestically and $253.6 million worldwide, becoming Travolta's first film since The General's Daughter in 1999 to gross over $100 million domestically.

Critical response

On Rotten Tomatoes, the film has an approval rating of 14% based on 145 reviews with an average rating of 4.00/10. The site's critical consensus reads, "Wild Hogs is a dreadful combination of fish-out-of-water jokes, slapstick, and lazy stereotypes." On Metacritic, the film has a score of 27 out of 100 based on reviews from 29 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Ty Burr of The Boston Globe compared the film's merits to its titular motorcycles, believing it to be "a bumptious weekend ride... the engine could use tuning and the plugs are shot, but it gets you most of the way there." Although writing a negative review, Burr offered praise for the film's final act, believing it "takes a satisfying turn" and that, with the exception of Allen, each of the film's primary cast members "earned his designated chuckle." He also favorably compared the film to RV, another comedy film focusing on a road trip.

Peter Travers of Rolling Stone gave it two out of four stars and wrote: "Jokes dying on the lips of these easy riders are hard to stomach." Dennis Harvey of Variety wrote: "Uninspired script and broad slapstick yuks won't earn this any plaudits, but slick, safe package should do OK with North American mall [audiences]".

Accolades

The film was nominated for a People's Choice Award in the category "Favorite Movie Comedy".

Lawsuit
In March 2007, the Hells Angels filed suit against Walt Disney Motion Pictures Group alleging that the film used both the name and distinctive logo of the Hells Angels Motorcycle Club without permission. That suit resulted in voluntary dismissal.

Home media

Wild Hogs was released on DVD and Blu-ray Disc on August 14, 2007.

Cancelled sequel

Disney announced that a sequel, Wild Hogs 2: Bachelor Ride, would be released in 2010, but by December 2009 plans had been cancelled. After Disney's next comedy starring John Travolta, Old Dogs (co-starring Robin Williams), was released on November 24, 2009 and was a critical failure, Disney cancelled both Wild Hogs 2: Bachelor Ride and Wedding Banned, a comedy that was to star Williams and Anna Faris.

References

External links

2007 films
2000s English-language films
2000s adventure comedy films
2000s buddy comedy films
American adventure comedy films
American buddy comedy films
Films directed by Walt Becker
Films scored by Teddy Castellucci
Films set in New Mexico
Films shot in New Mexico
Films with screenplays by Brad Copeland
Midlife crisis films
Motorcycling films
2000s comedy road movies
American comedy road movies
Touchstone Pictures films
Outlaw biker films
2007 comedy films
Films produced by Todd Lieberman
2000s American films

Wild Hogs


Yellow rain was a 1981 political incident in which the United States Secretary of State Alexander Haig accused the Soviet Union of supplying T-2 mycotoxin to the communist states in Vietnam, Laos and Cambodia for use in counterinsurgency warfare. Refugees described many different forms of "attacks", including a sticky yellow liquid falling from planes or helicopters, which was dubbed "yellow rain". The U.S. government alleged that over ten thousand people had been killed in attacks using these supposed chemical weapons. The Soviets denied these claims and an initial United Nations investigation was inconclusive.

Samples of the supposed chemical agent that were supplied to a group of independent scientists turned out to be honeybee feces, suggesting that the "yellow rain" was due to mass defecation of digested pollen grains from large swarms of bees. Although the scientific evidence conclusively showed that yellow rain was not a Soviet chemical or biological weapon, the U.S. government has not retracted its allegations, arguing that the issue has not been fully resolved. Many of the U.S. documents relating to this incident remain classified.

Allegations

The charges stemmed from events in Laos and North Vietnam beginning in 1975, when the two governments, which were allied with and supported by the Soviet Union, fought against Hmong tribes, peoples who had sided with the United States and South Vietnam during the Vietnam War. Refugees described events that they believed to be chemical warfare attacks by low-flying aircraft or helicopters; several of the reports were of a yellow, oily liquid that was dubbed "yellow rain". Those exposed claimed neurological and physical symptoms including seizures, blindness, and bleeding. Similar reports came from the Vietnamese invasion of Cambodia in 1978.

A 1997 textbook produced by the U.S. Army Medical Department asserted that over ten thousand people were killed in attacks using chemical weapons in Laos, Cambodia and Afghanistan. The descriptions of the attacks were diverse and included air-dropped canisters and sprays, booby traps, artillery shells, rockets and grenades that produced droplets of liquid, dust, powders, smoke or "insect-like" materials of a yellow, red, green, white or brown color.

Secretary of State Alexander Haig announced in September 1981 that:
For some time now, the international community has been alarmed by continuing reports that the Soviet Union and its allies have been using lethal chemical weapons in Laos, Kampuchea, and Afghanistan. ... We have now found physical evidence from Southeast Asia which has been analyzed and found to contain abnormally high levels of three potent mycotoxins—poisonous substances not indigenous to the region and which are highly toxic to man and animals.

The Soviet Union described these accusations as a "big lie" and in turn correctly stated that the US government used chemical weapons during the Vietnam War. The American accusations prompted a United Nations investigation in Pakistan and Thailand. This involved five doctors and scientists who interviewed alleged witnesses and collected samples that were purported to come from Afghanistan and Cambodia. However, the interviews produced conflicting testimony and the analyses of the samples were inconclusive. The UN experts also examined two refugees who claimed to be suffering from the after-effects of a chemical attack, but the refugees were instead diagnosed as having fungal skin infections. The team reported that they were unable to verify that chemical weapons had been used but noted that circumstantial evidence "suggestive of the possible use of some sort of toxic chemical substance in some instances."

The US mycotoxin analyses were reported in the scientific literature in 1983 and 1984 and reported small amounts of mycotoxins called trichothecenes, ranging from the parts per million to traces in the parts per billion range. The lowest possible limit of detection in these mycotoxin analyses is in the parts per billion range. However, several inconsistencies in these reports caused a "prolonged, and at times acrimonious, debate on the validity of the analyses". A 2003 medical review notes that this debate may have been exacerbated since "Although analytical methods were in their infancy during the controversy, they were still sensitive enough to pick up low levels of environmental trichothecene contamination."

Initial investigation
C. J. Mirocha at the University of Minnesota conducted a biochemical investigation, looking for the presence of trichothecene mycotoxins, including T-2 toxin, diacetoxyscirpenol (DAS), and deoxynivalenol (DON). This included chemical analyses of blood, urine, and tissue of alleged victims of chemical attacks in February 1982 in Laos and Kampuchea. "The finding of T-2, HT-2, and DAS toxins in blood, urine, and body tissues of alleged victims of chemical warfare in Southeast Asia provides compelling proof of the use of trichothecenes as nonconventional warfare agents. ... Additional significant findings lie in the trichothecenes found in the leaf samples (T-2, DON, nivalenol) and yellow powder (T-2, DAS). ... The most compelling evidence is the presence of T-2 and DAS in the yellow powder. Both toxins are infrequently found in nature and rarely occur together. In our experience, copious producers of T-2 toxin (F. tricinctum) do not produce DAS, and conversely, good producers of DAS (F. roseum 'Gibbosum') do not produce T-2."

Explanation

Honeybee hypothesis

In 1983, these charges were disputed by Harvard biologist and biological weapons opponent Matthew Meselson and his team, who traveled to Laos and conducted a separate investigation. Meselson's team noted that trichothecene mycotoxins occur naturally in the region and questioned the witness testimony. He suggested an alternate hypothesis that the yellow rain was the harmless fecal matter of honeybees. The Meselson team offered the following as evidence: separate "yellow rain drops" which occurred on the same leaf, and which were "accepted as authentic", consisted largely of pollen; each drop contained a different mix of pollen grains, as one would expect if they came from different bees, and the grains showed properties characteristic of pollen digested by bees (the protein inside the pollen grain was gone, while the outer indigestible shell remained). Further, the pollen mix came from plant species typical of the area where a drop was collected.

