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Lenora Fulani

Lenora Branch Fulani (born April 25, 1950) is an American psychologist, psychotherapist, and political activist. She is best known for her presidential campaigns and development of youth programs serving minority communities in the New York City area. In the 1988 United States presidential election heading the New Alliance Party ticket, she became the first woman and the first African American to achieve ballot access in all fifty states. Fulani's political concerns include racial equality, gay rights, and political reform, specifically to encourage third parties.

Fulani has worked closely since 1980 with Fred Newman, a New York–based psychotherapist and political activist who has often served as her campaign manager. Newman developed the theory and practice of Social Therapy in the 1970s, founding the New York Institute for Social Therapy in 1977. Along with psychologist Lois Holzman, Fulani has worked to incorporate the social therapeutic approach into youth-oriented programs, most notably the New York City–based All Stars Project, which she co-founded in 1981.

Fulani joined activists who supported Ross Perot for president in the 1992 United States presidential election in a national effort to create a new pro-reform party. In 1994 she led the formation of the Committee for a Unified Independent Party (CUIP). For years Fulani was active with Newman's version of the International Workers Party (IWP). Since then, she has been active with the Independence Party of New York.

Early life
Fulani was born Lenora Branch in 1950 in Chester, Pennsylvania, the youngest daughter of Pearl, a registered nurse, and of Charles Branch, a railway baggage handler. Her father died of pneumonia when she was 12. As a teenager in Chester in the 1960s, Fulani was active in her local Baptist church, where she played piano for the choir. She graduated from Chester High School.

In 1967, Fulani was awarded a scholarship to study at Hofstra University in New York. She graduated in 1971, and went on to earn a master's degree from Columbia University's Teachers College. In the late 1970s, she earned a PhD in developmental psychology from the City University of New York (CUNY). Fulani was a guest researcher at Rockefeller University from 1973 to 1977, with a focus on how learning and social environment interact for African-American youth.

In college, she became involved in black nationalist politics, along with her then-husband, Richard. Both had adopted the name of the West African people Fulani as a surname when they married in a traditional West African ceremony. During her studies at City University, Fulani became interested in the work of Fred Newman and Lois Holzman, who had recently formed the New York Institute for Social Therapy and Research. Fulani studied at the Institute in the early 1980s.

Electoral politics
Fulani became active in the Newman-founded independent New Alliance Party (NAP) and emerged as a spokesperson who often provoked controversy. In 1982, Fulani ran for New York Lieutenant Governor on the NAP ticket. She has also been involved in the affiliated (or, some say, secret) Independent Workers Party, the Rainbow Alliance, and other shifting groups that were led by Newman.

She helped to recruit the NAP's 1984 presidential candidate Dennis L. Serrette, an African-American trade union activist. Although he was quite involved with the party for years, Serrette left and published critical accounts of what he described as its cultic operation.

Fulani ran for president in 1988 as the candidate of the New Alliance Party. She received almost a quarter of a million votes, or 0.2% of the vote. She was, at the same, the first African-American, independent, and female presidential candidate on the ballot in all 50 states. In the 1990 New York gubernatorial election, Fulani ran as a New Alliance candidate. She was endorsed that year by Nation of Islam leader Louis Farrakhan. She received 31,089 votes for 0.77% of the total vote.

Although in 1987, Fulani and Newman began an alliance with minister and activist Al Sharpton, he ran for the US Senate from New York as a Democrat, rather than as an Independent. After that, Sharpton has kept his distance from both Fulani and Newman.

Fulani again ran as the New Alliance candidate in the 1992 presidential election, this time receiving 0.07% of the vote. She chose former Peace and Freedom Party activist Maria Elizabeth Muñoz as her vice-presidential running mate. Muñoz ran on the NAP ticket for the offices of US senator and California governor. In 1992 Fulani self-published her autobiography The Making of a Fringe Candidate, 1992.

In 1994, Fulani and Newman became affiliated with the Patriot Party, one of the many groups that later competed for control of the Reform Party, which was founded by Ross Perot. She also joined with Jacqueline Salit to start the Committee for a Unified Independent Party (CUIP), which was formed to bring together independent groups to challenge the bipartisan hegemony in American politics.

During the 2000 presidential election, Fulani surprisingly endorsed Pat Buchanan, who was then running on the Reform Party ticket. She even served briefly as co-chair of the campaign. Fulani withdrew her endorsement and said that Buchanan was trying to further his right-wing agenda. Fulani and Newman then endorsed the presidential candidacy of Natural Law Party leader John Hagelin, a close associate of Maharishi Mahesh Yogi. Later, Fulani unsuccessfully sought the vice-presidential nomination at the national convention organized by a faction of the Reform Party.

In the 2001 New York City mayoral election, Fulani endorsed the Republican candidate Michael Bloomberg and organized city members of the IP to work for his campaign. Bloomberg, once elected, approved an $8.7 million municipal bond to provide financing for Fulani and Newman to build a new headquarters for their youth program, theater, and telemarketing center.

In the municipal election of 2003, Fulani was among those who endorsed Bloomberg's proposed amendment to the New York City Charter to establish nonpartisan elections. Although Bloomberg spent $7 million of his own money to promote the amendment, voters rejected it.

In September 2005, the State Executive Committee of the Independence Party of New York dropped Fulani and other members from the New York City chapter. That was part of a fierce power struggle that brewed between members from Upstate New York and Long Island, and Newman, Fulani, and the other members based in New York City. Most party members were disaffected by the ideology of Newman and Fulani. The party's state chairman, Frank MacKay, a former ally of Fulani, claimed the action to have followed Fulani's refusal to repudiate an earlier statement that many considered to be anti-Semitic. According to The New York Times, "In 1989, Dr. Fulani wrote that the Jews 'had to sell their souls to acquire Israel' and had to 'function as mass murderers of people of color' to stay there." She refused to disavow these comments in 2005. Fulani said that she did not intend the statement as anti-Semitic but wanted to raise issues that she believed needed to be explored. She has, however, since repudiated the remarks, which she characterized as "excessive" and publicly apologized to "any people who had been hurt by them."

Citing the "anti-Semitism" allegations, Independence Party State chairman Frank MacKay initiated proceedings to have nearly 200 Independence Party members in New York City expelled from the party. Each case that MacKay brought to the New York State Supreme Court was dismissed. In one instance, Manhattan Supreme Court Justice Emily Jane Goodman wrote that the charges were "more political than philosophical."

Fulani formed a coalition to organize Independence Party support for the re-election campaign of Bloomberg. The local press described the coalition as composed of "union officials, clergy, sanitation workers, police officers, firefighters, district leaders and others who work at the grassroots level." Spirited defenses of Fulani have appeared in the city's black press; writing in the Amsterdam News, columnist Richard Carter wrote "there is little doubt that the main reason for the negative press, which, by the way, is not unusual for this brilliant, outspoken political strategist, is because she is a strong, no-nonsense Black woman. So strong she makes the city's political establishment and lockstep white news media nervous."

Community work
Fulani has worked on a number of community outreach and youth development projects. In 1984, she helped found the Castillo Cultural Center in New York City, which produces mostly plays written by Newman, in an unusual arrangement. In 1998, the Castillo Center merged with the All Stars Project youth charity and broadened the single base for Newman's work. Fulani has been active in the development of educational programs associated with the All Stars Project, including the Joseph A. Forgione Development School for Youth and the All Stars Talent Show Network, which create enriching experiences outside of schools for poor inner-city youth, using a performance model. Fulani described her approach in Derrick Bell's 2004 book Silent Covenants: Brown V. Board of Education and the Unfulfilled Hopes for Racial Reform:

"We teach young people to use performance skills to become more cosmopolitan and sophisticated—to interact with the worlds of Wall Street, with business and the arts. In becoming more cosmopolitan—in going beyond their narrow and parochial and largely nationalistic identities—they acquire a motivation to learn as a part of consistently creating and recreating their lives."

In 2004, the Anti-Defamation League criticized the All Stars/Castillo theater troupe for its play Crown Heights and accused the playwright of blaming the riots on the Jewish community. The play dramatized events of the 1991 riots in Crown Heights, Brooklyn, after a motorcade of the Lubavitcher rabbi accidentally killed a seven-year-old black Caribbean-American child. The accident ignited long-standing tensions in the community; in street violence, a visiting Australian rabbinical student, Yankel Rosenbaum, was stabbed to death by Lemrick Nelson, a 16-year-old Crown Heights youth.

A local Brooklyn paper described the play favorably.

Criticism
Newman and Fulani's leadership, as well as various manifestations of the political party, such as the International Workers Party (IWP), have been strongly criticized by former members through the years, including party candidate Dennis Serrette and five-year member Marina Ortiz. In addition, Political Research Associates published a critical report on the NAP in 1987 that was updated in 2008 in which Ortiz accused Newman and Fulani of manipulating followers with "psychopolitical cultism."

After working with Fulani for several years, Serrette, who also had a personal relationship with her, has questioned his experience and publicly criticized Newman and Fulani's leadership of the party and its members: "it was clearly a tactical... a racist scheme of using Black and Latino and Asian people to do the bidding of one man, namely Fred Newman, that's my opinion, and to use other whites as well, you know through the therapy practices."

After he raised his concerns internally, Serrette said his treatment by other NAP leaders worsened dramatically. He also questioned the way in which therapy was used in the political work: "therapy was a way of getting people to not only operate in an organizational way, but also a way of controlling every aspect of their lives.... you certainly couldn't straighten anybody out. But it was certainly effective in terms of controlling a lot of people to do the kinds of things that were asked of them.... they would do anything, just about, that he would ask them to do."

In an article published after he left the NAP, Serrette stated:

"I knew when I joined NAP that it was not black-led, and I knew when I left it was not black-led. It took longer to understand that NAP was not even a progressive organization as it also pretends.

Be that as it may, I probably still would not take the time to write about the organization. However, as a long-time activist who made the mistake of joining NAP, and who served on the organization's 'Central Committee,' I believe I have a responsibility to reveal the intense psychological control and millions of dollars Fred Newman employs to get well-meaning individuals in our communities (they target the black community), to viciously attack black leaders, black institutions, and progressive organizations for purposes of building Newman's power base."

