title: On the Floor

text: Lopez later confirmed in an interview "On Air with Ryan Seacrest", that the completed music video would premiere jointly on season ten of "American Idol" and on Vevo on March 3, 2011. Fans could vote between three alternative endings through "Idol"s official website. Lopez said the idea behind giving fans the choice was to give them a chance to see what she experienced. "You get to do what I do... Like, I go in there with my videos and I start editing and picking all the shots I like and the things that I like and what I feel the best kind of feeling for the record is. You guys get to do that. We picked two different ones and we weren't sure." The alternative endings included three varying scenes: in the first, the video ends with a close-up of Lopez's face in the silver lace catsuit; the second ends with a shot of dancers defying gravity on the walls and ceiling, while the final ending ends with a shot of Lopez on the dance floor in her harem pants. The first ending was the one used in the final video.


title: On the Floor

text: The clip begins with Lopez's arrival at a club in a black BMW, one example of the product placement used throughout the video. As the music begins, she puts on a pair Swarovski crystal earrings before the camera switches to inside the club. where it descends from the ceiling amongst the Las Vegas-style crystal chandeliers. Choreographer Frank Gatson Jr. called the club, "the best dance party in town," where Lopez played several different characters. Both the scenery and artist were styled to pay homage to her background as a professional dancer, she said she wanted the video to "introduce people to a new J.Lo-ration of party people". In one scene, she plays a dominant queen of the party who watches from above, on a balcony surrounded by servants. When portraying this character, Lopez was styled with "a big beehive bun, gold gladiator heels and a glittery gold gown with Gaga-esque detailing in its high collar and leaves." The 'queen' character "dangles lazily on a couch" and "regally oversees a crowd of people getting down on the dancefloor." In another scene, Lopez wears a silver crystal and lace skin-tight catsuit, designed by Lebanese fashion designer Zuhair Murad, as she dances against a "gold cardio barre" before proceeding to shake her "money maker," according to the "Los Angeles Times". Spliced in between these scenes, she is seen dressed in black harem pants and a bikini top, as she walks through the crowd to mount a circular stage on the Las Vegas-style dancefloor. MTV's Kelly Carter and AOL's Khawlhring Sawmteii described the final scenes as Lopez "tearing up the floor," and "breaking it down 'fly-girl' style."


title: On the Floor

text: The music video was welcomed with critical acclaim from music critics, praising the expensive finish, arrangement, Lopez's sense of fashion and the overall execution. Based on a preview of the video, "Entertainment Weekly"s Tanner Stransky said the clip brought together a flawless realness with an expensive set-up, things that are "very important elements in the pop music world and to the old Lopez that everyone knew and loved." Following its full premiere, Stransky added that the video was "sexy and sultry." Kyle Anderson from MTV's Newsroom agreed, noting the "gorgeous and exquisite execution," particularly praising Lopez's "incredible hairstyles" and the "gorgeous club interiors [set design]." Anderson ended his review by stating that the premiere of the song's music video almost overshadowed the episode of "American Idol" in which it was shown.


title: On the Floor

text: AOL's Benji Eisen called "On the Floor" a "comeback of sorts" for Lopez, particularly noting its clever cross-promotion with "Idol" and Lopez's multiple product endorsement deals. He applauded Lopez for moving on from her previous lack of commercial success in recent years. The sex appeal in the video for "On the Floor" was likened to that last displayed by Lopez in the video for 2002's "I'm Gonna Be Alright". A reviewer from the "Daily Express" said "Jennifer Lopez once told us in a song that 'I'm Gonna Be Alright' and now she's proved it... The curves she displayed when she recorded the hit video nine years ago have been replaced by a leaner, fitter look [in 'On the Floor']." Matthew Perpetua from "Rolling Stone" agreed with comparisons to Lopez's earlier work: "Basically, this is classic Lopez tweaked for 2011... visuals that update late-Nineties bling with a high fashion wardrobe nearly as eccentric as that of Rihanna and Lady Gaga." As a result of the video's premiere, the online traffic at Lopez's official Vevo account increased by 1000%, and as of October 9, 2022, has received over 2 billion views on YouTube. In the space of two weeks, the video was viewed over thirty million times on Lopez's official Vevo page, according to "USA Today".


title: On the Floor

text: On May 5, 2011, Lopez and Pitbull took the stage of "American Idol" to perform "On the Floor" for the first time. The performance consisted of her breaking two dancers out of glass boxes, an elaborate dance routine and two appearances from Pitbull. Initially he appeared from the crowd, but for his second appearance, he arrived at the back of the stage via a moving staircase. Lopez was dressed in a "glimmering ensemble" while the set included lasers and pyrotechnics. According to Adam Graham from MTV, the performance was taped prior to the episode of "Idol", made apparent by what Graham called "sloppy editing." According to "The Hollywood Reporter", Lopez pretaped the performance due to a perceived danger of flying shards of glass from the earlier part of the routine. The performance was praised by Caryn Ganz from Yahoo! Music, who complimented all of the element of the performance. Ganz said "[everything from the] lush production values to her own high energy dancing and live vocals ... This performance maxed out what an artist can do in such a medium – awesome lighting, high-impact video footage, a strong feature from Pitbull, excellent staging, solid choreography, a bit of pyro, and a ton of warmth and personality." An editor from "Rap-Up" magazine agreed, saying that "Lopez showed the contestants how its done, commanding the stage during her smashing performance."