The US government responded to these findings by arguing that the pollen was added deliberately, in order to make a substance that could be easily inhaled and "ensure the retention of toxins in the human body". Meselson responded to this idea by stating that it was rather far-fetched to imagine that somebody would produce a chemical weapon by "gathering pollen predigested by honeybees." The fact that the pollen originated in Southeast Asia meant that the Soviet Union could not have manufactured the substance domestically, and would have had to import tons of pollen from Vietnam. Meselson's work was described in an independent medical review as providing "compelling evidence that yellow rain might have a benign natural explanation".

After the honeybee hypothesis was made public, a literature search turned up an earlier Chinese paper on the phenomenon of yellow droppings in Jiangsu Province in September 1976. Strikingly, the Chinese villagers had also used the term "yellow rain" to describe this phenomenon. Many villagers believed that the yellow droppings were portents of imminent earthquake activity. Others believed that the droppings were chemical weapons sprayed by the Soviet Union or Taiwan. However, the Chinese scientists also concluded that the droppings came from bees.

Mycotoxins
Analyses of putative "yellow rain" samples by the British, French and Swedish governments confirmed the presence of pollen and failed to find any trace of mycotoxins. Toxicology studies questioned the reliability of reports stating that mycotoxins had been detected in alleged victims up to two months after exposure, since these compounds are unstable in the body and are cleared from the blood in just a few hours. An autopsy on a Khmer Rouge fighter named Chan Mann, a victim of a putative yellow rain attack in 1982, turned up traces of mycotoxins, but also aflatoxin, Blackwater fever, and malaria.

Surveys also showed that both mycotoxin-producing fungi and mycotoxin contamination were common in Southeast Asia, casting doubt on the assertion that detecting these compounds was an unusual occurrence. For example, a Canadian military laboratory found mycotoxins in the blood of five people from the area who had never been exposed to yellow rain, out of 270 tested, but none in the blood of ten alleged victims, and a 1988 paper reported that illnesses from mycotoxin exposure may pose a serious threat to public health in Malaysia. It is now recognized that mycotoxin contamination of foods such as wheat and maize is a common problem, particularly in temperate regions of the world. As noted in a 2003 medical review, "The government research highlighted, if nothing else, that natural mycotoxicoses were an important health hazard in Southeast Asia."

Reliability of eyewitness accounts

In 1987, the New York Times reported that Freedom of Information requests showed that field investigations in 1983–85 by US government teams had produced no evidence to substantiate the initial allegations and instead cast doubt on the reliability of the initial reports, but these critical reports were not released to the public. A 1989 analysis of the initial reports gathered from Hmong refugees that was published in the Journal of the American Medical Association noted "marked inconsistencies that greatly compromised the validity of the testimony" and criticized the methods used in interviews by the US Army medical team that gathered this information. These issues included the US Army team only interviewing those people who claimed to have knowledge of attacks with chemical weapons and the investigators asking leading questions during interviews. The authors noted that individuals' stories changed over time, were inconsistent with other accounts, and that the people who claimed to have been eyewitnesses when first interviewed later stated that they had been relaying the accounts of others.

In 1982, Meselson had visited a Hmong refugee camp with samples of bee droppings that he had collected in Thailand. Most of the Hmong he interviewed claimed that these were samples of the chemical weapons that they had been attacked with. One man accurately identified them as insect droppings, but switched to the chemical weapons story after discussion with fellow Hmong.

Australian military scientist Rod Barton visited Thailand in 1984, and discovered that Thai villagers were blaming yellow rain for a variety of ailments, including scabies. An American doctor in Bangkok explained that the United States had been taking a special interest in yellow rain, and was providing medical care to alleged victims.

Possible U.S. origin
A CIA report from the 1960s reported allegations by the Cambodian government that their forces had been attacked with chemical weapons, leaving behind a yellow powder. The Cambodians blamed the United States for these alleged chemical attacks. Some of the samples of "yellow rain" collected from Cambodia in 1983 tested positive for CS, which the United States had used during the Vietnam War. CS is a form of tear gas and is not acutely toxic, but may account for some of the milder symptoms reported by the Hmong villagers.

Scientific conclusions and US claims

The scientific community sees these allegations as supported by insufficient evidence, or as having been completely refuted. For instance, a 1992 review published in Politics and the Life Sciences described the idea of yellow rain as a biological agent as conclusively disproved and called for an assessment by the US government of the mistakes made in this episode, stating that "the present approach of sweeping the matter under the rug and hoping people will forget about it could be counterproductive." Similarly, a 1997 review of the history of biological warfare published in the Journal of the American Medical Association stated that the yellow rain allegations are "widely regarded as erroneous", a 2001 review in the Annual Reviews in Microbiology described them as "unsubstantiated for many reasons", and a 2003 article in Annual Review of Phytopathology described them as "largely discredited". A 2003 review of the history of biological warfare described these allegations as one of many cases where states have produced propaganda containing false or unsubstantiated accusations of the use of biological weapons by their enemies.

In contrast, as of 1997 the U.S. Army maintains that some experts believe that "trichothecenes were used as biological weapons in Southeast Asia and Afghanistan" although they write that "it has not been possible for the United States to prove unequivocally that trichothecene mycotoxins were used as biological weapons." They argued that presence of pollen in yellow rain samples is best explained by the idea that "during biological warfare attacks, dispersed trichothecenes landed in pollen-containing areas." (Essentially the same position is taken in a subsequent volume in the same series of U.S. Army textbooks published in 2007.) Similarly, the US Defense Threat Reduction Agency argues that the controversy has not been resolved and states that a CIA report indicated the Soviet Union did possess weapons based on T-2 mycotoxin, although the agency states that "no trace of a trichothecene-containing weapon was ever found in the areas affected by yellow rain" and concludes that the use of such weapons "may never be unequivocally proved." A 2007 review published in Politics and the Life Sciences concluded that the balance of evidence strongly supported the hypothesis that some type of chemical or biological weapon was used in Southeast Asia in the late 1970s and early 1980s, but noted that they found no definitive proof of this hypothesis and that the evidence could not "identify the specific agents used, the intent, or the root source or sources of the attacks." The Vietnamese and the Soviets have also reportedly used other chemical weapons in conflict, in Cambodia and Afghanistan, respectively.

Later events

India

An episode of mass pollen release from bees in 2002 in Sangrampur, India, prompted unfounded fears of a chemical weapons attack, although this was in fact due to a mass migration of giant Asian honeybees. This event revived memories of what New Scientist described as "cold war paranoia", and the article noted that the Wall Street Journal had covered these 1980s yellow rain allegations in particular detail. Indeed, the Wall Street Journal continues to assert that the Soviet Union used yellow rain as a chemical weapon in the 1980s and in 2003 accused Matthew Meselson of "excusing away evidence of Soviet violations."

Iraq

In the build-up to the 2003 invasion of Iraq the Wall Street Journal alleged that Saddam Hussein possessed a chemical weapon called "yellow rain". The Iraqis appear to have investigated trichothecene mycotoxins in 1990, but only purified a total of 20 ml of the agent from fungal cultures and did not manage to scale up the purification or produce any weapons containing these compounds. Although these toxins are not generally regarded as practical tactical weapons, the T-2 toxin might be a usable weapon since it can be absorbed through the skin, although it would be very difficult to manufacture it in any reasonable quantity.