Fulani dismissed his charges as related simply to the end of their personal relationship. In her self-published autobiography, The Making of a Fringe Candidate, 1992 (1992), Fulani wrote that Serrette frequently fought with black women in the New Alliance Party and would "criticize and ridicule" them for their relationship to Newman.

title: Lenora Fulani


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Talk:Deianira

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 9 September 2020 and 9 April 2021. Further details are available on the course page. Student editor(s): RubyMacbeth.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 19:14, 16 January 2022 (UTC)

Comments
Er..."according to Robert Graves"...modern authors are not sources on Greek mythology. Graves's mythology very carefully footnotes the sources for all his different versions of the stories. We can do better than that. john 05:33, 13 May 2004 (UTC)

Pronunciation
Well, yup, this IPA is cited (albeit it to an offline source), so good job there. That said, especially with a lead as overloaded and messy as this one is, it should be omitted and moved to a Wiktionary entry or moved into some infobox in the manner of Chinese. Similarly, isn't Greek phonetic enough that its IPA can be omitted? — Llywelyn II   09:04, 28 August 2014 (UTC)

(Pending some consensus on that change, though, I'll improve things a bit by moving the literal translations into the running text). — Llywelyn II

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Deianira


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Talk:Liz Phair

Dragon Tales
I've removed the assertion that Liz Phair sang the theme song for the animated PBS show "Dragon Tales." She has denied it on several occasions, most recently in this interview in W Magazine. Jhlechner (talk) 03:40, 2 September 2022 (UTC)

title: Talk:Liz Phair


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Tony Jay

Tony Jay (2 February 1933 – 13 August 2006) was a British actor. A former member of the Royal Shakespeare Company, he was known for his voice work in radio, animation, film, and video games. Jay was particularly noted for his distinctive hoarse baritone voice, which often led to him being cast in villainous or authoritative roles. He was best known as the voice of Claude Frollo in Disney's The Hunchback of Notre Dame (1996), Megabyte in ReBoot (1994–2001), Shere Khan in The Jungle Book 2 (replacing George Sanders, who played the character in the original film), the TV series TaleSpin, and the Elder God (plus various other roles) in the Legacy of Kain series of video games.

Jay also made many distinguished on-screen appearances, including the role of Nigel St John on Lois and Clark: The New Adventures of Superman (1993–1995). He further made guest appearances on programs including The Golden Girls in 1987, Twin Peaks in 1990 to 1991, and Night Court in 1991. His most prominent onscreen role, however, is that of Professor Werner in Twins (1988), the father figure/mentor to Arnold Schwarzenegger's character, Julius Benedict.

Early life
Jay was born in London. He attended Pinner County Grammar School, and completed his National Service with the Royal Air Force in 1953. He later recalled, "I was always an actor at school"; but opted for the financial security of a real estate business. Jay moved to South Africa in about 1966, after hearing of the potential there for his line of work. He left South Africa to return to England in 1973, after which he moved to the United States in 1986.

Career
While establishing his real estate business in England, Jay acted occasionally in amateur productions.

South Africa
Within three months of relocating to South Africa at the age of 33, Jay found himself acting in radio dramas such as the detective series Sounds of Darkness where he played a savvy but blind FBI agent (1967–1972). The experience led him to decide to take acting up professionally.

Jay acted, wrote, and directed radio plays on the South African Broadcasting Corporation's first commercial radio station, Springbok Radio (1950–85). He was especially associated with the comic series Taxi! (1969–1972,1975–1978), in which he not only portrayed New York cabby Red Kowalski, but also co-wrote many scripts with Joe Stewardson. Other shows in which he was involved included Lux Radio Theatre, Playhouse 90, and Tuesday Theatre. Jay adapted, cast, and directed the first 6 months of episodes for The Avengers. The series, based on Seasons 4–6 of the 1960s British television series of the same name, was broadcast on Springbok from 6 December 1971 to 28 December 1973. To bridge the gap between the visual orientation of the British television series and the sound-only perspective of radio, Jay created a narrator which he embued with irony and scepticism.

Jay's voice work led him to do commercials for companies such as Gunston Cigarettes, Barclays Bank, and Bols Brandy.

United Kingdom
After Jay's return to Britain in 1973 he worked in various television productions. For the BBC series Fall of Eagles (1974) he portrayed Tsar Alexander III of Russia, during which time he met Patrick Stewart, who played Vladimir Lenin. Jay appeared as the merchant in Shakespeare's Timon of Athens (1981) for BBC Shakespeare, and in single episodes of popular television programmes such as The Sweeney (1975), The Professionals (1978) and the comedy Whoops Apocalypse (1982).

During this period he was cast as Vladimir Maximovitch in Woody Allen's Love and Death (1975), which was shot in Hungary and France. George Lucas met with Jay about playing Obi-Wan Kenobi in a planned film with the working title Galactic Warfare. Despite Jay agreeing to the role, Lucas decided to cast Alec Guinness, instead.

On stage he had small roles in plays such as Anton Chekhov's The Three Sisters (1976) and Terence Rattigan's The Deep Blue Sea (1981). More important roles followed with an appearance as Jaggers in Great Expectations (1984) at the Old Vic, and as Shylock in The Merchant of Venice.

Jay was cast as Vincent Crummles in the Royal Shakespeare Company's $8 1/2$-hour-long production of The Life and Adventures of Nicholas Nickleby (1986) at Stratford-upon-Avon.

United States
After a tour of Britain, Nicholas Nickleby embarked on a limited tour of the United States, starting with performances in Los Angeles in June 1986, then on to Boston, Philadelphia, Washington, D.C., and New York City. "Even before I left England, I told friends I'd be staying if I got the chance," he recalled in a 1986 The New York Times interview.

During its run from August to October 1986 at the Broadhurst Theatre on Broadway, Jay's performance was described as "brilliantly played" by the New York Times. Consequently, he was nominated for the 1987 Drama Desk Award as Outstanding Featured Actor in a Play.

Jay's acting drew the attention of an agent who arranged for him to return from England to the United States for an audition. Jay was cast in a pilot program called Circus which was unsuccessful. On set Jay met make-up artist Kathy Rogers, who would become his second wife. He moved to the United States where he became a resident.

In addition, Jay won parts in television series such as Night Court (1984), The Golden Girls (1987), Twins (1988), and Eerie, Indiana (1991). Bigger roles included Paracelsus on the 1987 CBS TV series adaptation of Beauty and the Beast; Minister Campio on Star Trek: The Next Generation (1992); and Lex Luthor's villainous aide-de-camp Nigel St. John in Lois & Clark: The New Adventures of Superman (1993–95).

Jay's voice-over work included Monsieur D'Arque, the amoral asylum superintendent, in Disney's 1991 hit animated film version of Beauty and the Beast. From 1994 to 2001 he supplied the voice for the virus Megabyte in the animated television show ReBoot. According to one source, Jay was preferred to Patrick Stewart, Derek Jacobi and Ian McKellen for the voice of the main antagonist Judge Claude Frollo in Disney's 1996 animated film adaptation of The Hunchback of Notre Dame, directed by Gary Trousdale and Kirk Wise, who had also steered his performance in the film version of Beauty and the Beast. Jay reprised Frollo's voice for Walt Disney World's nighttime light and fireworks show Fantasmic! From 1995 to 1996 Jay was the voice of the alien warlord Lord Dregg, the villain during the last two seasons of the original 1987 Teenage Mutant Ninja Turtles animated TV series.

He is also well known among fans of the 1996–2003 video game series Legacy of Kain for his voicing of the original Mortanius and of the Elder God, alongside several other minor characters.

In various animated projects Jay took over the voice of Shere Khan, which actor George Sanders had originated for the 1967 Disney animated film The Jungle Book. In 11 episodes spanning 1990–91, Jay voiced Shere Khan for Disney's animated TV series TaleSpin, The Jungle Book: Rhythm and Groove videogame (2000), and House of Mouse (2001–02). His final appearance as Khan came in the 2003 film The Jungle Book 2. His final role was voicing Spiderus in the Miss Spider series.

Jay was a devotee of classic Broadway and made several recordings and performances of old-time Broadway lyrics, in spoken-word form. A CD of these readings, Speaking of Broadway, was released in 2005; a version recorded in 1996 was entitled Poets on Broadway, as was his website. On it Jay recites lyrics written by the likes of Noël Coward, Ira Gershwin, and Oscar Hammerstein, accompanied by synthesized music which he composed.

Personal life
Jay began a relationship with Marta MacGeraghty in 1974. They had a son, born in 1989. They did not marry until 2004, and remained together until Jay's death in 2006.

Illness and death
In April 2006, Jay underwent surgery at Cedars-Sinai Medical Center in Los Angeles to remove a non-cancerous tumour from his lungs. Afterwards he became critically ill and was readmitted to Cedar Sinai, where he died on 13 August 2006, aged 73. He is buried in Forest Lawn Memorial Park in Los Angeles, California.

Audiobooks and audio plays
Audiobooks:
 * 2005: Time's Fool: A Mystery of Shakespeare by Leonard Tourney. Reader. Blackstone Audio.
 * 2006: The Castle of Otranto by Horace Walpole. Reader. Blackstone Audio.

Audio plays:
 * 1998: The Cabinet of Dr. Caligari, winner of the Independent Publishers Award. Blackstone Audio. Cast member.

Radio serials:
 * 1967–1976: The Sound of Darkness. Writer, Actor (voice).
 * 1968–1972: Squad Cars. Actor, Announcer (voice).
 * 1969–1972: Taxi! Writer. Red Kowalski (voice).
 * 1971–1972: The Avengers. Announcer (voice), writer, Director.

Commercials
Media
 * Batman & Mr. Freeze: SubZero.
 * The Dark Crystal.
 * London Broadcasting Company – voice-overs for the station's main jingle packages between 1974 and 1980.

Food
 * Golden Grahams Treats (General Mills snack bar).

Toys
 * The Empire Strikes Back (Kenner Products toys).
 * Disney's Hercules.
 * ReBoot (Irwin Toy).
 * Return of the Jedi (Kenner Products toys).

Video Games
 * Dr. Mario.
 * Kirby's Dream Land 2.
 * Super Nintendo Entertainment System.
 * X-Men 2: Clone Wars.

title: Tony Jay


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Brundibár

Brundibár is a children's opera by Jewish Czech composer Hans Krása with a libretto by Adolf Hoffmeister, made most famous by performances by the children of Theresienstadt concentration camp (Terezín) in occupied Czechoslovakia. The name comes from a Czech colloquialism for a bumblebee.

History
Krása and Hoffmeister wrote the opera in 1938 for a government competition, but the competition was later cancelled due to political developments. Rehearsals started in 1941 at the Jewish orphanage in Prague, which served a temporary educational facility for children separated from their parents by the war. In the winter of 1942 the opera was first performed at the orphanage for a limited audience of 150 people: by this time, composer Krása and set designer František Zelenka had already been transported to Theresienstadt. By July 1943, nearly all of the children of the original chorus and the orphanage staff had also been transported to Theresienstadt. Only the librettist Hoffmeister was able to escape Prague in time.