title: On the Floor

text: The duo reprised their performance at KIIS-FM's Wango Tango music festival in Los Angeles, on May 14, 2011. Lopez wore a shiny gold catsuit for the performance, which did not go as planned when halfway through the performance her microphone failed. She continued performing for 20 seconds, before realising that she had lost sound. According to lifestyle website Female First, Lopez proceeded to dance, and urged the audience to sing along. At the end of the performance, Lopez addressed the crowd straight after the performance, saying "We ain't gonna let that get us down, right? Nobody keeps mama down." After Pitbull informed her of the malfunction, she turned to the band asking them to start from the beginning so that she could perform the song again.


title: On the Floor

text: On June 11, 2011, Lopez flew to the United Kingdom to promote "On the Floor," first appearing at Capital FM's Summertime Ball. Later that day, she appeared at the finale of the second series of "So You Think You Can Dance" to reprise the performance. Wearing a skin-tight catsuit, Lopez descended from the ceiling in an illuminated heart before proceeding to perform the song, which included her dropping to her knees during the chorus. Lopez reprise the performance on "X Factor" (France) on June 14, 2011, and German game-show "Wetten, dass..?" on June 18.


title: On the Floor

text: Lopez later performed the song as part of her medley during the 2018 MTV Video Music Awards on August 20, 2018, at Radio City Music Hall in New York City.


title: On the Floor

text: Credits taken from CD single, "On the Floor" contains interpolations of the Los Kjarkas composition: "Llorando Se Fue", written by Gonzalo Hermosa and Ulises Hermosa.


title: Madeleine Arthur

text: Arthur portrayed young Willa Warren in the ABC drama series "The Family" and Jane Keane, the daughter of Amy Adams' character, in Tim Burton's biographical film "Big Eyes" (2014). Arthur has had guest roles in "The Killing", "The Tomorrow People", and "Supernatural".


title: Madeleine Arthur

text: Arthur was born and raised in Vancouver, British Columbia, to Jane (née Walter) and Brian Arthur. She attended Sir Winston Churchill Secondary School, where she was voted as one of the co-valedictorians of her graduating class. Arthur was a competitive gymnast for 13 years before changing her focus to acting. She speaks fluent French.


title: Martha Kelly

text: Martha Kelly is an American stand-up comedian and actress from Los Angeles, California, best known for co-starring in the FX comedy series "Baskets". In 2022, Kelly was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Drama Series for her role as the drug dealer Laurie on "Euphoria".


title: Martha Kelly

text: She has been featured on "Late Night with Conan O'Brien", Comedy Central's "The Half Hour" and "Premium Blend", NBC's "Last Comic Standing", and "The Late Late Show with Craig Ferguson".


title: Martha Kelly

text: At age 25, Kelly experimented with stand-up comedy at the Laugh Factory in her native Los Angeles. Her material and confidence slowly developed over a five-year period.


title: Martha Kelly

text: Kelly first surfaced on comedy stages in Austin, Texas with HBO's Aspen Comedy Festival auditions in the fall of 1999, followed by winning Capital City Comedy Club's annual "Funniest Person in Austin" contest in April 2000. Kelly was the winner of Comedy Central's 2002 Laugh Riots national comedy competition and was one of the New Faces in the Just for Laughs comedy festival that same year.


title: Martha Kelly

text: After many years of performing stand-up, Kelly made her acting debut in January 2016 after long-time friend Zach Galifianakis asked her to co-star in his FX comedy series "Baskets". She co-stars as Martha, an insurance adjuster and friend of Chip Baskets (played by Galifianakis).


title: Martha Kelly

text: In 2022, Kelly was nominated for an Emmy for her guest role as a drug dealer in the HBO series "Euphoria".


title: Tzitzit

text: Tzitzit ( "ṣīṣīṯ", ; plural "ṣīṣiyyōṯ", Ashkenazi: '; and Samaritan: ') are specially knotted ritual fringes, or tassels, worn in antiquity by Israelites and today by observant Jews and Samaritans. are usually attached to the four corners of the "tallit gadol" (prayer shawl), usually referred to simply as a or ; and "tallit katan" (everyday undergarment). Through synecdoche, a may be referred to as .


title: Tzitzit

text: The word may derive from the Hebrew root [n-ts-h]. shares this root with the Hebrew for 'lock of hair', or 'dreadlock'. For example, in the Book of Ezekiel an angel grabs the prophet "by the of [his] head;" he could be said to be "dragged by his hair."


title: Tzitzit

text: A popular etymological interpretation of derives from another word which shares this root. ( 'budding flower') may once have referred to floral ornamentation on clothing. One can hear distinct similarities with contemporaneous Akkadian clothing vocabulary: ('thread', 'edge', 'loom') or (a floral ornamentation). This hypothesis is supported by the fact that the custom of making fringes from extending the threads of embroidery was common in the ancient Near East as the means of strengthening the fabric. The further analyses of the antique iconography suggest that apart from this pragmatic purpose the tassels could also decorate the cloth and as such be a marker of the social status: the more elaborate and elegant the fringes, the higher the position of the owner. In addition to this and given the unique nature of each of the tassels it could also be used as a personal "signet" for sealing documents. This data has led the scholars to assume that the practice itself is of very ancient origins and evolved into Jewish ritual clothing where it was invested with religious meaning.