Henry Wilde, a retired US Foreign Service Officer, has drawn parallels between the use of yellow rain allegations by the US government against the Soviet Union and the later exaggerated allegations on the topic of Iraq and weapons of mass destruction. Wilde considers it likely that states may again "use rumors and false or planted intelligence of such weapons use for propaganda purposes." and calls for the establishment of a more rigorous inspection process to deal with such claims. Similar concerns were expressed in a 2006 review published by the World Organisation for Animal Health, which compared the American yellow rain accusations to other Cold War-era accusations from the Soviet Union and Cuba, as well as to more recent mistaken intelligence on Iraqi weapons capabilities, concluding that such unjustified accusations have encouraged the development of biological weapons and increased the risk that they might be used, as they have discredited arms-control efforts.

Radiolab interview

In 2012 the science-themed show Radiolab aired an interview with Hmong refugee Eng Yang and his niece, author Kao Kalia Yang, to discuss Eng Yang's experience with yellow rain. The hosts took the position that yellow rain was unlikely to have been a chemical agent. The episode prompted a backlash among some listeners, who criticized Robert Krulwich for insensitivity, racism, and their disregard for Yang's personal and professional experience with the region in question. The negative response prompted host Krulwich to issue an apology for his handling of the interview.

Bulgaria
On 23 May 2015, just before the national holiday of 24 May (the day of Bulgarian writing and culture), yellow rain fell in Sofia, Bulgaria. Suspicions were raised because the Bulgarian government was criticizing Russian actions in Ukraine at the time. The Bulgarian national academy BAN explained the event as flower pollen.

Mai Der Vang's Yellow Rain
American Hmong poet Mai Der Vang published Yellow Rain (Graywolf Press, 2021) to critical acclaim and was a 2022 Finalist for the Pulitzer Prize in Poetry. The book explores yellow rain in Southeast Asia through the use of documentary poetics.

See also
Agent Orange
Red rain in Kerala
Sverdlovsk anthrax leak
Aral smallpox incident
Allegations of biological warfare in the Korean War

References

Further reading

External links
The Yellow Rain Affair Matthew Meselson and Julian Robinson
A Note from History: Yellow Rain Defense Treaty Ready Inspection Readiness Program

Soviet Union–United States relations
Soviet Union–Vietnam relations
History of Laos
History of Vietnam (1945–present)
Reagan administration controversies
Propaganda in the United States
Chemical weapons attacks
Disinformation operations
Medical controversies
Soviet chemical weapons program

Yellow rain


Renan Luce (; born 5 March 1980) is a French singer-songwriter from Paris. His songs are inspired by the 20th-century singer Georges Brassens and depict everyday life with a dose of humour and poetry. He is the voice of Wirt in the French dub of Over the Garden Wall; this is also his only acting role.

Biography
Born in Paris, Luce spent his childhood and adolescence in Plourin-les-Morlaix, Brittany.

He started his musical career singing in a choir with his brother Damien and his sister Claire. Later, he took up classical piano at the conservatory of Brest and then at Saint-Brieuc. He gave up the piano for the saxophone and taught himself the guitar, on which he composed his first songs.

After two years of preparatory classes in Rennes, where he performed in bars and at a few festivals (e.g., as a support act for Matmatah), he was admitted to the Toulouse Business School.

Musical career
Luce has been successful in France with songs like "Les Voisines" and "La Lettre".

In September 2006 Luce released his first album, Repenti, which includes 13 tracks + 3 live versions. The album sold more than 800,000 copies.

In October 2009, Luce released his second studio album, Le Clan des Miros, which includes the song "On n'est pas à une bêtise prês" from the original soundtrack of the movie Le petit Nicolas.

His third album, D'Une Tonne a Un Tout Petit Poids, was released in 2014.

Early days
After three years of study at Toulouse, Luce moved to Paris and soon decided to focus exclusively on song writing and performing. He quickly found his publisher Olivier Lefebvre (Universal Publishing) and his manager, Jeff Genie, who set him up for several months of concerts at the theater Méry (Place de Clichy). Among his early followers are the singers Renaud and Bénabar, and many artistic directors. Luce signed a record deal with Barclay in late 2005.

Luce got exposure through several festivals (Francofolies de La Rochelle, Montauban So Sing) and Bénabar had him play as support act at the Paris Zénith on 7 June 2006. He is often invited by other artists, having opened the show for Maxime Le Forestier, Clarks, Jeanne Cherhal, Thomas Fersen amongst others.

Repenti (2005–2009)
His first album, Repenti (Repentant), was released in September 2006. It was directed by Jean-Louis Pierot and recorded at Studio Manor (in Landes), Studio de la Seine (Paris) and Studio ICP (Brussels).
Luce was on the road until spring 2008, touring French speaking destinations, performing in front of nearly 200,000 spectators. He played four times in Quebec during 2007. Over a period of 18 months, all his concerts in Paris were fully booked: Café de la danse, Trianon, La Cigale, and Olympia Grand Rex.
Bernard Chereze of France Inter radio station added Luce to his playlist long before other stations picked him up. For several months, Luce had three singles simultaneously in the French rankings (Yacast): "The Letter", "The Neighbour", and "The Repentant".

His album Repenti was certified platinum in December 2007, with more than 250,000 copies sold. In August 2009, the album reached 800,000 copies sold. It went platinum in Belgium in April 2008, with 40,000 copies sold.

Nominated in three categories, this album won two prizes at Victoires de la Musique 2008: Album Revelation of the Year and Stage Revelation of the Year.

He participated in the show Enfoirés in 2009, from 21 to 26 January 2009 at the Palais Omnisports de Paris-Bercy.

At the Victoires de la Musique 2009, he was nominated for Song of the Year with "Repenti". The victory went to Thomas Dutronc.

Clan Des Miros (2009–2014)
12 October 2009, his second album, The Clan Des Miros, was released. Its singles were "La Fille de la Bande" and "On n'est pas à une bêtise près", which was used for the film Le Petit Nicolas, and Nantes.

Luce began a tour on 1 October 2009 which extended into 2010, including concerts at La Cigale in Paris in October, three in Olympia (fully booked) from 10 to 12 May 2010 and some time in Quebec.

Following one of his concerts at the Olympia, he received a double platinum album for the sale of 230,000 albums in France (and received a gold disk in Belgium).

D'Une Tonne À Un Tout Petit Poids (2014–present)
On 7 April 2014, after a three-year break, Luce brought out a new album, D'Une Tonne À Un Tout Petit Poids ("From a Ton to a Very Small Weight"). This album was produced with the Swede Peter von Poehl. On 10 February 2014, a single from the album was released: "Appelle Quand Tu Te Réveilles" ("Call Me When You Wake Up").

Personal life
Luce was married to Lolita Séchan, the daughter of Renaud. Their only child Héloïse was born on 3 August 2011. They separated in 2016.

Discography

Albums

Singles
2006: "Les Voisines"
2007: "La Lettre et Lacrymal Circus"
2008: "Repenti"
2008: "Monsieur Marcel" (new version)
2009: "La Fille de la bande"
2009: "On n'est pas à une bêtise près"
2010: "Nantes"
2014; "D'une tonne à un tout petit poids"

References

External links

 MySpace page

French-language singers
Living people
1980 births
Toulouse Business School alumni
21st-century French singers
21st-century French male singers

Renan Luce


Villa Lewaro, is a 34-room  mansion located at Fargo Lane and North Broadway (US 9) in Irvington, New York, 30 miles north of New York City.  It was built from 1916 to 1918, and was designed in the Italianate style by architect Vertner Tandy for A'lelia Walker, for her mother, Madam C.J. Walker. An additional site, the Dark Tower Walker residence with business occupancy, was established in New York City's Harlem neighborhood, thus completing the Walker property portfolio.