Reunited with the cast in Theresienstadt, Krása reconstructed the full score of the opera, based on memory and the partial piano score that remained in his hands, adapting it to suit the musical instruments available in the camp: flute, clarinet, guitar, accordion, piano, percussion, four violins, a cello and a double bass. A set was once again designed by František Zelenka, formerly a stage manager at the Czech National Theatre: several flats were painted as a background, in the foreground was a fence with drawings of the cat, dog and sparrow and holes for the singers to insert their heads in place of the animals' heads. On 23 September 1943, Brundibár premiered in Theresienstadt. The production was directed by Zelenka and choreographed by Camilla Rosenbaum, and was shown 55 times in the following year.

A special performance of Brundibár was staged in 1944 for representatives of the Red Cross who came to inspect living conditions in the camp; much of what they saw during their visit was a show, and that one of the reasons the Theresienstadt camp seemed acceptable was that many of the residents had been deported to Auschwitz in order to reduce crowding during the visit.

Later that year this Brundibár production was filmed for a Nazi propaganda film Theresienstadt: ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet (Theresienstadt: a documentary film from the Jewish settlement area). In the following months many of those filmed were sent to Auschwitz. Amongst those who were murdered there were the children, the composer Krása, the director Kurt Gerron, and the musicians.

The Brundibár footage from the film is included in the Emmy Award-winning documentary Voices of the Children directed by Zuzana Justman, a Terezin survivor, who sang in the chorus. Ela Weissberger, who played the part of the cat, appears in the film. The footage appears again in As Seen Through These Eyes, a 2009 documentary directed by Hilary Helstein. There Weissberger describes the opera in some detail, noting that the only time that the children were permitted to remove their yellow stars was during a performance.

Storyline
The plot of the opera shares elements with fairytales such as Hansel and Gretel and The Town Musicians of Bremen. Aninka [in English Annette] and Pepíček (Little Joe) are a fatherless sister and brother. Their mother is ill, and the doctor tells them she needs milk to recover. But they have no money. They decide to sing in the marketplace to raise the needed money. But the evil organ grinder Brundibár (of this figure Iván Fischer has said, "Everyone knew he represented Hitler" ) chases them away. However, with the help of a fearless sparrow, keen cat, and wise dog, and the children of the town, they are able to chase Brundibár away, and sing in the market square.

Symbolism
The opera contains obvious symbolism in the triumph of the helpless and needy children over the tyrannical organ grinder, but has no overt references to the conditions under which it was written and performed. However, certain phrases were to the audience clearly anti-Nazi. Though Hoffmeister wrote the libretto before Hitler's invasion, at least one line was changed by poet Emil Saudek at Terezin, to emphasize the anti-Nazi message. "While the original said,'He who loves so much his mother and father and his native land is our friend and he can play with us,' Saudek's version reads: 'He who loves justice and will abide by it, and who is not afraid, is our friend and can play with us.'"(Karas, p. 103).

Reconstruction in War and Remembrance
In the American miniseries War and Remembrance, in episode 10, an excerpt from the opera Brundibar can be seen being staged on the day of the visit by Red Cross representatives. The set design has been reconstructed (painted houses, fences, ice cream cart). As the inspectors look into the theatre, the children act out the ending of the 6th scene from the Act 1.

Mecklenburgh Opera Production UK 1992
Mecklenburgh Opera Production: UK 1992. Mecklenburgh Opera brought Brundibar to the UK in 1992. The company's Artistic director John Abulafia created an English performing version. This was staged at London's Queen Elizabeth Hall in a double bill with another Terezin opera, The Emperor of Atlantis by Viktor Ullmann. John Abulafia directed, Anne Manson conducted, the cast was drawn from the New London Children's Choir. This production was filmed by the BBC, the TV director was Simon Broughton: it was shown on VE Day 1995.

Mecklenburgh Opera then revived the production at Stirling Arts Centre in 1995, the Janáček Festival at Hukvaldy in 1996. John Abulafia revived the production in 2002 with the Halle Orchestra. The cast was drawn from schools in Salford and the Halle conducted by Edward Gardner. It was staged as part of the opening celebrations of the Imperial War Museum North.

The Kushner version
In 2003, the opera was adapted into a children's picture book by Tony Kushner with illustrations by Maurice Sendak. Sendak emphasized the symbolism of the opera by drawing the character of Brundibár with a Hitler moustache. The book was named one of the New York Times Book Review's 10 Best Illustrated Books of 2003. The book was named a Sydney Taylor Book Award Notable book for Older Readers in 2003.

The opera was performed in 2003 at Chicago Opera Theater; directed and designed by Sendak, with Tony Kushner's libretto.

In 2005, the book was turned into a full production of the opera, with libretto by Tony Kushner adapted from Hoffmeister's. Sendak and Kris Stone designed the sets and Robin I. Shane designed the costumes for the new production. The opera premiered at the Berkeley Repertory Theatre where it was performed along with another short Czech opera, Comedy on the Bridge, with music by Bohuslav Martinů and libretto by Tony Kushner adapted from Václav Kliment Klicpera. The opera then moved to the New Victory Theater for its Off-Broadway New York premiere, and Comedy on the Bridge was replaced with a new Kushner play, But the Giraffe. But the Giraffe was about a young girl who was faced with the difficult decision of taking her beloved stuffed giraffe or her uncle's Brundibár score. It served as a curtain raiser for Brundibár. In 2005 and 2011, the children's opera was performed at the Victory Theatre in Evansville, Indiana.

In 2006, Brundibár and Comedy on the Bridge were staged by the Yale Repertory Theater in New Haven, CT.

Performance history
The opera has enjoyed increasing popularity in recent years, and has been performed in different versions in England, Czech Republic, Israel, Australia and across the United States. In 1995 in Germany and in Austria the opera was performed as a part of a school and memory project in cooperation with survivors from Terezín, such as Herbert Thomas Mandl or Eva Hermannová. The American premiere of Brundibar (in Czech) took place in West Hartford, CT on April 8, 1975; the world premiere of the English version, in the translation of Milada Javora and Joža Karas, was held in Ottawa, Canada on November 14, 1977.

Cherub Company London presented a fully professional UK production at the Riverside Studios, London, in 2001. The production was unusual inasmuch as the children's characters were played by adult actors (Samuel Dutton and Kathryn Fray). The remaining characters, including Brundibár himself (William Wollen), were played by actors on stilts, creating a nightmarish world for the children. The production was directed by Andrew Visnevski and was presented in a double bill with Kafka's The Trial under the title ''Degenerate! A double-fare to commemorate the victims of the Holocaust.''

In 2006, students from the University of Texas at San Antonio performed Brundibár in Terezin itself, becoming the first American production to return the show to the site where it was originally performed.

Other performances
The Australian premiere of the opera was staged in 2000 in Canberra, in conjunction with the exhibition "Behind the Walls: The Theresienstadt Ghetto 1941-1945". It was also staged by the Windmill Theatre Company in Adelaide in 2003, in what was described as "a highly politicised" production. Both these productions were conducted by Richard Gill.

In October 2000, Cincinnati Opera presented Brundibár at the Aronoff Center, with John Morris Russell conducting and stage direction by Brian Robertson. In attendance was Ela Stein-Weissberger, who sang the role of the Cat in Theresienstadt and was one of the few children who survived. During the final moments of the production, Ms. Weissberger emerged from the wings to sing the Victory Song alongside the cast. The opera's prologue also featured local survivors who appeared on stage while young actors told their stories.

In December 2003 and 2004 respectively, Santa Monica College's Madison Project in conjunction with Los Angeles Opera run children's camp performed Brundibár at Miles Memorial Playhouse, the Museum of Tolerance, and the Santa Monica College 11th street campus, where The Broad Stage has since been built. Survivors of Terezin were in attendance and spoke at all performances about their experiences.

In November 2004, Brundibar was performed by OzOpera, the touring arm of Opera Australia, as part of the Gandel Festival of Jewish Music. The first Melbourne performance was attended by Peter Gaspar, who had performed in the original Terezin performances as a child of 7. He survived the war and migrated with his family to Australia.

In May 2014, Nieuw Vocaal Amsterdam performed Brundibár as part of the yearly Dutch commemoration of World War II. The performance was attended by Ela Weissberger. A documentary was shot in Theresienstadt by Dutch national television, in which Caro Kindt, director of Nieuw Vocaal Amsterdam, spoke with one of the Theresienstadt survivors.

In August 2014, Brundibár was staged in Sydney (Australia) by Opera Prometheus and Joseph Toltz in association with the Sydney Jewish Museum. The production featured a reproduction of artwork by the child survivor Kitty Passerová Levy, with consultation from Theresienstadt survivors living in Australia, including Jaroslav (Jerry) Rind, who helped with the original construction of the set in Theresienstadt, as well as Edith Druckerová Sheldon and Joe Neustatl, both of whom had seen the production in the ghetto.

On February 8–9, 2019, Project Opera, the youth opera training program of the Minnesota Opera, performed Brundibar (Kushner translation) at the Lab Theatre in Downtown Minneapolis.

In 2019, Brundibár was performed by WNO Youth Opera in the Wales Millennium Centre, Cardiff.

On November 4-7, 2021, the Virginia Children's Chorus Concert Choir performed Brundibar proceeded by Elie Wiesel's play, The Trial of God, at Christopher Newport University's Ferguson Center for the Arts in Newport News, Virginia. The performance was shown as part of the University's Reflections on the Holocaust exhibition, where the two theatrical works were performed together for the first time.