title: Tzitzit

text: The ending is the feminine adjectival suffix, used here to form a feminine singular noun. In the Hebrew Bible (), this noun is used to refer to one or many tassels, but later scholars used the feminine plural . In English-language academic texts on Judaica the term is sometimes translated as "show-fringes". The Septuagint translation is "tassels" (Greek plural , from singular ).


title: Tzitzit

text: Since the Hebrew word can mean 'corner' or 'border', the specific place of the attachment of the fringes is unclear. Their exact number is also not specified. Lastly, the passage lacks any instructions on the binding of the fringes, save for the obligation to include "a cord of blue" (Heb. ). The lack of detail on these points suggests that the tying of was to a great extent Oral Torah until the third to first century BCE with the codifying of the Talmud.


title: Tzitzit

text: The primary mnemonic purposes of this are expressed clearly: wearing reminds a daily practitioner to bring God's love into action by practicing all other "." The paragraph from Numbers is included in daily prayer as the final paragraph of the Shema. Here, also remind Jews that they are no longer slaves.


title: Tzitzit

text: The Talmud equates observance of with that of all the mitzvot. Maimonides includes it as a major commandment along with circumcision and the Passover offering.


title: Tzitzit

text: The "tallit" and "tallit katan" are four-cornered garments worn by practicing Jews which incorporate . The garment itself is commonly referred to as . The blue thread mentioned in the Torah, "tekhelet", is omitted by most Rabbinic Jews due to controversy over the dye-making process.


title: Tzitzit

text: The medieval rabbis debated the source of the obligation for garments made from different types of fabric. All agree that garments made from wool or linen (the typical materials of Biblical garments) require by Biblical law. However, they debated whether the requirement is Biblical or rabbinic if the garment is made from any other material. The Shulchan Aruch ruled that this obligation is rabbinic, while the Rema ruled that it is Biblical.


title: Tzitzit

text: The Torah forbids "shatnez" ("intertying" wool and linen together). However, unlike other forms of "kil'ayim" (combinations of various phenomena like planting different types of seed or ploughing with different animals), there is an exception to the rule: was not only allowed but required in the priestly garments, which combined dyed-wool and linen threads. According to the rabbis, this exemption to applied only while performing priestly service. Rabbinic Judaism (but not Karaite Judaism or Samaritanism) makes a further exemption to this law for , based on the Torah's juxtaposition of the laws for and in Deuteronomy 22:11-12. Thus, according to rabbinic Judaism, both laymen and priests were supposed to wear mixtures of wool and linen all the time. From this perspective, the of the layman reflects that of the priest.


title: Tzitzit

text: In practice, the rabbinic sages permitted using wool and linen strings in tandem only when what they hold to be genuine tekhelet is available.


title: Tzitzit

text: The tassel () on each corner is made of four strands, which must be made with intent. These strands are then threaded and hang down, appearing to be eight. (It is customary that each of the four strands is made of eight fine threads, known as ). The four strands are passed through a hole (or according to some: two holes) 1-2 inches (25 to 50 mm) away from the corner of the cloth. There are numerous customs as to how to tie the tassels. The Talmud explains that the Bible requires an upper knot () and one wrapping of three winds (). The Talmud enjoined that between seven and thirteen be tied, and that "one must start and end with the color of the garment". As for the making of knots in between the , the Talmud is inconclusive, and as such later poskim have interpreted this requirement in various ways. The Talmud described tying assuming the use of dye. Following the loss of the source of the dye, various customs of tying were introduced to compensate for the lack of this primary element.


title: Tzitzit

text: The tying method which gained the widest acceptance can be described as follows: The four strands of the are passed through a hole near the garment's corner. The two groups of four ends are double-knotted to each other at the edge of the garment near the hole. One of the four strands (known as the ) is made longer than the others. The long end of the is wound around the other seven ends and double-knotted; this is done repeatedly so as to make a total of five double knots separated by four sections of winding, with a total length of at least four inches, leaving free-hanging ends that are twice that long This tying procedure is used for each of the garment's four corners; if it has more than four corners, the four that are farthest apart are used.


title: Tzitzit

text: In Ashkenazi custom, the four sections of winding number 7-8-11-13 winds, respectively. The total number of winds comes to 39, which is the same number of winds if one were to tie according to the Talmud's instruction of 13 of 3 winds each. Furthermore, the number 39 is found to be significant in that it is the gematria (numerical equivalent) of the words: "The Lord is One" (Deuteronomy 6:4). Others, especially Sephardi Jews, use 10-5-6-5 as the number of windings, a combination that represents directly the spelling of the Tetragrammaton (whose numerical value is 26).


title: Tzitzit

text: Rashi, a prominent Jewish commentator, bases the number of knots on a gematria: the word (in its Mishnaic spelling, ) has the value 600. Each tassel has eight threads (when doubled over) and five sets of knots, totaling 13. The sum of all numbers is 613, traditionally the number of commandments in the Torah. This reflects the concept that donning a garment with reminds its wearer of all Torah commandments, as specified in Numbers 15:39. (Rashi knots are worn by the majority of Ashkenazic Eastern European Jews.)