History

Early history
From 1918 to 1919, Villa Lewaro was the home of Madam C. J. Walker, an African-American entrepreneur, philanthropist, and a political and social activist who was the first female self-made millionaire in the United States. She became one of the wealthiest self-made women in America and one of the most successful women and African-American business owners ever.  Walker's fortune was founded on her developing and marketing a line of beauty and hair products for black women.

The mansion is an Italianate villa house designed for Walker by Vertner Tandy, the first African-American architect registered in New York, and has been considered to be one of his greatest works.  It was constructed during 1916–1918 at an estimated cost of $250,000, and was furnished lavishly.  The name Villa Lewaro was coined by a distinguished visitor, Enrico Caruso, from the first two letters of each word in Lelia Walker Robinson, the name of Walker's daughter, who later went by the name of A'Lelia Walker.

The home was used as a conference center on race relations issues, and as a meeting place for people involved in the Harlem Renaissance, including W. E. B. Dubois and Langston Hughes. Madam C. J. Walker died there in 1919, and the house was inherited by her daughter A'Lelia Walker, who owned it until she herself died in 1931.  She left it to the NAACP, but because of the challenges of paying the taxes and general maintenance of the home during the Great Depression, the estate and the NAACP agreed to sell the property and split the proceeds.

The estate was bought by the Companions of the Forest in America, and became the Anne E. Poth Home for Convalescent and Aged Members of that group. The house became a National Historic Landmark in 1976, and has been a private residence since the mid-1980s.

Purchase by Harold Doley
In 1993, Villa Lewaro was purchased by Harold Doley, founder of Doley Securities, LLC, the oldest African-American-owned and operated investment banking firm in the United States. According to the New York Post:

The Doleys upgraded the house's mechanical, electrical, heating and plumbing systems. They reconstructed the terra cotta roof with materials from the original manufacturer and restored the wall paintings in the dining and music rooms.

Doley has hoped to attract investors to help turn the residence into a museum.   During 1998 it was a designer show house benefiting the United Negro College Fund.

In 2004, it was added to the African American Heritage Trail of Westchester County, a group of 13 sites which include the Rye African-American Cemetery, Saint Paul's Church National Historic Site and the Jay Estate.

In May 2014, the National Trust for Historic Preservation, which has designated the mansion as a "National Treasure", began a project with the active support of Doley, which it called "Envisioning Villa Lewaro's Future", to determine the appropriate re-use of the mansion, which was becoming available for purchase.  Three scenarios were selected by a workshop organized by the Trust: a spa and salon, a "Center for Innovation in Technology", and a corporate events venue, while a fourth – continued residential use – was suggested by the Trust afterwards; other scenarios were rejected by the workshop, although the Trust recommended that one – a cultural arts performance venue – be reconsidered.  Others have suggested that the mansion be used as a center for information about Madame Walker and Vertner Tandy, the architect.  In 2017, a representative of the National Trust reported that despite the mansion's status as a National Historic Landmark "there's no oversight or review to stop an external agency to propose changes to the building..." The Trust's concern is that significantly changing the mansion, or, worse, demolishing it, would be a slight to Walker's life achievements.

In May 2017, Westchester County certified an easement under the auspices of the National Trust, a significant step in the house becoming a museum. The Doleys are exploring ways to continue to live in the house if and when it achieves that status. On December 22 of that year, the National Trust's African-American Cultural Heritage Action Fund confirmed the preservation easement, which would protect the historic and architectural qualities of the mansion and its property.

Purchase by New Voices Foundation
On December 20, 2018, the National Trust for Historic Preservation announced that the estate had been sold in mid-September to the New Voices Foundation, which was founded by Richelieu Dennis.  An emigrant from Liberia, Dennis is the owner of Essence magazine and the 1992 founder of Sundial Brands, a skin and hair care products company which is now a division of Unilever. He purchased Madam Walker's brands in 2013 and relaunched them.  The purchase price paid by New Voices Foundation – which helps women entrepreneurs of color – was not released.  The foundation plans on renovating the estate and will operate it, possibly as a think tank, training center or retreat to support the foundation's mission.  They would be aided by a change in the village of Irvington's zoning laws, which provides tax relief for registered historical buildings adaptively re-used for non-residential purposes, such as schools, tours and specific types of events.

On August 3, 2021, the New Voices Foundation presented preliminary plans for the use of the property to the Irvington Board of Trustees. The three-part plan calls for the  creation of the Madam C. J. Walker Institute for Women of Color Entrepreneurs dedicated to "educating, empowering and uplifting women of color entrepreneurs" through workshops and seminars, special events related to that charitable purpose which could attract up to 400 people, and private tours of the house limited to 50 people, fulfilling a requirement of the National Trust for Historic Places that the house be open to the public periodically.  The plan for special events, and the associated parking problems, received the most attention from the board, as the property has only 12 parking spaces, and valet parking would increase that to 21 spaces.  With an event of 400 people a considerably larger number of cars would be expected, and talks were underway with the three nearby churches to make use of their parking lots, with shuttle buses bringing people to Villa Lewaro. It was pointed out that there was in place a stipulation for the Armour-Stiner Octagon House – the only other application of "adaptive re-use" in the village – for an sizable event to be pre-approved by the board.  New Voices' formal application is expected to be filed on August 30.

Events
On July 10, 2021, fashion designer Kerby Jean-Raymond showed his first couture collection at Villa Lewaro, two days after it was forced to be rescheduled due to torrential rain and lightning – although the downpour on Thursday the 8th did not stop the audience from partying while they waited to see if the show would go on.  When the show, entitled "Wat U Iz", was finally presented in its entirety on Saturday the 10th, the clothing for the designer's Pyer Moss label included a dress shaped like a jar of peanut butter, a cape made out of hair rollers, and clothing that looked variously like a kitchen mop, an ice cream cone with chaps, an air conditioner, and an old mobile phone.

Jean-Raymond was the first African American designer to be asked by France's Chambre Syndicale de la Couture to show a collection during Paris Couture Week; the show was live-streamed to Paris.  In the notes for the show, the designer said about Madame Walker that "[her] wealth was more than money. ... Black prosperity begins in the mind, in the spirit and in each other. She knew that no dollar amount could ever satisfy the price tag of freedom — that green sheets of paper & copper coins could never mend souls, heal hearts or undo the evil we've endured."

Parking problems caused by the event, which was attended by 700 people, were discussed by the Irvington Board of Trustees at their meeting on August 3, 2021. On July 17, 2023, the Broad of Trustees issues a special one-year permit for Villa Lewaro to be used as "a historical, educational and cultural facility, specifically, as home to the Madam C.J. Walker Institute for Women of Color Entrepreneurs."  The permit specified limits on the number and nature of events, parking, and the allowed amount of noise. The permit will become active once structural repairs are completed, and the village issues a Temporary Certificate of Occupancy.

See also

List of National Historic Landmarks in New York
National Register of Historic Places listings in southern Westchester County, New York

References
Notes

Bibliography
Bundles, A'Lelia P. On Her Own Ground: the Life and Times of Madam C.J. Walker. 2001

External links

Houses on the National Register of Historic Places in New York (state)
National Register of Historic Places in Westchester County, New York
Houses completed in 1918
National Historic Landmarks in New York (state)
U.S. Route 9
Houses in Westchester County, New York
Irvington, New York
Madam C. J. Walker
Villas in the United States
African-American history of Westchester County, New York
African-American historic house museums
New York State Register of Historic Places in Westchester County

Villa Lewaro


Bambera () is a cante, one of many traditional song forms associated with flamenco.

Definition
The bambera or bamba derives from the cante de columpio, meaning "song of the swing", which is one of the traditional Andalusian song forms associated with flamenco.  These songs were known as bambas or mecederos (from a Spanish word meaning 'to sway'), because they were sung to the rhythm of a swing.