Recordings
In 2007 there were seven CD recordings of Brundibár available:

 * 1991 in Czech. Koch International. rereleased Romantic Robot (RR1991) 2 CD-set: Terezín: The Music 1941-44 by FISYO (Filmový symfonický orchestr) Prague conducted by Mario Klemens and Bambini di Praga led by Bohumil Kulínský; this was the first available recording in Czech from a two-CD set produced by Alexander Goldscheider and released in 1991, which further contains Krása's string trio Tanec together with music from other leading Terezín composers, namely Viktor Ullmann, Pavel Haas and Gideon Klein
 * 1993 in Czech: Channel Classics (CCS 5193) CD titled: Composers from Theresienstadt, 1941-1945: Hans Krása's Brundibár and František Domažlický's Czech Songs; Disman Radio Children's Ensemble, Prague, conducted by Joža Karas - in Czech; no texts 1993.
 * 1995 in German: Live recording of the Austrian Broadcasting Corporation ORF of the Austrian Premiere by ARBOS-Company for Music and Theatre in 1995.
 * 1996 in English: Arabesque Recordings Z6680: Brundibar and Hebrew and Yiddish Folk Songs; Essex Children's Choir and members of the Vermont Symphony, conducted by Robert DeCormier; 1996 - in English, translation by Joža Karas.
 * 1999 in German: EDA Edition Abseits, www.eda-records.com: Brundibar - Eine Oper fur Kinder; collegium iuvenum, Knabenchor Stuttgart, Madchenkantorei St. Eberhard, conducted by Friedemann Keck; 1999 - two-CD set, in German; the second CD is "Brundibar and the Children of Theresienstadt", a feature with Hannelore Wondschick.
 * 2006 in English: Naxos 8.570119; Brundibar and Lori Laitman's "I Never Saw Another Butterfly", under the title Music of Remembrance. Also includes Hans Krása's Overture for Small Orchestra. Northwest Boy Choir, conducted by Gerard Schwarz; 2006 - this recording is in English and is the Tony Kushner version.
 * 2007 in Italiano: Hans Krása: Brundibár. Opera per Bambini in 2 Atti, Director: Volfango Dami. EMA Vinci records.

"Hear My Voice" sources

 * Gassen, Sarah Garecht. (2006) "Brundibar Written to Inspire Hope", Arizona Daily Star
 * Reel, James. (2006) "Whoever Loves Justice", Tucson Weekly

title: Brundibár


text:
Michael Gough

Francis Michael Gough (23 November 1916 – 17 March 2011) was a British character actor who made more than 150 film and television appearances. He is known for his roles in the Hammer horror films from 1958, with his first role as Sir Arthur Holmwood in Dracula, and for his recurring role as Alfred Pennyworth from 1989 to 1997 in the four Batman films directed by Tim Burton and Joel Schumacher. He appeared in three more Burton films: Sleepy Hollow, voicing Elder Gutknecht in Corpse Bride and the Dodo in Alice in Wonderland.

Gough also appeared in popular British television shows, including Doctor Who (as the titular villain in The Celestial Toymaker (1966) and as Councillor Hedin in Arc of Infinity (1983)), and in an episode of The Avengers as the automation-obsessed wheelchair user Dr. Armstrong in "The Cybernauts" (1965). In 1956 he received a British Academy Television Award for Best Actor.

At the National Theatre in London Gough excelled as a comedian, playing a resigned and rueful parent in Alan Ayckbourn's Bedroom Farce (1977). When the comedy transferred to Broadway in 1978 he won a Tony Award. One of Gough's most well-received West End roles was as Baron von Epp in the 1983 revival of John Osborne's A Patriot for Me.

Early life
Gough was born in Kuala Lumpur, Federated Malay States (now Malaysia) on 23 November 1916, the son of English parents Francis Berkeley Gough, a rubber planter, and Frances Atkins (née Bailie). Gough was educated at Rose Hill School, Tunbridge Wells, and at Durham School. He moved on to Wye Agricultural College, which he left to go to the Old Vic. During World War II Gough was a conscientious objector, like his friend Frith Banbury, although he was obliged to serve in the Non-Combatant Corps, a member of 6 Northern Company, in Liverpool.

Career
In 1948, Gough made his film debut in Blanche Fury and thereafter appeared extensively on British television. In 1955, he portrayed one of the two murderers (the other was Michael Ripper) who kill the Duke of Clarence (John Gielgud), as well as the Princes in the Tower in Laurence Olivier's Richard III.

He became known for his appearances in horror films; following his performance as Arthur Holmwood in Hammer's original Dracula (1958), his horror roles mainly saw him feature as slimy villains, notably in Horrors of the Black Museum (1959), Konga (1961), The Phantom of the Opera (1962), Black Zoo (1963), Trog (1970), The Corpse (1971), Horror Hospital (1973) and Norman J. Warren's cheaply made Satanism shocker Satan's Slave (1976). He also spoofed his horror persona in What a Carve Up! (1961) as a sinister butler. He also appeared in the comedy film Top Secret! (1984), alongside Val Kilmer (the latter's first feature film), with whom he would also work later in the film Batman Forever.

Gough guest-starred in Doctor Who, as the titular villain in The Celestial Toymaker (1966) and also as Councillor Hedin in Arc of Infinity (1983). He was set to reprise his role as the Toymaker in the proposed 23rd-season story The Nightmare Fair, but the season and the serial were cancelled and never produced. He also played the automation-obsessed wheelchair user Dr. Armstrong in "The Cybernauts", one of the best-remembered episodes of The Avengers (1965), returning the following season as the Russian spymaster Nutski in "The Correct Way to Kill". He was introduced in the first-season episode "Maximum Security" of Colditz as Major "Willi" Schaeffer, the alcoholic second-in-command of the Kommandant (Bernard Hepton). In the Ian Curteis television play Suez 1956 (1979), he portrayed Prime Minister Anthony Eden. In 1981, he was reunited with Laurence Olivier in Granada Television's Brideshead Revisited, portraying the doctor to Olivier's dying Lord Marchmain. He played Mikhel, a slippery assistant to a slain British spy opposite Alec Guinness in the television adaptation of John le Carré's Smiley's People the following year. Gough also appeared in The Citadel (1983) as Sir Jenner Halliday, in 1985's Out of Africa as Lord Delamere and as the fictional deposed KGB spymaster Andrei Zorin in Sleepers.

Later roles
Later in his career, he memorably played Alfred Pennyworth in Tim Burton's blockbuster films Batman (1989) and Batman Returns (1992). He returned to the role in Batman Forever (1995) and Batman & Robin (1997) for Joel Schumacher. Gough was one of two actors to have appeared in the four Batman films in the Burton/Schumacher series—the other being Pat Hingle as Commissioner Gordon. He also voiced the character in two BBC radio dramas—Batman: The Lazarus Syndrome (1989) and the 1994 adaptation of Batman: Knightfall. Gough reprised his role in a 1989 advertisement for Diet Coke and in 2000, in six television commercials for the OnStar automobile tracking system (informing Batman of the system's installation in the Batmobile).

Gough retired in 1999 after appearing in Burton's Sleepy Hollow. He would emerge from retirement twice more, both as a favour to Burton, to voice Elder Gutknecht in Corpse Bride and the Dodo in Alice in Wonderland.

Personal life
Gough was married four times. He married his first wife Diana Graves in 1937; their son Simon Peter was born in 1942 and they divorced in 1948. His second wife was Anne Elizabeth Leon (born 1925). They married in 1950, their daughter Emma Frances was born in 1953 and they divorced in 1962. His third wife was Doctor Who actress Anneke Wills, who portrayed the Doctor's companion Polly. Wills and Gough met at various times during her life, firstly during a theatre trip with her mother in 1952, but they first met formally on the set of Candidate for Murder and the attraction was instant. Gough adopted Wills's daughter Polly and in 1965 their son Jasper was born. Polly died in a motorcycle accident in 1982 at the age of 19, believing that Gough was her biological father. Gough married Henrietta Lawrence (his fourth wife) in 1981, and they remained together until his death.

Awards and nominations
Gough won Broadway's 1979 Tony Award as Best Actor (Featured Role – Play) for Bedroom Farce. He was also nominated in the same category in 1988 for Breaking the Code.

In 1957 he won a BAFTA TV Award and in 1971, was nominated for a BAFTA Film Award for his work in The Go-Between.

He was nominated for a Drama Desk Award Outstanding Featured Actor in a Play in 1979 for Bedroom Farce and again in 1988 for Breaking the Code.

Death
Gough died from cancer aged 94 on 17 March 2011 at his home in Salisbury, Wiltshire. A memorial service was held, he was cremated, and his ashes were scattered in the English Channel.

He was survived by his fourth wife Henrietta, daughter Emma and son Simon (an actor who is married to actress Sharon Gurney, the daughter of the Upstairs, Downstairs actress Rachel Gurney) and Jasper, a photographer. Michael Keaton, who played the title character in the first two theatrical Batman films opposite Gough, paid tribute to him, describing him as sweet and charming, and wrote "To Mick – my butler, my confidant, my friend, my Alfred. I love you. God bless. Michael (Mr. Wayne) Keaton."

Gough was added to In Memoriam at the 18th Screen Actors Guild Awards.

title: Michael Gough


text:
Mule deer

The mule deer (Odocoileus hemionus) is a deer indigenous to western North America; it is named for its ears, which are large like those of the mule. Two subspecies of mule deer are grouped into the black-tailed deer.

Unlike the related white-tailed deer (Odocoileus virginianus), which is found throughout most of North America east of the Rocky Mountains and in the valleys of the Rocky Mountains from Idaho and Wyoming northward, mule deer are only found on the western Great Plains, in the Rocky Mountains, in the southwest United States, and on the west coast of North America. Mule deer have also been introduced to Argentina and Kauai, Hawaii.

Taxonomy
Mule deer can be divided into two main groups: the mule deer (sensu stricto) and the black-tailed deer. The first group includes all subspecies, except O. h. columbianus and O. h. sitkensis, which are in the black-tailed deer group. The two main groups have been treated as separate species, but they hybridize, and virtually all recent authorities treat the mule deer and black-tailed deer as conspecific. Mule deer apparently evolved from the black-tailed deer. Despite this, the mtDNA of the white-tailed deer and mule deer is similar, but differs from that of the black-tailed deer. This may be the result of introgression, although hybrids between the mule deer and white-tailed deer are rare in the wild (apparently more common locally in West Texas), and the hybrid survival rate is low even in captivity. Many claims of observations of wild hybrids are not legitimate, as identification based on external features is complicated.

Subspecies
Some authorities have recognized O. h. crooki as a senior synonym of O. h. eremicus, but the type specimen of the former is a hybrid between the mule deer and white-tailed deer, so the name O. h. crooki is invalid. Additionally, the validity of O. h. inyoensis has been questioned, and the two insular O. h. cerrosensis and O. h. sheldoni may be synonyms of O. h. eremicus or O. h. peninsulae.