title: Tzitzit

text: Nachmanides disagrees with Rashi, pointing out that the Biblical spelling of the word () has the gematria of 590 rather than 600, which upends Rashi's proposed gematria. He points out that in the Biblical quote "you shall see "it" and remember them", the singular form "it" can refer only to the thread of . The strand serves this purpose, explains the Talmud, for the blue color of resembles the ocean, which in turn resembles the sky, which in turn is said to resemble God's holy throne – thus reminding all of the divine mission to fulfill His commandments. (Nachmanides knots are worn by the majority of Sephardic Jews and Teimani Jews)


title: Tzitzit

text: Modern Biblical scholar Jacob Milgrom notes than in ancient Middle Eastern societies, the corner of the garment was often elaborately decorated to "ma[k]e an important social statement", functioning as an "symbolic extension of the owner himself". He also notes that the Torah requires , normally a royal and priestly color, to be used by all Jews:


title: Tzitzit

text: () is a color dye which the Hebrew Bible commands the Jews to use for one, two, or four of the eight half-strings hanging down (as interpreted in Rabbinic Judaism), or a number of cords ranging from one up to the same number of threads as the non- threads (according to opinions in Karaite Judaism). At some point following the destruction of the Second Temple, the knowledge and tradition about the correct method of the dye was lost for Rabbinic Judaism in Israel and since then, most rabbinic diaspora Jews and Israeli Jews as well have worn plain white without any dyes. Tekhelet, which appears 48 times in the Tanakh – translated by the Septuagint as (, blue) – is a specific blue-violet dye produced, according to the rabbis, from a creature referred to as a Ḥillazon, other blue dyes being unacceptable. Some explain the black stripes found on many traditional prayer shawls as representing the loss of this dye.


title: Tzitzit

text: While there is no prohibition on wearing blue dye from another source, the rabbis maintain that other kinds of do not fulfill the mitzvah of , and thus all the strings have been traditionally kept un-dyed (i.e., white) for many centuries. In recent times, with the (debated) re-discovery of the Ḥillazon in the "Murex trunculus" mollusk, some have noted that one cannot fulfill the mitzvah of without the strand. This position, however, has been strongly disputed. Others have disputed whether the coloring that comes from the "Murex trunculus" is the same as the biblical , based on the fact that according to traditional Jewish sources is supposed to be a dark shade of blue, while wool that was discovered in archaeological excavations and was found to have been colored with Murex dye is violet.


title: Tzitzit

text: When is used, there are varying opinions in rabbinic literature as to how many of the strands are to be dyed: one of eight (Rambam), two of eight (Raavad), four of eight (Tosafot). While the white threads are to be made of the material of the garment, rabbinic law instructs that the -dyed thread must be made of wool.


title: Tzitzit

text: According to several rabbinic sages, blue is the color of God's Glory. Staring at this color aids in meditation, bringing us a glimpse of the "pavement of sapphire, like the very sky for purity", which is a likeness of the Throne of God. Many items in the Mishkan, the portable sanctuary in the wilderness, such as the Menorah, many of the vessels, and the Ark of the Covenant, were covered with a blue-violet cloth when transported from place to place.


title: Tzitzit

text: The other threads in the (all the threads, where is not used) are described as "white". This may be interpreted either literally (by Rama) or as meaning the same colour as the main garment (Rambam). Normally, the garment itself is white so that the divergence does not arise. Similarly the threads may be made either of wool or of the same fabric as the garment; again many authorities recommend using a woollen garment so that all views are satisfied.


title: Tzitzit

text: In rabbinic law, is considered a "time-dependent positive commandment", as the Torah (Numbers 15:39) mentions "seeing" one's , and one could not see them in the darkness of night, but rather only in daytime. In general, women are not required to perform time-dependent positive commandments, but may perform them if they choose to. Therefore, many Rishonim permitted women to wear (including Isaac ibn Ghiyyat, Rashi, Rabbeinu Tam, Baal HaMaor, Rambam, Raaviyah, Rashba, and Ra'ah). Similarly, the Shulchan Aruch rules that women may wear garments with . Opinions differ on whether women may make the blessing on such "optional" commandments; in general Ashkenazi women make the blessing, and Sephardic women do not.


title: Tzitzit

text: At the same time, other Rishonim, beginning with R' Meir of Rothenburg, hold that women should not wear for various reasons. The Rema states that while women are technically allowed to don a , doing so would appear to be an act of arrogance (). The Maharil and the Targum Yonatan Ben Uziel view a garment with as a "male garment", and thus forbidden to women as cross-dressing. Some other sources mention concern for "shaatnez" or carrying on shabbat.


title: Tzitzit

text: The vast majority of contemporary Orthodox authorities forbid the donning of a by women, although Moshe Feinstein, Joseph Soloveitchik, and Eliezer Melamed approve women wearing in private, if their motivation is "for God's sake" rather than motivated by external movements such as feminism. When the Satmar Rebbe's wife died, she was found to be wearing (a ) under her clothes.


title: Tzitzit

text: Women in Conservative Judaism have revived the wearing of the since the 1970s, usually using colors and fabrics distinct from the traditional garment worn by men. The Rabbinical Assembly has since formally approved the wearing and tying of by women. It has become common in Reform and other non-Orthodox streams for girls to receive a at their bat mitzvah, although some do not subsequently wear it on a regular basis. Other women have adopted the later in life, to connect with their communities, embody egalitarian values, or create a personalized connection to Judaism. It is rare for women to wear a .