Jose de Bisso in his Chronicle of the Province of Seville (1868) describes it thus:

The Vampas or Bambas is a double swing that is suspended from a heavy tree, the walnut tree, and crossed with a quite resistant plank;  the pair that are rocked are placed in it while the group sings and pushes the swing. Each song sung by one of those in the group, is answered by one of those on the swing; but the unique thing about these occasions is that lovers get a chance to hear each other's complaints, jealousies, disdain, tenderness, galantries, resentments, snubs etc. expressed through an improvised song with lively imagination and perspective and the release of contained passion.

Origin

The origin of the bamba/bambera is ascribed to the flamenco singer known as Niña de los Peines (real name Pastora María Pavón Cruz 1890 – 1969), considered one of the most important voices in the history of the art.  This song form was further developed by Naranjito de Triana who imposed the distinctive rhythmic pattern of 12 count soleá.

Composition
The bamba has four octosyllabic lines or alternatively, a first and third line of seven syllables with a second and fourth line of five syllables. The first two lines are generally repeated at the end of each verse, or sometimes only the second line is repeated thus making a five line verse.

Composers
The bamba has been recorded by many singers; among others are La Niña de los Peines, Enrique Morente, Carmen Linares and Rocío Jurado.

Example of a bamba

Péinate tú con mis peines,

que mis peines son de azúcar,

quien con mis peines se peina,

hasta los dedos se chupa.

Péinate tú con mis peines,

mis peines son de canela,

la gachí que se peina con mis peines,

canela lleva de veras.

La Niña de los Peines (Pastora María Pavón Cruz)

 (The swing is holding well)

 (with a rope falling.)

 (to push you swinging)

 (My hands on your hips)

Sources
Spanish Wikipedia

Flamenco
Spanish dances
Spanish folk music
Spanish music

Bambera


Gregory is an unincorporated community in Little Falls Township, Morrison County, Minnesota, United States, near Little Falls.  The community is located near the intersection of 123rd Street and Haven Road, Morrison County Road 76.

U.S. Highway 10 and 1st Street SE are also in the immediate area.

The community was named for J. Gregory Smith, a railroad official.

References

Unincorporated communities in Morrison County, Minnesota
Unincorporated communities in Minnesota

Gregory, Minnesota


The Boltzmann brain thought experiment suggests that it's more likely for a random brain (or even an entire body or galaxy) to spontaneously form with false memories in a vast, fluctuating universe than for the entire universe to develop as cosmologists believe. This idea is named after physicist Ludwig Boltzmann. It is used to challenge our assumptions about thermodynamics and the universe's evolution.

Thought
Philosophical concepts

Boltzmann brain


The coaching staff is a group of non-athletes tied to a sports team. A coaching staff can be existent at all levels of athletics. It is led by a head coach (known as a manager or senior coach in some sports) and consists of one or more assistant coaches, physicians, massage therapists, Athletic trainers, equipment managers, nutritionists and others, all required to pass training courses for reliability.

It has been suggested that when there is an upbeat and positive coaching staff with healthy relationships with the athletes, the outcome and experience of the team as a whole will benefit overall. Although college athletes have the final say where they will be pursuing their academic and athletic careers, coaching staffs and facilities are more often than not are a deciding factor.

See also
Coach (sport)
Sport

References

Terminology used in multiple sports
American football occupations
Sports coaches
Sports occupations and roles

Coaching staff


Officine Meccaniche Reggiane SpA (commonly referred to as Reggiane) was an Italian industrial manufacturer and aviation company.

Reggiane was founded during 1904 by its parent company Caproni, which was in turn owned by the aeronautical engineer Giovanni Battista Caproni. Throughout the company's existence, it was involved in numerous industrial activities, such as railways, agriculture, aeronautics, and processing machinery. During the first half of the Twentieth Century, Reggiane became well known for the design and production of aircraft. Through the development of the Re.2000, an all-metal monoplane, Reggiane gained a reputation for producing relatively agile single-seat fighter aircraft.

Following the outbreak of the Second World War, the majority of Reggiane's fighter production was taken over by the Regia Aeronautica (the Italian Air Force). However, the company continued to manufacture and deliver fighters for various other neutral and Axis-aligned nations around this period, such as for the Luftwaffe of Nazi Germany, the Hungarian Air Force and the Swedish Air Force. Following the end of the war, the company turned its back on aircraft production, instead focusing upon the civil sector. Throughout the second half of the century, Reggiane came to specialise in the supply of cranes and other dockside equipment.

History
The company established its main facilities in Reggio Emilia, a city of what today is the Emilia-Romagna region of Italy. At its height, Reggiane's factory in the city was the fourth largest in Italy, its footprint covering an area as large as the center of Reggio Emilia, employing as many as 11,000 employees at a time. It was primarily through this plant that Reggiane performed its various industrial activities, becoming involved in the nations's railways, manufacturing a number of locomotives, as well as the agricultural sector, producing a range of food processing equipment.

During the 1930s, the company branched out into aircraft production; the first aircraft to be produced by the firm was the Piaggio P.32bis, a medium bomber, which had been developed from the Caproni Ca.405C Procellaria. However, Reggiane's management were keen to branch out into developing their own aircraft designs, rather than solely producing other company's aircraft under license.

During 1938, work commenced at Reggiane on a new fighter design; the company's design team, which was headed by Roberto Longhi and Antonio Alessio, set about designing an aircraft that would be offered to the Italian Air Ministry that would not only meet but exceed the requirements of its Programme R. Having little development time available, Reggiane considered various options, including the potential for manufacturing an American-developed fighter aircraft under license instead; however, under the influence of aeronautical engineer Giovanni Battista Caproni, a completely original design was rapidly prepared. The design team took inspiration from the contemporary American fighter Seversky P-35; their resulting design, the Reggiane Re.2000, bore a superficial resemblance to the P-35. It was the first aircraft to be designed by Reggiane to employ aluminum stressed skin construction, as opposed to the wooden or mixed wood and metal structures that had been traditionally used in contemporary Italian aircraft such as the Savoia-Marchetti SM.79, another aircraft which had also been produced by Reggiane under license.

On 24 May 1939, the prototype Re.2000 conducted its maiden flight at Reggio Emilia, Emilia-Romagna, Italy, flown by Mario De Bernardi. According to Cattaneo, early flights had quickly demonstrated the type's favourable flying attitude, including good speed and high manoeuvrability. Only minor modifications were required after the successful completion of the initial factory flight test programme; these including changes to the exhaust, the lengthening of the carburetor air intake, and the replacement of the round windshield with a framed counterpart. During testing, the Re 2000 demonstrated the ability to perform better than other existing fighters then in production. In mock dogfights, it could successfully fight not only the slower Fiat CR.42 biplane, but even the more modern Macchi C 200 and the German Messerschmitt Bf 109E fighters. However, the Re.2000 was afflicted by a major handicap in the form of the unavailability of reliable in-line engines of sufficient power; as such, the RE.2000 was able to represent only a limited advance over the rival Macchi C.200.

Throughout the Second World War, the company would develop numerous improved variants of the Re.2000, including the Re.2001, Re.2002, Re.2003, Re.2004, Re.2005, and Re.2006, some of which never progressed beyond the stages of prototyping or limited production. It has been alleged that the Reggiane had been working on developing their own wartime jet-propelled fighter, the Re.2007; however, some figures have cast doubts over the authenticity of the documentation produced.

Postwar activities
Following the conclusion of the conflict, Reggiane's factory was occupied by a large contingent of its work force, during which time its works were converted for to produce goods orientated towards the civilian market instead. This industrial action followed a pattern similar to the nationwide wave of factory occupations of the years 1920–1921.