The 10 valid subspecies, based on the third edition of Mammal Species of the World, are:

 * Mule deer (sensu stricto) group:
 * O. h. californicus – California mule deer. This widespread subspecies is found throughout much of California (north of San Diego and Imperial), with high densities in Orange and Los Angeles Counties to coastal Santa Barbara, Ventura, and San Luis Obispo; from Morro Bay to Santa Cruz, along the coast, its range is somewhat patchier. Inland, the California mule deer is known from around San Bernardino to as far north as Lassen; many deer inhabit the areas in and around Sequoia National Park, Yosemite, Plumas National Forest, and of course, the Sierra Nevada, its range partly overlapping with that of the Inyo subspecies (O. h. inyoensis). It is notably absent from the Central Valley and the agricultural districts of the state (roughly between Bakersfield and Sacramento); north of San Francisco, it is replaced by the Columbian subspecies (O. h. columbianus). It is also known to range across the border into west-central Nevada, between Reno and Carson City.
 * O. h. cerrosensis – Cedros or Cerros Island mule deer, after Cedros Island, off of the southwestern Pacific coast of Baja California state, the subspecies' sole habitat.
 * O. h. eremicus – Desert or burro mule deer. Primarily found in the Lower Colorado River Valley, Southern California's Inland Empire, the areas around Las Vegas and extreme southern Nevada, much of Arizona and parts of southern New Mexico. In Mexico, it is primarily known from Sonora, having been known from as far south as Hermosillo; it has also been observed (somewhat out-of-range) in Coahuila, Chihuahua and Durango.
 * O. h. fuliginatus – Southern mule deer. Mainly found in Southern California (Los Angeles, Orange and San Diego Counties) and along the U.S.-Mexico borderlands, into the northern half of the Baja California Peninsula, where it has been sighted as far south as El Rosario. Notably high population densities occur to the west of Anza-Borrego Desert State Park (in the San Diego County portion of the Cleveland National Forest) and in and around the region of Julian, California.
 * O. h. hemionus – Rocky Mountain mule deer. Primarily found in western and central North America, as far south as Colorado and as far north as Yukon and the Northwest Territories, including inland British Columbia.
 * O. h. inyoensis – Inyo mule deer (named after Inyo County, California). This deer is primarily found within the Sierra Nevada and Yosemite, within inland Central California, and has been sighted as far south as Death Valley and as far north as the Stanislaus National Forest.
 * O. h. peninsulae – Baja or Peninsular mule deer; found across the majority of the state of Baja California Sur, Mexico.
 * O. h. sheldoni – Tiburón Island mule deer, also called the venado bura de Tiburón in Spanish. This deer is only found on Tiburón Island, Mexico, in the Gulf of California.
 * Black-tailed deer group:
 * O. h. columbianus – Columbian black-tailed deer; found primarily in coastal temperate rainforest habitats of the Pacific Northwest and Northern California (north of approx. the San Francisco Bay Area to Vancouver, BC)
 * O. h. sitkensis – Sitka black-tailed deer (named after Sitka, Alaska); found in similar temperate rainforests as the Columbian subspecies—though with a more northerly range—from the central coast of British Columbia (including Haida Gwaii) throughout Southeast Alaska (along the Gulf of Alaska), with smaller populations further north to Anchorage, the Kenai Peninsula, and Kodiak Island. Found typically in dense, lush habitats, such as the Great Bear Rainforest and Tongass National Forest.

Description
The most noticeable differences between white-tailed and mule deer are ear size, tail color, and antler configuration. In many cases, body size is also a key difference. The mule deer's tail is black-tipped, whereas the white-tailed deer's is not. Mule deer antlers are bifurcated; they "fork" as they grow, rather than branching from a single main beam, as is the case with white-tails.

Each spring, a buck's antlers start to regrow almost immediately after the old antlers are shed. Shedding typically takes place in mid-February, with variations occurring by locale.

Although capable of running, mule deer are often seen stotting (also called pronking), with all four feet coming down together.

The mule deer is the larger of the three Odocoileus species on average, with a height of 80 – at the shoulders and a nose-to-tail length ranging from 1.2 to 2.1 m. Of this, the tail may comprise 11.6 to 23 cm. Adult bucks normally weigh 55 –, averaging around 92 kg, although trophy specimens may weigh up to 210 kg. Does (female deer) are smaller and typically weigh from 43 to 90 kg, with an average of around 68 kg.

Unlike the white-tailed, the mule deer does not generally show marked size variation across its range, although environmental conditions can cause considerable weight fluctuations in any given population. An exception to this is the Sitka deer subspecies (O. h. sitkensis). This race is markedly smaller than other mule deer, with an average weight of 54.5 kg and 36 kg in males and females, respectively.

Seasonal behaviors
In addition to movements related to available shelter and food, the breeding cycle is important in understanding deer behavior. The rut or mating season usually begins in the fall as does go into estrus for a period of a few days, and males become more aggressive, competing for mates. Does may mate with more than one buck and go back into estrus within a month if they did not become pregnant. The gestation period is about 190–200 days, with fawns born in the spring. The survival rate of the fawns during labor is about 50%. Fawns stay with their mothers during the summer and are weaned in the fall after about 60–75 days. Mule deer females usually give birth to two fawns, although if it is their first time having a fawn, they often have just one.

A buck's antlers fall off during the winter, then grow again in preparation for the next season's rut. The annual cycle of antler growth is regulated by changes in the length of the day.

The size of mule deer groups follows a marked seasonal pattern. Groups are smallest during fawning season (June and July in Saskatchewan and Alberta) and largest in early gestation (winter; February and March in Saskatchewan and Alberta).

Besides humans, the three leading predators of mule deer are coyotes, wolves, and cougars. Bobcats, Canada lynx, wolverines, American black bears, and grizzly bears may prey upon adult deer but most often attack only fawns or infirm specimens, or they may eat a deer after it has died naturally. Bears and small carnivores are typically opportunistic feeders and pose little threat to a strong, healthy mule deer.

Diet and foraging behaviors
In 99 studies of mule deer diets, some 788 species of plants were eaten by mule deer, and their diets vary greatly depending on the season, geographic region, year, and elevation. The studies gave these data for Rocky Mountain mule deer diets:

The diets of mule deer are very similar to those of white-tailed deer in areas where they coexist. Mule deer are intermediate feeders rather than pure browsers or grazers; they predominantly browse but also eat forb vegetation, small amounts of grass and, where available, tree or shrub fruits such as beans, pods, nuts (including acorns), and berries.

Mule deer readily adapt to agricultural products and landscape plantings. In the Sierra Nevada range, mule deer depend on the lichen Bryoria fremontii as a winter food source.

The most common plant species consumed by mule deer are the following:

 * Among trees and shrubs: Artemisia tridentata (big sagebrush), Cercocarpus ledifolius (curlleaf mountain mahogany), Cercocarpus montanus (true mountain mahogany), Cowania mexicana (Mexican cliffrose), Populus tremuloides (quaking aspen), Purshia tridentata (antelope bitterbrush), Quercus gambelii (Gambel oak), and Rhus trilobata (skunkbush sumac).
 * Among forbs: Achillea millefolium (western yarrow), Antennaria (pussytoes) species, Artemisia frigida (fringed sagebrush), Artemisia ludoviciana (Louisiana sagewort), Aster species, Astragalus (milkvetch) species, Balsamorhiza sagittata (arrowleaf balsamroot), Cirsium (thistle) species, Erigeron (fleabane) species, Geranium species, Lactuca serriola (prickly lettuce), Lupinus (lupine) species, alfalfa, Penstemon species, Phlox species, Polygonum (knotweed/smartweed) species, Potentilla (cinquefoil) species, Taraxacum officinale (dandelion), Tragopogon dubius (western salsify), clover, and Vicia americana (American vetch).
 * Among grasses and grasslike species: Agropyron, Elymus (wheatgrasses), Elytrigia, Pascopyrum species (wheatgrasses), Pseudoroegneria spicatum (bluebunch wheatgrass), Bromus tectorum (cheatgrass), Carex (sedge) species, Festuca idahoensis (Idaho fescue), Poa fendleriana (muttongrass), Poa pratensis (Kentucky bluegrass), and other Poa (bluegrass) species.

Mule deer have also been known to eat ricegrass, gramagrass, and needlegrass, as well as bearberry, bitter cherry, black oak, California buckeye, ceanothus, cedar, cliffrose, cottonwood, creek dogwood, creeping barberry, dogwood, Douglas fir, elderberry, Fendlera species, goldeneye, holly-leaf buckthorn, jack pine, knotweed, Kohleria species, manzanita, mesquite, pine, rabbitbrush, ragweed, redberry, scrub oak, serviceberry (including Pacific serviceberry), Sierra juniper, silktassel, snowberry, stonecrop, sunflower, tesota, thimbleberry, turbinella oak, velvet elder, western chokecherry, wild cherry, and wild oats. Where available, mule deer also eat a variety of wild mushrooms, which are most abundant in late summer and fall in the southern Rocky Mountains; mushrooms provide moisture, protein, phosphorus, and potassium.

Humans sometimes engage in supplemental feeding efforts in severe winters in an attempt to help mule deer avoid starvation. Wildlife agencies discourage such efforts, which cause harm to mule deer populations by spreading disease (such as tuberculosis and chronic wasting disease) when deer congregate for feed, disrupting migratory patterns, causing overpopulation of local mule deer populations, and causing habitat destruction from overbrowsing of shrubs and forbs. Supplemental feeding efforts might be appropriate when carefully conducted under limited circumstances, but to be successful, the feeding must begin early in the severe winter (before poor range conditions and severe weather cause malnourishment or starvation) and must be continued until range conditions can support the herd.

Mule deer are variably gregarious, with a large proportion of solitary individuals (35 to 64%) and small groups (groups with ≤5 deer, 50 to 78%). Reported mean group size measurements are three to five and typical group size (i.e., crowding) is about seven.

Nutrition
Mule deer are ruminants, meaning they employ a nutrient acquisition strategy of fermenting plant material before digesting it. Deer consuming high-fiber, low-starch diets require less food than those consuming high-starch, low-fiber diets. Rumination time also increases when deer consume high-fiber, low-starch diets, which allows for increased nutrient acquisition due to greater length of fermentation. Because some of the subspecies of mule deer are migratory, they encounter variable habitats and forage quality throughout the year. Forages consumed in the summer are higher in digestible components (i.e. proteins, starches, sugars, and hemicellulose) than those consumed in the winter. The average gross energy content of the consumed forage material is 4.5kcal/g.

Due to fluctuations in forage quality and availability, mule deer fat storage varies throughout the year, with the most fat stored in October, which is depleted throughout the winter to the lowest levels of fat storage in March. Changes in hormone levels are indications of physiological adjustments to the changes in the habitat. Total body fat is a measure of the individual's energy reserves, while thyroid hormone concentrations are a metric to determine the deer's ability to use the fat reserves. Triiodothyronine (T3) hormone is directly involved with basal metabolic rate and thermoregulation.