title: Tzitzit

text: Karaite Jews maintain that the must be braided and have the appearance of chains, rather than being knotted as are the of Rabbinic Judaism.


title: Tzitzit

text: Karaites have blue-violet threads () in them. In contrast to rabbinic Jews, Karaites believe that the source can be any dye, except those produced from impure (a definition mostly overlapping "un-kosher") species, such as the molluscs used by Rabbinic Jews. Instead, Karaites propose that the source of the dye was indigo or woad ("Isatis tinctoria"). Karaites also consider synthetic blue or blue-violet to be acceptable for . Contrary to some claims, Karaites do not hang on their walls.


title: Tzitzit

text: In the Samaritan tradition, the is a gown worn over their clothes during most holy days, and the are the 22 "buttons" on the right lapel of the gown, and the corresponding loops on its left lapel. The are always in the same color as the gown, which is usually white.


title: Tzitzit

text: Another version of Samaritan is the simple fringes on the sides of the very large white worn by the priests when carrying a Torah scroll.


title: Tzitzit

text: Similarly to most Orthodox rabbinic Jews, the Samaritans hold that the blue-violet thread for their was produced from a specific dye, and claim that the tradition for producing it was lost.


title: Tzitzit

text: According to the modern documentary hypothesis, the reference to in Numbers comes from the Priestly Code, while that from Deuteronomy comes from the Deuteronomic Code. They are believed to date to around the late 8th century BCE and late 7th century BCE, respectively, some time after the practice became part of regular ritual. The custom however, clearly predates these codes, and was not limited to Israel. Images of the custom have been found on several ancient Near East inscriptions in contexts suggesting that it was practiced across the Near East. Some scholars believe that the practice among ancients originated due to the wearing of animal skins, which have legs at each corner, and that later fabrics symbolized the presence of such legs, first by the use of amulets, and later by .


title: Tzitzit

text: While uses the Hebrew , employs the plural form of , which is an Akkadian loanword for a 'cord' or 'string'. The reason for this lexical change is open to speculation, yet, the scholars are inclined to assume that in the times when Deuteronomy was composed, the meaning of the of had been lost and the is a dynamic translation of an unusual term.


title: Roman Shukhevych

text: Roman-Taras Yosypovych Shukhevych (, also known by his pseudonym, Tur and Taras Chuprynka; 30 June 1907 – 5 March 1950), was a Ukrainian nationalist, one of the commanders of Nachtigall Battalion, a of the German Schutzmannschaft 201 auxiliary police battalion, a military leader of the Ukrainian Insurgent Army (UPA), and one of the perpetrators of the Galicia-Volhynia massacres of approximately 100,000 Poles.


title: Roman Shukhevych

text: Shukhevych was born in the city of Lviv, in the Kingdom of Galicia and Lodomeria (some sources claim his place of birth as Krakovets). Both Shukhevych's parents were involved with the Ukrainian national revival in the 19th century. The family lays claim to dozens of active community activists in politics, music, science, and art. Shukhevych received his early education outside of Lviv. He returned to Lviv to study at the Lviv Academic Gymnasium, living with his grandfather, an ethnographer Volodymyr Shukhevych. His political formation was influenced by Yevhen Konovalets, the commander of the Ukrainian Military Organization, who rented a room in Yevhen Konovalets's father's house from 1921 to 1922.


title: Roman Shukhevych

text: In October 1926, Shukhevych entered the Lviv Politechnic Institute (then "Politechnika Lwowska" – when the city of Lwów was part of the Second Polish Republic) to study civil engineering. In July 1934 he completed his studies with an engineering degree in road-bridge speciality. At this time he was known for his athletic abilities, for which he won numerous awards. He was also an accomplished musician and with his brother Yuriy completed studies in piano and voice at the Lysenko Music Institute. He sang solo on occasions with his brother in the Lviv opera. During his student years in gymnasium, Shukhevych became an active member of the Ukrainian Scouting organization Plast. He was a member of Lisovi Chorty. He organized Plast groups and founded the "Chornomortsi" (Black Sea Cossacks) kurin in 1927.


title: Roman Shukhevych

text: From 1928 to 1929, Shukhevych did his military service in the Polish army. As a tertiary student, he was automatically sent for officer training. However, he was deemed unreliable, and instead completed his military service as a private in the artillery in Volhynia.


title: Roman Shukhevych

text: In 1925 Shukhevych joined the Ukrainian Military Organization (UVO). In 1926 the regional team of UVO ordered Shukhevych to assassinate the Lwów school superintendent, Stanisław Sobiński, accused of "Polonizing" the Ukrainian education system. Roman Shukhevych and Bohdan Pidhainy carried out the assassination on 19 October 1926. In 1928–29 Shukhevych served his military service in the Polish Army as an artillerist.


title: Roman Shukhevych

text: In February 1929 the Organization of Ukrainian Nationalists (OUN) was founded in Vienna. Shukhevych, under the name "Dzvin" (Bell), became a representative of the Ukrainian Executive.


title: Roman Shukhevych

text: Shukhevych was a leader of a wave of attacks against Polish property and homes in Galicia in 1930 intended to provoke Polish authorities into retaliation and to radicalise Ukrainian society. The Polish administration retaliated with a process of "pacification" which intensified anti-Polish sentiment and increased Ukrainian nationalism.