The company, which is currently still active (though with a name and a location different from the original, due to the changes of ownership and name), specializes in the production of cranes and trolleys for lifting containers. The company was taken over first by the group Fantuzzi (Fantuzzi Reggiane) and then recently acquired by American company Terex Corporation. The current name is: Reggiane Cranes and Plants S.p.A.

Products

Aircraft production
 Reggiane Re.2000 Falco
 Reggiane Re.2001 Falco II
 Reggiane Re.2002 Ariete
 Reggiane Re.2003
 Reggiane Re.2004
 Reggiane Re.2005 Bifusoliera
 Reggiane Re.2005 Sagittario
 Reggiane Re.2006
 Reggiane Re.2007
 Reggiane Re.2008
 Caproni-Reggiane Ca.400
 Caproni-Reggiane Ca.8000

Locomotives
 FS Class D.341
 FS Class E.428
 FS Class E.636
 FS Class E.656
 FS Class E.424

See also

 Caproni
 Compagnia Nazionale Aeronautica
 Isotta Fraschini

References

Citations

Bibliography

 Angelucci, Enzo and Paolo Matricardi. World Aircraft: World War II, Volume I (Sampson Low Guides). Maidenhead, UK: Sampson Low, 1978. .
 Cattaneo, Gianni. The Reggiane Re.2000 (Aircraft in Profile Number 123). Windsor, Berkshire, UK: Profile Publications Ltd., 1967. No ISBN.
 Green, William and Gordon Swanborough. "RE 2000... The 'State-of-the-Art' Reggiane". Air Enthusiast, Forty-one, Midsummer 1990, pp. 54–69. Bromley, UK: Tri-Service Press. ISSN 0143-5450.

External links

 Reggiane Cranes and Plants S.p.A. Official website

Forklift truck manufacturers
Crane manufacturers
Firearm manufacturers of Italy
Defunct aircraft manufacturers of Italy
Manufacturing companies established in 1901
Italian companies established in 1901
Italian brands
Companies based in Reggio Emilia
Caproni

Reggiane


The Serenade for orchestra in D major, K. 250 (248b), popularly known as the Haffner Serenade, is a serenade by Wolfgang Amadeus Mozart named for the Haffner family. Mozart's friend and contemporary  commissioned the serenade to be used in the course of the festivities before the wedding of his sister Marie Elisabeth Haffner and her intended, Franz Xaver Spaeth. The Serenade was first played on 21 July 1776, on the eve of the wedding. It is in eight movements:

I.   Allegro maestoso - Allegro molto
II.   Andante
III.  Menuetto
IV.   Rondeau: Allegro
V.    Menuetto galante
VI.   Andante
VII.  Menuetto
VIII. Adagio - Allegro assai

The second, third and fourth movements feature prominent violin solos.  Indeed, the rondeau (the fourth movement) has been arranged for solo violin and used as a popular virtuoso piece.

It is assumed that the Marcia K. 249 was intended as entrance and exit music together with this Serenade.

A typical performance lasts approximately 55 minutes.

See also

Haffner Symphony, K. 385, another celebrated piece commissioned by Haffner

External links

Program notes on the Haffner Serenade for its performance by the New York Philharmonic

Serenade 07
Compositions in D major
1776 compositions

Serenade No. 7 (Mozart)


The Indoor Football League (IFL) is a professional indoor American football league created in 2008 out of the combination of the Intense Football League and United Indoor Football. For the 2011 season the league had 22 teams in 14 different U.S. states. The 2012 season has 16 teams. There championship is called the United Bowl. They play games in the Spring.

History

Creation
In 2008, the league was created due to tension between in the Intense Football League and United Indoor Football League.

2009 United Bowl Championship
The 2009 IFL United Bowl had the Intense Conference champs, the Billings Outlaws, against the upset-minded United Conference River City Rage. Scoring was common. The Outlaw defense had a pick in the 2nd quarter which led to another offensive touchdown and two score lead by halftime. The Rage fought back though, recovering an onside kick at the beginning of the 3rd quarter and driving the ball the length of the field for a touchdown. That would be the closest the game would get for the Rage. The Outlaws would put up just enough points to keep a comfortable lead throughout the fourth quarter and after recovering an onside kick in the last minute of the game, the Outlaws kneeled the ball and took home the crown with a score of 71-62 in a loud, sold out Rimrock Auto Arena.

2010 United Bowl Championship
In the 2010 IFL United Bowl, the Billings Outlaws of the Intense Conference took the league championship by beating Sioux Falls Storm of the United Conference 43-34 in front of a sold out crowd in the Billings Sportsplex (a training facility, used by the Outlaws after their arena suffered storm damage).

Other information
The IFL got more attention when former National Football League star wide receiver Terrell Owens joined the Allen Wranglers of the IFL for the 2012 season.

Teams

Current

Inactive

Map of teams

References

Other websites

 Owens to join Wranglers-ESPN
 Outlaws win IFL championship

Sports leagues
2008 establishments in the United States

Indoor Football League


Miss Julie () is a naturalistic play written in 1888 by August Strindberg. It is set on Midsummer's Eve and the following morning, which is Midsummer and the Feast Day of St. John the Baptist. The setting is an estate of a count in Sweden. Miss Julie is drawn to a senior servant, a valet named Jean, who is well-traveled and well-read. The action takes place in the kitchen of Miss Julie's father's manor, where Jean's fiancée, a servant named Christine, cooks and sometimes sleeps while Jean and Miss Julie talk.

Themes
One theme of the play is Darwinism, a theory that was a significant influence on the author during his naturalistic period. This theme is stated explicitly in the preface, where Strindberg describes his two lead characters, Miss Julie and Jean, as vying against each other in an evolutionary "life and death" battle for a survival of the fittest. The character of Miss Julie represents the last of a dying aristocratic breed and serves to characterize women in modernity. Jean represents one who is clambering upwards and who is fitter to thrive because he is more adaptable in terms of the "life roles" he can take on.

The play has various themes, partly because Miss Julie's actions are motivated by a range of factors and influences: her class, her desires and impulsive nature, her father, and the dynamic traumas of her family histories. In utilizing the naturalistic style, the author goes against the dominant theatrical idea that says that characters should be written with only one primary motivation.

The author's preface
Miss Julie is preceded by an author's preface, which is considered a significant manifesto of naturalism in the theatre. In it Strindberg states that the source of the play is an actual story he once heard, which made a strong impression on him, and which "seemed appropriate for tragedy, for it still seems tragic to see someone favored by fortune go under, much more to see a family die out."

Strindberg describes both Jean and Miss Julie as representations of their classes and society. The people in the play are described by Strindberg as "modern characters living in an age of transition [...] more vacillating and disintegrating than their predecessors, a mixture of the old and the new." The preface to the play may not be the best guide to the play, and is at times in variance with the play itself. The preface urges naturalism and deterministic readings of the play, but the play seems to offer more anti-naturalism and even feminist readings. Strindberg's play may have other values than his own critical assessment. In the preface, Strindberg discusses aristocracy and classism beyond what occurs in the play itself.

Naturalism
Strindberg wrote this play with the intention of abiding by the theories of "naturalism"–both his own version, and also the version described by the French novelist and literary theoretician Émile Zola. Zola's term for naturalism is la nouvelle formule. The three primary principles of naturalism (faire vrai, faire grand and faire simple) are:

 Faire vrai: The play should be realistic and the result of a careful study of human behavior and psychology. The characters should be flesh and blood; their motivations and actions should be grounded in their heredity and environment. The presentation of the play in terms of the setting and performances should be realistic and not flamboyant or theatrical. The single setting of Miss Julie, for example, is a kitchen.
 Faire grand: The conflicts in the play should be issues of meaningful, life-altering significance–not small or petty.
 Faire simple: The play should be simple–not cluttered with complicated sub-plots or lengthy expositions.