Migration

Mule deer migrate from low elevation winter ranges to high elevation summer ranges. Although not all individuals in populations migrate, some will travel long distances between summer and winter ranges. Researchers discovered the longest mule deer migration in Wyoming spanning 150 miles from winter to summer range Multiple US states track mule deer migrations.

Mule deer migrate in fall to avoid harsh winter conditions like deep snow that covers up food resources, and in spring follow the emergence of new growth northwards. There is evidence to suggest that mule deer migrate based on cognitive memory, meaning they use the same path year after year even if the availability of resources has changed. This contradicts the idea that animals will go to the areas with the best available resources, which makes migratory paths crucial for survival.

Risks
There are many risks that mule deer face during migration including climate change and human disturbance. Climate change impacts on seasonal growth patterns constitute a risk for migrating mule deer by invalidating historic or learned migration paths.

Human activities such as natural resource extraction, highways, fencing, and urban development all have an impact on mule deer populations and migrations through habitat degradation and fragmentation. Natural gas extraction has been found to have varying negative effects on mule deer behavior and can even cause them to avoid areas they use to migrate. Highways not only cause injury and death to mule deer, but they can also serve as a barrier to migration. As traffic volumes increase, the more mule deer tend to avoid those areas and abandon their typical migration routes. It has also been found that fencing can alter deer behavior, acting as a barrier, and potentially changing mule deer migration patterns. In addition, urban development has replaced mule deer habitat with subdivisions, and human activity has increased. As a result of this, researchers have seen a decline in mule deer populations. This is especially prominent in Colorado where the human population has grown by over 2.2 million since 1980.

Protecting migration corridors
Protecting migration corridors is essential to maintain healthy mule deer populations. One thing everyone can do is help slow the increase in climate change by using greener energy sources and reducing the amount of waste in our households. In addition, managers and researchers can assess the risks listed above and take the proper steps to mitigate any adverse impacts those risk have on mule deer populations. Not only will populations benefit from these efforts but so will many other wildlife species.

Highways
One way to help protect deer from getting hit on roadways is to install high fence wildlife fencing with escape routes. This helps keep deer off the road, preventing vehicle collisions and allowing animals that are trapped between the road and the fence a way to escape to safety. However, to maintain migration routes that cross busy highways, managers have also implemented natural, vegetated, overpasses and underpasses to allow animals, like mule deer, to migrate and move safely across highways.

Natural resource extraction
Approaches to mitigating the impact of drilling and mining operations include regulating the time of year when active drilling and heavy traffic to sites are taking place, and using well-informed planning to protect critical deer habitat and using barriers to mitigate the activity, noise, light at the extraction sites.

Urban development
The increase in urbanization has impacted mule deer migrations and there is evidence to show it also disrupts gene flow among mule deer populations. One clear option is to not build houses in critical mule deer habitat; however, build near mule deer habitat has resulted in some deer becoming accustomed to humans and the resources, such as food and water. Rather than migrate through urban areas some deer tend to stay close to those urban developments, potentially for resources and to avoid the obstacles in urban areas. Suggested measures by property owners to protect mule deer genetic diversity and migration paths include planting deer-resistant plants, placing scare devices such as noise-makers, and desisting from feeding deer.

Disease
Wildlife officials in Utah announced that a November–December 2021 field study had detected the first case of SARS-CoV-2 in mule deer. Several deer possessed apparent SARS-CoV-2 antibodies, however a female deer in Morgan County had an active Delta variant infection. White-tailed deer, which are able to hybridize with mule deer and which have shown high rates of SARS-CoV-2 infection, have migrated into Morgan County and other traditional mule deer habitats since at least the early 2000s.

title: Mule deer


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Harry Lake

Harry Robson Lake (29 September 1911 – 21 February 1967) was a New Zealand politician who served as Minister of Finance for six years in the second National government in the 1960s. He died of a heart attack when only 55 years old.

Early life and career
Lake was born in Christchurch in 1911. Lake was father to two children, and grandfather to three. He attended Riccarton Primary School and Christchurch West District High School. He was further educated at the University of Canterbury, gaining a bachelor's degree in commerce. He was then employed for five years at the Vacuum Oil Company before joining a firm of public accountants, in which he later became a partner. He established an accountancy practice in 1943 and then a senior partner in the firm of Lake, Glynn and Smith. He also served a term as chairman of the Christchurch branch of the Society of Accountants.

In 1937 he married Beryl Bonnington with whom he had one son and one daughter. Lake was deemed medically unfit for active service in World War II. Instead he served within New Zealand as a duty officer in the Air Training Corps.

For several years he was an accountancy lecturer at the University of Canterbury. Lake was also a councillor of the Canterbury Manufacturers Association. He was also a member of the Christchurch Drainage Board and was chairman of its finance committee.

Political career
After holding a number of roles within the National Party's administration, he stood as the party's candidate for the Riccarton seat in the 1949 election. Riccarton was regarded as a "safe" Labour Party seat, and Lake was unsuccessful. He was the treasurer of the Canterbury-Westland division of the National Party. In the 1951 election, however, Lake won the seat of Lyttelton, which had been held by Labour for nearly forty years. While Lake held his seat in the 1954 election, he lost it in the 1957 election to Norman Kirk (who later became Prime Minister).

In the 1960 election, which National won, Lake returned to Parliament as the MP for Fendalton (a safe National seat). He was immediately elevated to Cabinet by Prime Minister Keith Holyoake, becoming minister of finance. As Lake possessed no ministerial experience before this point, his immediate appointment to one of the most powerful ministerial posts was remarkable. Undoubtedly the reason for Lake's promotion was the fact he was a close friend and political confidante of Holyoake. In recognition of his lack of experience, however, Lake was officially ranked only sixth in Cabinet, a lower position than a minister of finance would normally expect. He was also appointed Minister of Statistics and Minister of Revenue.

Despite holding one of the most powerful political positions in the country, Lake never had a high public profile. In keeping with Holyoake's desire to maintain the status quo, Lake's tenure as minister of finance was relatively uneventful, with the primary focus being on stability. In 1964, Lake suffered his first heart attack, which reduced his energy somewhat but did not impair his ability to perform his role. In 1965 he had another heart attack, by which time he was also ailing from a kidney impairment.

At the end of 1966, New Zealand encountered economic difficulties as the result of a collapse in export prices due to the end of the wool boom. Ultimately Lake did not have a chance to respond to this problem, however.

Death
In February 1967 Lake returned to Christchurch to attend the funeral of his wife's uncle, where he suffered a second heart attack, and died. He was survived by his wife and two children.

He was succeeded as minister of finance by Robert Muldoon, and as MP for Fendalton by Eric Holland.

title: Harry Lake


text:
Jonathan Rauch

Jonathan Charles Rauch (born April 26, 1960) is an American author, journalist, and activist. After graduating from Yale University, Rauch worked at the Winston-Salem Journal in North Carolina, for National Journal, and later for The Economist and as a freelance writer. He is currently a senior fellow in governance studies at the Brookings Institution and a contributing editor of The Atlantic.

He is the author of books and articles on public policy, culture, and economics. His books include The Happiness Curve: Why Life Gets Better After 50 (2018), Gay Marriage: Why It Is Good for Gays, Good for Straights, and Good for America (2004); Government's End: Why Washington Stopped Working (2000); and Kindly Inquisitors: The New Attacks on Free Thought (1993; revised second edition in 2013). In 2015, he published a short ebook, Political Realism, arguing that overzealous efforts to clean up politics have hampered the ability of political parties and professionals to order politics and build governing coalitions. In 2021, Rauch released The Constitution of Knowledge: A Defense of Truth describing the erosion of epistemic commons, the cost to U.S. democracy, and offering solutions.

Writings and beliefs
A critic of U.S. government public policy in general, including its relation to LGBTQ+ people, Rauch has pursued gay-related topics as an openly gay author (he did not realize he was gay until after he finished college) since 1991 when he spoke out against hate crime laws in The New Republic. He is an avid proponent of same-sex marriage, which he believes improves the quality of life of both LGBTQ+ people and married heterosexuals. In 2009, Rauch co-authored an op-ed article in The New York Times that proposed the compromise of nationally recognized civil unions for gay couples, which he did with the goal of "reconciliation" with religious opponents of same-sex marriage.

Peter Wehner, conservative writer and director of the Bush-era Office of Strategic Initiatives, has called Rauch "the most formidable and persuasive voice for same-sex marriage."

Rauch is also well known for an article he wrote in The Atlantic in March 2003, entitled "Caring for Your Introvert: The habits and needs of a little-understood group". In this article, Rauch described his own experiences as an introvert, and how being an introvert has affected his own life. For many introverts, his piece became a long sought after explanation of their own personality traits. For a period of years, Rauch's original article drew more traffic to The Atlantic Monthly site than any other article.

In terms of political philosophy, Rauch has referred to himself as "an admirer of James Madison and Edmund Burke" and a "radical incrementalist," meaning one who favors "revolutionary change on a geological time scale." He has also summarized Burke's views, and his views, in that "utopianism and perfectionism, however well intended, should never displace reasonable caution in making social policy... It's much easier to damage society... than to repair it."

He has in the past described himself as "an unrepentantly atheistic Jewish homosexual". He defines his view as apatheism, in which he respects other people's choices of religiosity or absence of religion without making a big deal of them. He contrasts this with American atheists who seek to evangelize and convert people away from religion, actions that he is critical of.

In political science and economics, Rauch is known for coining and promoting the term "demosclerosis" as "government's progressive loss of the ability to adapt"—a process in which specific benefits, going to special interests, bill the common taxpayer, which uses the medical term sclerosis to apply to government drift. He is a critic of communism, calling it "the deadliest fantasy in human history".

title: Jonathan Rauch


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Newport Tower

Newport Tower may refer to:

 * Newport Tower (Rhode Island) in Newport, Rhode Island
 * Newport Tower (Jersey City) in Jersey City, New Jersey

title: Newport Tower


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Harvey Korman

Harvey Herschel Korman (February 15, 1927 – May 29, 2008) was an American actor and comedian who performed in television and film productions. He is best remembered as a main cast member alongside Carol Burnett, Tim Conway and Vicki Lawrence on the CBS sketch comedy series The Carol Burnett Show (1967–1977) for which he won four Primetime Emmy Awards and a Golden Globe Award.