title: Roman Shukhevych

text: Shukhevych planned and also participated in terrorist activities and assassinations (sometimes claimed by Ukrainian nationalists to be acts of protest against anti-Ukrainian policies). These included:


title: Roman Shukhevych

text: Shukhevych, with Stepan Bandera, , Yaroslav Stetsko, Yaroslav Starukh, and others developed a concept of "permanent revolution". According to their manifesto, the Ukrainian people, exploited by an occupier, could only obtain freedom through continued assault on the enemy. As a result, the OUN took on the task of preparing for an all-Ukrainian revolt. Shukhevych propagated the idea that the revolution was an uncompromising conflict in order to permanently defeat the foe.


title: Roman Shukhevych

text: Shukhevych took an active part in developing a concept regarding the formation of a Ukrainian army. At that time two diametrically opposed arguments existed. The first proposed forming a Ukrainian army of Ukrainian emigrants; the second advocated recruiting a national army in Western Ukraine organized by Ukrainians.


title: Roman Shukhevych

text: After the 15 June 1934 OUN assassination of Polish Internal Affairs Minister Bronisław Pieracki, Shukhevych was arrested on 18 July and was sent to the Bereza Kartuska Prison. In December 1935 he was acquitted and released due to lack of incriminating evidence.


title: Roman Shukhevych

text: From 19 January 1935, Shukhevych was confined to the Brygitki prison in Lwów. He was incarcerated for his membership in the Regional executive of the OUN. The lawyer in the process was his uncle Stepan Shukhevych. Shukhevych was sentenced to three years in jail; however, because of the 1935 amnesty he was released from jail after spending half a year in the Bereza Kartuska and two years in another prison.


title: Roman Shukhevych

text: During the Warsaw process against the OUN (18 November 1935 – 13 January 1936), Shukhevych was called as a witness. Shukhevych stood by his right to speak in Ukrainian for which he was fined 200 złoty. After greeting the court with the call "Glory to Ukraine", Shukhevych was once again interned.


title: Roman Shukhevych

text: During the Lwów process against the OUN (25 May – 27 June 1936), Shukhevych was accused of treason, belonging to anti-government organization of OUN and convicted to three years imprisonment. He was released on amnesty on 27 January 1937.


title: Roman Shukhevych

text: After being released in 1937, Shukhevych set up an advertising cooperative called "Fama", which became a front for the activities of the OUN. Soon outlets were set up throughout Galicia, Volhynia, and within the rest of Polish territory. The workers of the company were members of the OUN, often recently released political prisoners. The company was very successful and had sections working with the press and film, publishing booklets, printing posters, selling mineral water, and compiling address listings. It also opened its own transportation section.


title: Roman Shukhevych

text: In November 1938, Carpathian Ruthenia gained autonomy within the Czechoslovak state. Shukhevych organized financial aid for the government of the fledgling republic and sent OUN members to set up the Carpathian Sich.


title: Roman Shukhevych

text: In December 1938, he illegally crossed the border from Poland into Czechoslovakia, traveling to the Ruthenian city of Khust. There, with the aid of local OUN members and German intelligence, he set up the general headquarters for the fight against the Czechoslovak central government.


title: Roman Shukhevych

text: Moreover, in January 1939 the OUN decided to throw off the autonomous government, which seemed too pro-Czechoslovak to them. The "coup d'état" attempt occurred on the night of 13–14 March, in relation to the proclamation of Slovak independence, managed by Germany. With help of sympathizers among the police, the insurgents led by Shukhevych obtained the weapons of the gendarmerie, but their assaults on garrisons of the Czechoslovak army failed. Just in the Khust 11 OUN fighters were killed and 51 captured. However, after the creation of the Slovak client State on 14 March and the Nazis' seizure of Czech lands on 15 March, Carpathian Ruthenia was immediately invaded and annexed by Hungary. Shukhevych took an active part in the short-term armed conflict with Hungarian forces and was almost killed in one of the actions.


title: Roman Shukhevych

text: After the occupation of Carpathian Ruthenia by Hungary ended, Shukhevych traveled through Romania and Yugoslavia to Austria, where he consulted with OUN commanders and was given new orders and sent to Danzig to carry out subversive activities.


title: Roman Shukhevych

text: The Nazis and Soviets signed the Molotov-Ribbentrop pact in August 1939, and in September Germany and the USSR invaded Poland, starting World War II and creating new challenges and opportunities for the Ukrainian nationalist movement. In autumn 1939 Shukhevych moved to Kraków with his family where he acted as the contact for the Ukrainian Nationalist Command directed by Andriy Melnyk. He organized the illegal transportation of documents and materials across the Soviet-German border and collected information about OUN activities in Ukraine.


title: Roman Shukhevych

text: The leadership of the Ukrainian nationalists could not come to a unified agreement regarding tactics. As a result, on 10 February 1940, the organization in Kraków split into two factions - one led by Stepan Bandera and the other by Andriy Melnyk, known as OUN-B and OUN-M respectively. Shukhevych became a member the Revolutionary Command of the OUN-B headed by Bandera, taking charge of the section dealing with territories claimed by the Ukrainians, which after the Molotov-Ribbentrop pact had been seized by Germany (Pidliashshia, Kholm, Nadsiania and Lemkivshchyna).