Strindberg believed that French playwrights had been unable to achieve naturalism in their writings, and he felt that he could. Miss Julie is not only successful as a naturalistic drama, but it is a play that has achieved the rare distinction of being performed on stages all over the world every year since it was written in 1888.

Origins of the play
The play was written as Strindberg was creating a new theatre of his own, the Scandinavian Naturalistic Theater, which would be founded in Copenhagen. Miss Julie would be the premier offering. Strindberg's wife, Siri von Essen, would star in the title role, and she would also be the artistic director. After Strindberg agreed to a small amount of censorship, the play was published a few weeks before the first production. (The first English translations also contain these censored excisions. For example, the first audiences were spared the shock of hearing Miss Julie, in an angry moment, compare making love to Jean to an act of bestiality.) With disastrous timing for new theater, the censors announced during the dress rehearsal that Miss Julie would be forbidden. However, Strindberg managed to get around the censors by having Miss Julie premiere a few days later at the Copenhagen University Student Union.

Characters
Miss Julie: Strong-willed daughter of the Count who owns the estate. Raised by her late mother to "think like and act like a man," she is a confused individual: she is aware of the power she holds, but switches between being above the servants and flirting with Jean, her father's manservant. She longs to fall from her pillar, an expression symbolically put across as a recurring dream she has.

Jean: Manservant to the Count. He tells a story of seeing Miss Julie many times as a child and loving her even then, but the truth of the story is later denied (there is good evidence both for and against its veracity). Jean left the town and traveled widely, working many different jobs as he went, before finally returning to work for the count. He has aspirations to rise from his station in life and manage his own hotel, and Miss Julie is part of his plan. He is alternately kind and callous. Despite his aspirations, he is rendered servile by the mere sight of the count's gloves and boots.

Christine (or Kristine): The cook in the Count's household. She is devoutly religious and apparently betrothed to Jean, although they refer to this marriage almost jokingly.

The Count: Miss Julie's father. He is never seen, but his gloves and his boots are on stage, serving as a reminder of his power. When a bell sounds, his presence is also noted more strongly.

Plot
The play opens with Jean walking on the stage, the set being the kitchen of the manor. He drops the Count's boots off to the side but still within view of the audience; his clothing shows that he is a valet. Jean talks to Christine about Miss Julie's peculiar behavior. He considers her mad since she went to the barn dance, danced with the gamekeeper, and tried to waltz with Jean, a mere servant of the Count. Christine delves into the background of Miss Julie, stating how, unable to face her family after the humiliation of breaking her engagement, she stayed behind to mingle with the servants at the dance instead of going with her father to the Midsummer's Eve celebrations. Miss Julie got rid of her fiancé seemingly because he refused her demand that he jump over a riding whip she was holding. The incident, apparently witnessed by Jean, was similar to training a dog to jump through a hoop.

Jean takes out a bottle of fine wine with a "yellow seal" and reveals, by the way he flirts with her, that he and Christine are engaged. Noticing a stench, Jean asks what Christine is cooking so late on Midsummer's Eve. The pungent mixture turns out to be an abortifacient for Miss Julie's dog, which was impregnated by the gatekeeper's mongrel. Jean calls Miss Julie "too stuck-up in some ways and not proud enough in others," traits apparently inherited from her mother. Despite her character flaws, Jean finds Miss Julie beautiful or perhaps simply a stepping stone to achieve his lifelong goal of owning an inn. When Miss Julie enters and asks Christine if the "meal" has finished cooking, Jean instantly shapes up, becoming charming and polite. Jokingly, he asks if the women are gossiping about secrets or making a witch's broth for seeing Miss Julie's future suitor.

After more niceties, Miss Julie invites Jean once more to dance the waltz, at which point he hesitates, pointing out that he already promised Christine a dance and that the gossip generated by such an act would be savage. Almost offended by this response, she justifies her request by pulling rank: she is the lady of the house and must have the best dancer as her partner. Then, insisting that rank does not matter, she convinces Jean to waltz with her. When they return, Miss Julie recounts a dream of climbing up a pillar and being unable to get down. Jean responds with a story of creeping into her walled garden as a child–he sees it as "the Garden of Eden, guarded by angry angels with flaming swords"–and gazing at her longingly from under a pile of stinking weeds. He says he was so distraught with this unrequitable love, after seeing her at a Sunday church service, that he tried to die beautifully and pleasantly by sleeping in a bin of oats strewn with elderflowers, as sleeping under an elder tree was thought to be dangerous.

At this point Jean and Miss Julie notice some servants heading up to the house, singing a song that mocks the pair of them. They hide in Jean's room. Although Jean swears he won't take advantage of her there, when they emerge later it becomes clear that the two have had sex. Now they are forced to figure out how to deal with it, as Jean theorizes that they can no longer live in the same household–he feels they will be tempted to continue their relationship until they are caught. Now he confesses that he was only pretending when he said he had tried to commit suicide out of love of her. Furiously, Miss Julie tells him of how her mother raised her to be submissive to no man. They then decide to run away together to start a hotel, with Jean running it and Miss Julie providing the capital. Miss Julie agrees and steals some of her father's money, but angers Jean when she insists on bringing her little bird along–she insists that it is the only creature that loves her, after her dog Diana was "unfaithful" to her. When Miss Julie insists that she would rather kill the bird than see it in the hands of strangers, Jean cuts off its head.

In the midst of this confusion, Christine comes downstairs, ready to go to church. She is shocked by Jean and Miss Julie's planning and unmoved when Miss Julie asks her to come along with them as head of the kitchen of the hotel. Christine explains to Miss Julie about God and forgiveness and heads off for church, telling them as she leaves that she will tell the stablemasters not to let them take out any horses so that they cannot run off. Shortly after, they receive word that Miss Julie's father, the Count, has returned. At this, both lose courage and find themselves unable to go through with their plans. Miss Julie realizes that she has nothing to her name, as her thoughts and emotions were taught to her by her mother and her father. She asks Jean if he knows of any way out for her. He takes a shaving razor and hands it to her. The play ends as she walks through the door with the razor, presumably to commit suicide.

Performances and adaptations
The work is widely known for its many adaptations.