His early roles were on The Danny Kaye Show and The Lucy Show. Korman briefly starred in his own sitcom The Harvey Korman Show (1980) and continued to work with his The Carol Burnett Show cast mates in projects such as The Tim Conway Show (1980), and Mama's Family (1983–1984). He starred in several comedy films by Mel Brooks including Blazing Saddles (1974), High Anxiety (1977), and History of the World, Part 1 (1981). His other notable films include Herbie Goes Bananas (1980), Trail of the Pink Panther (1982), and Curse of the Pink Panther (1983).

Korman is known for his voice work, taking on roles such as The Great Gazoo in The Flintstones (1965–1966). He is also known for voice roles in Garfield and Friends, Alice in Wonderland, Dumb and Dumber, Hey Arnold!, The Wild Thornberrys, and Buzz Lightyear of Star Command.

Early life and education
Korman was of Russian-Jewish descent and born in Chicago, the son of Ellen (née Blecher) and Cyril Raymond Korman, a salesman. He served in the United States Navy during World War II. After being discharged, he studied at the Goodman School of Drama at the Art Institute of Chicago (now at DePaul University) and at HB Studio. He was a member of the Peninsula Players summer theatre program during the 1950, 1957, and 1958 seasons.

1959–1966: Early years
Korman's first television role was as a head waiter in The Donna Reed Show episode, "Decisions, Decisions, Decisions". He appeared as a comically exasperated public relations man in a January 1961 episode of the CBS drama Route 66. He was seen on numerous television programs afterwards including the role of Blake in the 1964 episode "Who Chopped Down the Cherry Tree?" on the NBC medical drama The Eleventh Hour and a bartender in the 1962 Perry Mason episode, "The Case of the Unsuitable Uncle". He frequently appeared as a supporting player on The Danny Kaye Show from 1963 through 1967. He was cast three times, including the role of Dr. Allison in "Who Needs Glasses?" (1962), on ABC's The Donna Reed Show. He also guest-starred on Dennis the Menace and on the NBC contemporary western series Empire. From 1964 to 1966, he appeared three times in consecutive years on the CBS comedy The Munsters starring Fred Gwynne and Yvonne De Carlo. During the 1965–1966 season, Korman appeared regularly on ABC's The Flintstones as the voice of The Great Gazoo in its final season on network television.

1967–1977: The Carol Burnett Show
The 1967 debut of The Carol Burnett Show gave Korman his greatest recognition. Korman starred alongside Carol Burnett, Vicki Lawrence, and Tim Conway. During his ten-year run on the show, he received six Primetime Emmy Award nominations and won four, in 1969, 1971, 1972, and 1974. The exact name of the category changed slightly during the period, but the award was for "Outstanding Achievement by a Supporting Performer in Music or Variety show". He was also nominated for four Golden Globes for the series, winning that award in 1975. In 1977, he left The Carol Burnett Show to headline his own sitcom on ABC, The Harvey Korman Show, which lasted only five episodes.

While appearing on The Carol Burnett Show, Korman gained further fame by appearing as the villainous Hedley Lamarr in the 1974 Mel Brooks film Blazing Saddles starring Cleavon Little, Gene Wilder, and Madeline Kahn. Ron Pennington of The Hollywood Reporter praised his performance writing, "The performances are all comedy gems, with Korman especially delightful as Hedley Lamarr, scheming and plotting with all the finesse of a precocious brat". He also starred in Brooks' High Anxiety (1977) as Dr. Charles Montague.

1978–2006
In 1978, he appeared in the CBS Star Wars Holiday Special providing levity in three of the special's variety segments: a cantina skit with Bea Arthur in which he plays a barfly who drinks through a hole in the top of his head, another as Chef Gormaanda, a four-armed parody of Julia Child, and one as a malfunctioning Amorphian android in an instruction video. In 1980, he played Captain Blythe in the Disney comedy, Herbie Goes Bananas. The following year, he portrayed Count de Monet in Brooks' History of the World, Part 1. In later years, he did voice work for the live-action film The Flintstones as well as for the animated The Secret of NIMH 2: Timmy to the Rescue. He also starred in the short-lived Mel Brooks TV series The Nutt House, and in his final Mel Brooks film, as the zany Dr. Seward, in Dracula: Dead and Loving It. In 1986, he starred in the failed CBS comedy series Leo & Liz in Beverly Hills with Valerie Perrine.

In 1982, he reunited with Carol Burnett and Vicki Lawrence in the TV movie Eunice reprising his role of Ed Higgins from “The Family” sketches from The Carol Burnett Show. He continued the portrayal on the spin-off series, Mama’s Family in addition to introducing each episode of the series during its initial two-season NBC network run, portraying fictional television host Alistair Quince as well as directing 31 episodes of the series.

He also reunited with fellow Carol Burnett Show alumnus Tim Conway, making a guest appearance on Conway's 1980–1981 comedy-variety series The Tim Conway Show. The two later toured the U.S., reprising skits from the show and performing new material. A DVD of new comedy sketches by Korman and Conway, Together Again, was released in 2006. Korman and Conway had been jointly inducted into the Television Hall of Fame in 2002.

Marriages
Korman was married to Donna Ehlert from 1960 to 1977 and they had two children, Maria and Christopher Korman. He married Deborah Korman (née Fritz) in 1982 and was married to her until he died in 2008. They had two daughters together, Kate and Laura Korman.

Death
Korman died at age 81 on May 29, 2008, at UCLA Medical Center as the result of complications from a ruptured abdominal aortic aneurysm he had suffered four months earlier. He is interred at Santa Monica's Woodlawn Cemetery.

Video games

 * The Flintstones (1994) as the Dictabird (voice)
 * The Flintstones: Bedrock Bowling (2000) as The Great Gazoo (voice)

title: Harvey Korman


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Star Fox Adventures

Star Fox Adventures is a 2002 action-adventure game developed by Rare and published by Nintendo. The game had a long development cycle starting in 1997. Originally developed as Dinosaur Planet with Rare-created characters as the protagonists, Nintendo producer Shigeru Miyamoto convinced Rare to redesign the game as part of the Star Fox franchise. The game’s initial planned release on the Nintendo 64 was cancelled, with development ultimately shifting forward one hardware generation to the GameCube.

The game was released on September 23, 2002 as Rare's only GameCube game and as the final game that Rare developed for a Nintendo home console before being acquired by Microsoft the day after Star Fox Adventures was released in the United States. The game's story takes place eight years after the events of Star Fox 64. Players take control of Fox McCloud, who is sent on a mission to visit a planet in the Lylat System and prevent its destruction.

Star Fox Adventures was a commercial success and received mostly positive reviews, notably for its detailed graphics, new designs of characters including Fox, and its dynamic environments. However, the voice acting and the departure from the traditional Star Fox-style gameplay received some criticism.

Gameplay
The game is played from a third-person perspective with full camera control in most areas and the ability to use a first-person perspective for looking around a location, with the players able to use a widescreen mode, provided that their console is hooked up to a television set that has widescreen capabilities. The game's story focuses on two different styles of gameplay which the player switches between at various points.

The first style of gameplay is Adventure Mode, which is the main mode, and operates in a similar manner to that of The Legend of Zelda series, especially Ocarina of Time. In this mode, players control the game's protagonist as they explore thirteen different locations on foot, each of which unlocks when the player completes a specific task or acquires a new requisite skill, in order to progress the story. Some of the gameplay mechanics are similar in fashion to those in the Zelda games: Adventures has a form of currency called Scarabs, that can be used to purchase healing items, new equipment, and maps of the various locations; the main character's health is divided into hearts consisting of four segments and vaguely resembling fox heads, with the player beginning with three hearts and earning a new one after completing key stages of the story; the character can climb ladders and ledges, swim, and jump between platforms, but cannot freely jump themselves; some areas require the player to solve a puzzle to acquire something or move on; and the game features a day-and-night phase, though this is more gradual than in Zelda games.

The main character comes equipped with a staff after the initial stages of the game, which functions as both a weapon, and a tool for exploration and puzzle-solving. Combat is mainly melee-orientated, with players locking-on to an enemy upon moving in close. Once in combat, an enemy's health is displayed as a heart icon above them, with players able to strafe and roll around a target to dodge attacks, while using the staff to either block incoming strikes, or attack an enemy. As a tool, the staff can be used to open containers, operate mechanisms, or lift up stones to uncover hidden caves and boulders to find items. As the player progress in the story, the staff can be upgraded with powers that can help in combat or assist in solving puzzles and exploring locations, including the ability to fire projectiles at enemies or trigger switches, and a special jump ability to reach places that are inaccessible through normal methods. However, using such powers requires magical energy, which the player can recover by retrieving special crystals from the environment. Along with the staff, the player also has a sidekick that joins them after a certain stage of the story, who can help by finding them items and using certain abilities to open up new areas. Such abilities, referred to as tricks, require the player to feed them with special mushrooms, with each one constituting one trick that can be performed, with the sidekick able to perform a maximum of six tricks when fully fed before needing more mushrooms. The game's inventory system focuses on three areas - collectibles, staff powers, and Tricky abilities - with the player able to use three scanner systems in the game - a mini-map of a region (provided a map has been purchased first), a scanner to give information on objects in that are approached, and a fuel cell radar.

The second style of gameplay is Arwing Mode, and functions in a similar manner to other games in the Star Fox series. In this mode, the player decides where on Dinosaur Planet they wish to go; at the beginning of the game, the planet itself, the game's overworld, is only accessible, but upon unlocking a planet segment during the Adventure Mode, the player gains access to travelling there via Arwing. Upon choosing a destination, the player engages in an on-rail segment, in which players dodge obstacles while shooting down enemies, with the ability to fly through silver rings to recover some health, and being able to use super-bombs to eliminate groups of enemies. In order to visit a place, the player must fly through a set number of gold rings; each segment has around 10 gold rings, and the player will need to fly through more to reach later areas, or be forced to repeat the segment. In addition, the player must also acquire a certain amount of fuel cells during Adventure Mode, before they can use the Arwing to travel somewhere. Once they reached the area once, Fuel Cells are not consumed to travel to the place again.

Characters and settings
Star Fox Adventures features both the established main characters of the Star Fox series—Fox McCloud, Falco Lombardi, Slippy Toad and Peppy Hare (though Falco is absent for the majority of the game), as well as a host of new characters, including a mysterious blue fox named Krystal and the small dinosaur Prince Tricky. The entire planet is populated with dinosaurs, like the tyrannical General Scales, and other prehistoric animals such as pterosaurs and mammoths.