title: Roman Shukhevych

text: A powerful web was formed for the preparation of underground activities in Ukraine. Paramilitary training courses were set up. Military cadres were prepared that were to command a future Ukrainian army. Shukhevych prepared the Second Great Congress of the OUN which took place in April 1941.


title: Roman Shukhevych

text: Prior to Operation Barbarossa in late June 1941, the OUN actively cooperated with Nazi Germany. According to the National Academy of Sciences of Ukraine and other sources, OUN-B leader Stepan Bandera held meetings with the heads of Germany's intelligence, regarding the formation of "Nachtigall" and "Roland" Battalions. On 25 February 1941, the head of the Abwehr, Wilhelm Franz Canaris, sanctioned the creation of the "Ukrainian Legion" under German command. The unit would have had 800 persons. Shukhevych became a commander of the Legion from the OUN-B side. OUN expected that the unit would become the core of the future Ukrainian army. In the spring the OUN received 2.5 million marks for subversive activities against the USSR.


title: Roman Shukhevych

text: In spring 1941 the legion was reorganized into three units. One of the units became known as Nachtigall Battalion, a second became the Roland Battalion, and a third was immediately dispatched into the Soviet Union to sabotage the Red Army's rear. After intensive training the battalion traveled to Riashiv on 18 June, and entered Lviv on 29 June, where the Act for establishment of the Ukrainian Statehood was proclaimed. The German administration however did not support this act. The first company of the unit remained in Lviv for only seven days, while the remainder of the unit joined later during their eastward march towards Zolochiv, Ternopil and Vinnytsia.


title: Roman Shukhevych

text: It is estimated that in June–July 1941 over 4,000 Jews were murdered in pogroms in Lviv and other cities in Western Ukraine. There is controversy regarding the participation of the Nachtigall Battalion and Roman Shukhevych in these atrocities, as well as in the Massacre of Lviv professors. There are claims that the soldiers of Nachtigall participated in the killing of Jews. During the march at three villages of the Vinnytsia region, Jews were said to have been shot en masse.


title: Roman Shukhevych

text: The German refusal to accept the OUN-B's 30 June proclamation of Ukrainian independence in Lviv led to a change of the Nachtigall battalion direction. As a result, Shukhevych together with the battalion were recalled to Germany.


title: Roman Shukhevych

text: In Germany in November 1941, the Ukrainian personnel of the legion was reorganized into the 201st Schutzmannschaft Battalion. It numbered 650 persons who were given individual contracts that required the combatants to serve for one additional year.


title: Roman Shukhevych

text: Shukhevych's titles were that of "Hauptmann" of the first company and deputy Commander of the Battalion, which was commanded by Yevhen Pobihushchyi.


title: Roman Shukhevych

text: On 19 March 1942, the battalion arrived in Belarus where it served in the triangle between Mahiliou-Vitsebsk-Lepel. With the expiration of the one-year contract, all the Ukrainian soldiers refused to renew their services. On the beginning of January 1943, the battalion was sent to Lviv and there it was disbanded. Its former members formed the core of the OUN (B) security service. The other part joined the Schutzmannschaft Battalion 57, returned to Belarus and continued to fight with the partisans and civilians. Shukhevych decided to join OUN (B) and quickly gained the leading role in the organization.


title: Roman Shukhevych

text: Polish-German historian and Holocaust expert from the University of Hamburg describes the activities of the 201st Schutzmannschaft Battalion in Belarus as "fighting partisans and killing Jews". John Paul Himka, a specialist in Ukrainian history during World War II, notes that although units such as the 201st Battalion were routinely used to fight partisans and kill Jews, no-one has studied the specific activities of the 201st battalion from this perspective and this ought to be a subject for further study. It is alleged that more than 2,000 Soviet partisans were killed by the Battalion during its operation in Belarus.


title: Roman Shukhevych

text: On 1 December 1942 after the expiration of their contracts, the members of the Battalion refused to promulgate it. As the result, the 201st Battalion personnel was taken into detention and relocated to Lviv. The German command suggested to all those who had been in the Battalion to gather in Lublin to form a new unit, however, none of the Ukrainians signed up, and very few reported to Lublin. Some were arrested and placed in the jail on Lonsky street, while Shukhevych escaped, and went into hiding.


title: Roman Shukhevych

text: In spring 1943, the OUN-B's UPA launched a campaign of murder and expulsion against the Polish population of Volhynia, and in early 1944 against the Poles in Eastern Galicia. This was done as a preemptive strike, in expectation of another Polish-Ukrainian conflict over the disputed territories, which were internationally recognized as part of Poland in 1923.


title: Roman Shukhevych

text: The Polish government in exile wanted to restore eastern Polish borders beyond the Curzon Line, an aim that was also supported by promises from the Western Allies. The Ukrainian majority in Eastern Galicia, which was promised autonomy, initially considered the Polish administration that followed the Peace of Riga and the Polish-Soviet War to be illegitimate, but after 1923 most Ukrainians grudgingly accepted Polish rule as a fact they could not change and focused on increasing their autonomy. Ukrainians in general were opposed to the Polish regime and all Ukrainian political movements had independence from Poland as a goal. Ukrainians took two approaches towards independence. The mainstream parties avoided violence and sought the goal of independence through gradual legal means focused on preserving Ukrainians' limited rights, while the OUN sought to use terror and violence in opposition to the Polish government. The OUN regarded Galicia and Volhynia as ethnic Ukrainian territory that should be included in a future restored Ukrainian republic.