 In 1912, Anna Hofman-Uddgren directed a film version, based on her own and Gustaf Uddgren's screenplay; Manda Björling played Julie and August Falck played Jean (based in turn on the stage production in Stockholm in 1906).
 In 1913, with the title Countess Julia, it was directed by Mary Shaw on Broadway at the 48th Street Theatre for three performances.
 In 1922, Felix Basch directed the German silent version starring Asta Nielsen, William Dieterle, and Lina Lossen.
 In 1935, it was revived at the Arts Theatre in London in a translation by Roy Campbell with Rosalinde Fuller as Julie and Robert Newton as Jean.
 In 1947, it was adapted as the Argentine film The Sin of Julia. It was directed by Mario Soffici and featured Amelia Bence and Alberto Closas as the main characters.
 In 1949, it was performed at the Lyric Theatre, Hammersmith, London with Joan Miller as Julie and Duncan Lamont as Jean.
 In 1950, Birgit Cullberg made a ballet version to music of Ture Rangström.
 In 1951, Alf Sjöberg made a film version from his own screenplay.
 In 1956, Dennis Vance directed a television version, with Mai Zetterling and Tyrone Power as Julie and Jean.
 In 1960, it was performed in Elizabeth Sprigg's translation at the Lyric Theatre, Hammersmith, London with Diane Cilento as Julie and Leon Peers as Jean.
 In 1962, it was directed by Alf Sjöberg on Broadway at the Cort Theatre for three performances, with Inga Tidblad as Miss Julie and Ulf Palme as Jean.
 In 1965, it was adapted as an opera by Ned Rorem to an English libretto by Kenward Elmslie.
 In 1973, Antonio Bibalo wrote an opera (revised in 1975) which has been performed over 160 times in Germany.
 In 1974, John Glenister and Robin Phillips directed a television version, with Helen Mirren and Donal McCann as Julie and Jean.
 In 1977, William Alwyn's opera, with an English libretto adapted from the play by the composer, was premiered as a BBC Radio 3 broadcast.
 In 1977, Louise Lee played the Hong Kong version of Miss Julie in an episode of a TV series directed by Patrick Tam (film director) as an early work of his filming career. This 7-episode TV series with the name meaning "7 Females" attempted to depict the stories of 7 different females in the late 70's of Hong Kong.
 In 1983, Judy Davis and Colin Friels performed the play at the Nimrod Theatre in Sydney.
The 1984 Internationalist Theatre London production was characterized by the disruption of ethnic preconceptions with a "small,dark" Angelique Rockas depicting  Miss Julie in a performance of great depth Garry Cooper played Jean.
 In 1986, Bob Heaney and Mikael Wahlforss directed a television adaptation, set in South Africa in the 1980s, in which the two main characters were separated by race as well as class and gender. It was based on a 1985 stage production at the Baxter Theatre in Cape Town. Sandra Prinsloo played Julie and John Kani played Jean.
 In 1987, Michael Simpson directed a television version, in which Patrick Malahide played Jean and Janet McTeer played Julie.
 In 1991, David Ponting directed a television version, in which Sean Galuszka played Jean and Eleanor Comegys played Julie.
 In 1995, Patrick Marber wrote and directed After Miss Julie, in which the events of the play were transposed to an English country house on the eve of the Labour Party's landslide 1945 General Election win. The play was staged in 2003.
 In 1995, Braham Murray directed a production at the Royal Exchange, Manchester with Amanda Donohoe as Miss Julie, Patrick O'Kane as Jean and Marie Francis as Christine.
 In 1995, a new version by Roger Sansom opened at the Kenneth More Theatre, London with Jay Berry and thereafter Juliet Dover as Julie, opposite Robert Flint as Jean.
 In 1999, Mike Figgis made a film version from a screenplay by Helen Cooper; Saffron Burrows played Julie and Peter Mullan played Jean.
 In 2005, it was adapted as an opera by Philippe Boesmans to a German libretto by Luc Bondy.
 In July 2006, a new translation by Frank McGuinness was produced at the Theatre Royal, Bath by director Rachel O'Riordan. Set in 19th-century Northern Ireland; this version relies on the tension between the Roman Catholic Irish servant class and Anglo-Irish Protestant gentry to carry Strindberg's message to an English-speaking audience.
 In 2009, the Roundabout Theatre Company produced After Miss Julie in New York, directed by Mark Brokaw and starring Sienna Miller, Jonny Lee Miller and Marin Ireland (as Christine).
 In 2009, Toronto's CanStage staged a new version titled Miss Julie: Freedom Summer. Set in Mississippi in 1964, with Julie recontextualized as the daughter of a plantation owner and John as her father's African-American chauffeur, playwright Stephen Sachs wove in themes of racial violence and miscegeny against the backdrop of the American Civil Rights Movement. This production starred Caroline Cave and Kevin Hanchard.
 In 2010, The Schaubühne produced a new version from the perspective of the fiancée, Kristin's perspective with live video and foley effects directed by Katie Mitchell and Leo Warner.
 In 2011 on stage of Theatre of Nations (Moscow), directed by Thomas Ostermeier. The action of the play is set in contemporary Russia for which one of Russia's most called-for new generation playwrights, Mikhail Durnenkov, wrote especially for Theatre of Nations a new version of the play. All the main story lines are preserved, while the dialogues have been rewritten in modern lexicon.
 In 2012, Andrew Dallmeyer directed a Vagabond Productions version of the play in Edinburgh.
 In April 2012, Sarah Frankcom directed a 4-hand version by David Eldridge at the Royal Exchange, Manchester with Maxine Peake as Miss Julie, Joe Armstrong as Jean, Carla Henry as Kristin and Liam Gerrard as The Fiddler. Maxine Peake won a Manchester Theatre Award for best actress in 2013.
 In July 2012, Yaël Farber's contemporary reworking set in South Africa, titled Mies Julie, was premiered by Cape Town's Baxter Theatre Centre. The show was performed at the Edinburgh Festival Fringe 2012 as part of Assembly Festival's South African Season, then transferred to St. Ann's Warehouse in New York City and on 7 February 2014 opened at the Octagon Theatre in Perth (Western Australia) as part of the Perth International Arts Festival program.
 In 2013, Liv Ullmann directed a film adaptation set in Ireland, with Jessica Chastain as the eponymous character and Colin Farrell as Jean.
 In 2015, Fia-Stina-Sandlund directed the movie She's Wild Again Tonight, a contemporary and radical interpretation of Miss Julie starring Gustaf Norén and Shima Niavarani. With feminism and anti-racism as weapons, She's Wild Again Tonight examines the modern gender roles in the young urban conscious sphere and blurs the boundaries between reality, drama and fiction.
 In May 2016, Melbourne Theatre Company presented an adaptation of Miss Julie adapted and directed by Kip Williams
 In May 2017, an adaptation by Garret David Kim and directed by Andrew Watkins was presented at Access theater in New York City.
 In 2018, it was adapted (in a contemporary reworking) as an opera Juliana by Joseph Phibbs to an English libretto by Laurie Slade.
 In 2018, a contemporary adaptation by Polly Stenham starring Vanessa Kirby titled Julie opened at the Royal National Theatre in London. It was broadcast worldwide as a National Theatre Live screening.
 In spring 2019, an adaptation by Hilary Bettis set during Miami's Art Basel festival, titled "Queen of Basel", premiered at Studio Theatre in Washington, D.C.
In 2021, Amy Ng set a version in 1948 Hong Kong. It followed the plot quite faithfully but added the background of post World War 2 Hong Kong adjusting to life in the British Empire and the rise of Communist China. It played on-line and at The Southwark Playhouse in London.

In 2021, Michael Omoke's adaptation "Miss Julie's Happy Valley" had its world première in Denmark's Folketeatret and subsequently toured to Finland where it debuted at Helsinki University of Arts. Omoke's reworked script, set in Karen Blixen era Kenya under British rule of the first half in the last century, bases the title character ,Miss Julie, as a portrait of countess Alice de Janze, the real life American Native New Yorker married into French Aristocracy, who scandalized British Kenya's "White Highlands" of 1920s - 1940s as the femme fatale member of Happy Valley. The expression "Happy Valley" was coined to a group of ultra-privileged Aristocrats infamous for their debauched hedonistic lifestyle in the colony ( at the expense of "natives" ) whose story was told in the 1980s film 'White Mischief'.They captured world imagination when their unelected leader, Josslyn Victor Hay 22nd Early of Erroll was found dead in his Buick the morning of 28th Jan 1941.  Countess Alice de Janze, whom Lord Erroll conducted a clandestine relationship with, tragically committed suicide the same year. To date, 81 years later, the crime remains one of the century's great unresolved mystery. 'Miss Julie Happy Valley' unequivocally solves it once and for all.

In Popular Culture
In season 3 of The Marvelous Mrs. Maisel, Sophie Lennon (played by Jane Lynch) plays the titular character in a disastrous adaptation of the play.

References

External links

1888 plays
Plays by August Strindberg
One-act plays
Plays set in Sweden
Plays set in the 19th century
Plays adapted into operas

Miss Julie