The entire game takes place on the world of Dinosaur Planet (known as "Sauria" in subsequent games) and a number of detached pieces of the planet that are suspended in orbit around it. Dinosaur Planet is ruled by the EarthWalker tribe, resembling ceratopsians, and the rival CloudRunner tribe, similar to pterosaurs and birds. The SharpClaw tribe are villainous humanoid theropods. Andross also appears as the final boss.

Story
Eight years after Fox McCloud defeat Andross, Krystal investigates the destruction of her home planet, Cerinia, and the death of her parents. Receiving a distress call from Krazoa Palace, Krystal discovers that it was attacked by General Scales and the SharpClaw army. Krystal is persuaded by a wounded EarthWalker in the Palace to collect the Krazoa Spirits and return them to the palace, which would supposedly tilt the war in the dinosaurs' favour and stop Scales. After releasing the first one, however, a mysterious being sends Krystal into the spirit's path, trapping her in a floating crystal atop the palace until all the spirits can be returned.

Meanwhile, on the edge of the Lylat System, General Pepper contacts the Star Fox Team, asking them to investigate the invasion of the Dinosaur Planet. Since the team are desperate for money and maintenance, the team leader Fox McCloud agrees to take a look, arriving unarmed at Pepper's request to avoid trouble with the locals. On the planet's surface, Fox obtains and wields the magic staff which Krystal lost earlier. Fox learns from the Queen of the EarthWalker Tribe that Scales stole four Spellstones from the planet's two Force Point Temples. Resolving to prevent the planet from breaking up further and restore it to its original unity, Fox traverses the planet and retrieves the stones to the temples, with the help of the Queen's son, Prince Tricky. As Fox retrieves the stones, he discovers that he must also retrieve the other five Krazoa Spirits to repair the planet and save Krystal. When Fox finds the last spirit, he discovers that it is guarded by Scales himself. However, just as Fox and Scales engage in combat, a mysterious voice orders Scales to surrender the spirit, to which he reluctantly agrees. Fox takes the spirit to the Krazoa Shrine and frees Krystal.

The spirits are forced into the head of a Krazoa statue, which reveals itself to be the resurrected Andross, the mastermind behind the spirit scheme, who flies off to resume his conquest of destroy the Lylat System. When Falco Lombardi arrives in space, he helps Fox destroy Andross once again, restoring and repairing the Krazoa spirits to the planet. Afterwards, Falco rejoins the Star Fox team and Krystal is recruited into the team, beginning a romance with her and Fox.

Development
Star Fox Adventures began as Dinosaur Planet, a Nintendo 64 game unrelated to the Star Fox series. According to lead engineer Phil Tossell, development of Dinosaur Planet began after the release of Diddy Kong Racing (1997), with two teams to work on Dinosaur Planet and Jet Force Gemini toward the end of the Nintendo 64's lifespan. The game was changed many times during early development before Rare settled on the eventual idea of an open world adventure-game based around two interwoven stories. According to Kevin Bayliss, a lead developer for the game for Rare, Dinosaur Planet was originally to feature Timber, the tiger character from Diddy Kong Racing, as that game was originally planned to be RC Pro-Am 64 and featuring Timber until Nintendo suggested them to work it into the Donkey Kong intellectual property. They set Timber as a time-traveler into a prehistoric world in gameplay similar to The Legend of Zelda: Ocarina of Time. As they developed the game, they found it better to shift the main character to two separate ones, Sabre the wolf and Krystal the fox, forgoing Timber's appearance. Eventually, the plot for Dinosaur Planet concerned Sabre and Krystal, along with sidekicks Tricky and Kyte (who both appear in the finished game), and Randorn, a wizard who was Sabre's father and Krystal's adoptive father (who was dropped entirely). The game featured elements such as the 'SwapStone', which would let the player switch between Krystal and Sabre. Dinosaur Planet was intended to be Rare's last game for the Nintendo 64 and was adorned with gameplay and cinematics introduced by Ocarina of Time. Dinosaur Planet initially utilised the Nintendo 64's Expansion Pak and was housed in a 512-megabit (64 megabyte) cartridge, which is the largest size the console would have.

In the meantime, at Nintendo's headquarters in Kyoto, Star Fox creator Takaya Imamura, feeling attachment to the series, had requested Nintendo producer Shigeru Miyamoto to let him produce a sequel; he obliged, but requested the game to instead be an action adventure title, forgoing the series' usual 3D rail shooter gameplay. Imamura, as well as programmer Kazuaki Morita, began experimenting with various ideas for what was to be called Star Fox Adventures, such as having Fox run around on-foot and shooting down enemies with a gun. However, the project wasn't making much progress due to it being a late stage N64 title and much of the staff being pulled away to work on bigger projects such as Mario and The Legend of Zelda for the then-coming Nintendo GameCube.

Bayliss said that Rare developed Dinosaur Planet in earnest, including preparation of a large E3 2000 demonstration, without considering that Nintendo already had the Star Fox property. The Dinosaur Planet demo caught Miyamoto's attention, noticing the similarities of Rare's anthropomorphic design of Sabre to Nintendo's Fox McCloud design were striking. Just prior to E3 2000, Nintendo asked Rare to keep discussion of Dinosaur Planet quiet and arranged a meeting with Rare to see about a "marriage" of Dinosaur Planet and their Star Fox Adventures concept during the event. The two agreed to the idea of Star Fox Adventures: Dinosaur Planet as a Nintendo 64 game, maintaining as much of Rare's work. Bayliss, Tossel, and Lee Schuneman later met with Nintendo in Japan in the weeks that followed to further discuss how to merge the properties, such as bringing Fox McCloud and the other Star Fox characters into the game, adjusting the art style of the other characters of Dinosaur Planet to match, and developing a story to fit into the Star Fox canon.

The team later realised the potential of using the Star Fox licence in hopes of boosting awareness, and switch development from the Nintendo 64 to the then-upcoming GameCube console as a launch game. Sabre was dropped in favor of Fox McCloud as the lead, but the game retains certain original Dinosaur Planet characters such as Krystal and Tricky. Rare staff had originally considered removing Krystal in the transition from Dinosaur Planet, but Nintendo, specifically Takaya Imamura, who had been brought on as a supervisor and producer for the project, requested for her to remain in the game, feeling it'd be a waste to scrap her and even assisted illustrating her final design during his visits at Rare, which was much more sexualized and revealing than the original Dinosaur Planet appearance. According to Imamura, he and Miyamoto were looking to add "sex appeal" to the Star Fox franchise, as Miyamoto wanted the series to have mature elements where possible, and that Krystal's new design was inspired by Vampirella, a comic book character known for wearing risqué outfits. Despite this, no video game content rating systems reported any significant sexual content in the final product. The Dinosaur Planet was dropped from the proposed name. Of all games converted away from Nintendo 64 in its late market span, IGN called this possibly the biggest departure, having expected it to be one of the platform's killer apps, and side-by-side comparing its "amazing graphical upgrades" on GameCube.

With the Star Fox theme established, Rare begun re-working the game for the then-upcoming GameCube and was subsequently met with little interference from Nintendo. During development, the team was invited to Nintendo's headquarters in Kyoto to discuss progress and certain changes; in return Imamura came to stay at Rare's Twycross studio to oversee development. Tossell stated that "without a doubt", Nintendo strengthened their relationship through trust and respect, though Nintendo only had a 49% stake of the company at the time.

David Wise used Peter Siedleczek's Advanced Orchestra library in creating the music for Star Fox Adventures. Wise said the tracks that reference the music for the previous Star Fox games came very late in development, after having converted it into Star Fox Adventures.

In February 2021, a late development version of Dinosaur Planet for the Nintendo 64 dated December 2000 was leaked online, having been acquired from a collector in Sweden. The build features a unique model for Fox instead of Sabre, indicating that Miyamoto's intervention happened before the decision was made to transition the game to GameCube.

Star Fox Adventures is the only Rare game released for the GameCube. Shortly after its release, Microsoft purchased Rare for £375 million, ending most of Rare's association with Nintendo. Rare continued developing games for the Game Boy Advance and Nintendo DS after the acquisition.

Reception
Star Fox Adventures received "generally favorable" reviews, according to video game review aggregator Metacritic. It sold over 200,000 copies in Japan following its release, and was the fastest-selling GameCube game at the time. By July 2006, it had sold 800,000 copies and earned $30 million (~$ in ) in the United States. Next Generation ranked it as the 73rd highest-selling game launched for the PlayStation 2, Xbox or GameCube between January 2000 and July 2006 in that country. Combined sales of Star Fox games released during the 2000s reached 1.2 million units in the United States by July 2006. Star Fox Adventures was eventually designated a Player's Choice game by Nintendo, signifying over 250,000 copies sold, and was thus available at a reduced retail price.

The visuals were very well received, particularly for Fox's new design. Edge wrote that the "visual splendour is immense", whilst in a similar fashion Matt Casamassina of IGN noted that the game is a "perfect companion" to The Legend of Zelda series, to which Adventures is often compared. Casamassina noted that elements of its graphical rendering were sophisticated for its time, in particular the advanced real-time rendering of the movement of the characters' fur. NGC Magazine praised the game's vibrant atmosphere and detailed textures. The game's combat system garnered some accolades, with GameSpot adding that the combat is simplistic, though being "good looking" and not frustrating. Casamassina also praised the combat system. NGC Magazine similarly praised the use of the combat system, but they noted that the battles did not require any skill and eventually "felt like a dull chore". The voice acting was viewed negatively, with Casamassina remarking that it is "over the top" in some places. NGC Magazine said that the accents of most of the characters did not suit that of the Star Fox world, in particular they noted the use of a Scottish accent for the Warpstone Master was "awful".

Though mostly positively reviewed, Star Fox Adventures is often criticised for its gameplay and setting being too much of a departure from the other Star Fox games, in favor of the Zelda style gameplay. Casamassina said that "fans expecting a true Star Fox experience akin to the older games are in for a disappointment". He also added that the Star Fox license has been utilised sparingly to the point where the game felt "out of place within the confines of the Star Fox game universe". Casamassina asserted that Fox was "clearly only on 'Dinosaur Planet' at Nintendo's request, not because he belongs". NGC Magazine similarly expressed concern on why Fox was added to the game, adding that Adventures was "one game Fox himself would probably want to forget" and further speculating that Nintendo only added the Star Fox license to prevent Dinosaur Planet from appearing on the Xbox.

GameSpot named Star Fox Adventures the second-best GameCube game of September 2002. It was nominated for GameSpot's annual "Best Action Adventure Game", "Best Music", "Best Graphics (Technical)" and "Best Graphics (Artistic)" awards among GameCube games.

title: Star Fox Adventures