title: Roman Shukhevych

text: It is estimated that up to 100,000 Poles were killed by the Ukrainian nationalists during the conflict and another 300,000 made refugees as a result of the ethnic cleansing. According to Timothy Snyder, 40,000–60,000 Polish civilians were killed by the UPA in Volhynia in 1943, and some 25,000 in Eastern Galicia. Conversely, killings of Ukrainians by Poles resulted in between 10,000 and 12,000 deaths in Volhynia, Eastern Galicia and present-day Polish territory. University of Alberta historian Per Rudling has stated that Shukhevych commanded the UPA during the summer of 1943, when tens of thousands of Poles were massacred. However, the initiator of these massacres was Dmytro Klyachkivsky. They reached their height in July 1943, while Shukhevych did not assume command of the OUN until 25 August of that year and command over the UPA until November 1943.


title: Roman Shukhevych

text: After escaping from German custody Shukhevych once again headed the military section of the OUN. In May he became a member of the leadership of the OUN and in time the head. In August 1943 at the Third Special Congress of the OUN, he was elected head of the Direction of the OUN and Supreme Commander of the Ukrainian Insurgent Army known as UPA.


title: Roman Shukhevych

text: Under Shukhevych's leadership the evolution of the program for which the OUN fought was further refined. Its core tenets were:


title: Roman Shukhevych

text: According to Ukrainian historian and former UPA soldier Lev Shankovsky, immediately upon assuming the position of commander of UPA Shukhevych issued an order banning participation in anti-Jewish activities. No written record of this order, however, has been found.


title: Roman Shukhevych

text: The Insurgent Army was joined by various people from the Caucasus and Central Asia who had fought in German formations. The rise of non-Ukrainians in the Ukrainian Insurgent Army gave stimulus to the special conference for Captive Nations of Europe and Asia which took place 21–22 November 1943 in Buderazh, not far from Rivne. The agenda included the formation of a unified plan for the attack against occupational forces.


title: Roman Shukhevych

text: During the period of German occupation Shukhevych spent most of his time fighting in the forests, and from August 1944, following Ukraine's annexation by the Soviet Army, he lived in various villages in Western Ukraine. In order to unite all Ukrainian national forces to fight for Ukrainian independence, Shukhevych organized a meeting between all the Ukrainian political parties. As a result, the Ukrainian Supreme Liberation Council ("UHVR") was formed.


title: Roman Shukhevych

text: Shukhеvych perished supposedly shooting himself during his arrest by agents of the MGB (Ministry of State Security) in an armed fight with an operational group of the MGB that attacked his hiding place (kryivka) in village Bilohorshcha (today part of the city of Lviv) on 5 March 1950 when he was 42. His residence was surrounded by some 700 soldiers of Internal Troops. In a firefight Major Rovenko perished with Shukhevych. Shukhevych was succeeded as leader of UPA by Vasyl Kuk.


title: Roman Shukhevych

text: After identification, the body of Shukhevych was cremated and its remnants secretly buried. According to NKVD officers' memoirs, Roman Shukhevych's body was transported out of western part of Ukraine, burned, and the ashes scattered. This was done on the left bank of the Zbruch River. The unburned remains were thrown into the Zbruch, where a commemorative stone cross was erected in 2003.


title: Roman Shukhevych

text: Soviet authorities applied the rationale of collective guilt and persecuted all the members of the Shukhevych family. Roman's brother Yuri was murdered at Lviv's Bryhidka Prison, just before the German occupation of Lviv as part of «unloading» policy. His mother Yevhenia and his wife, Nataliya Berezynska, were exiled to Siberia. His father, Joseph-Zinovy Vladimirovich Shukhevych (1879—1948) by that time disabled, was also repressed and exiled. He died soon after arriving at prison.


title: Roman Shukhevych

text: His son Yuri Shukhevych and daughter Mariyka were placed in an orphanage. In September 1972, Yuri was sentenced to ten years' camp imprisonment and another five years' exile after already having spent 20 years in Soviet camps. During that time he lost his vision.


title: Roman Shukhevych

text: On 23 October 2001, the Lviv Historic Museum converted the house in which Shukhevych was killed into a memorial museum. He was portrayed by Ukrainian-Canadian actor Hryhoriy Hladiy in the Ukrainian film "Neskorenyi" (The Undefeated).


title: Roman Shukhevych

text: Postage stamps and coins have been minted in his honour of the 100th anniversary of his birth. Posthumously, he was awarded the UPA's highest decorations: the Gold Cross of Combat Merit First Class and the Cross of Merit in gold.


title: Roman Shukhevych

text: In June 2017, the Kyiv City Council renamed the city's General Vatutin Avenue into Roman Shukhevych Avenue.


title: Roman Shukhevych

text: On 5 March 2021, the Ternopil City Council named the largest stadium in the city of Ternopil after Roman Shukhevych as the Roman Shukhevych Ternopil city stadium. On 16 March 2021, the Lviv Oblast Council likewise approved the renaming of their largest stadium after Shukhevych and Stepan Bandera, the former leader of the Organization of Ukrainian Nationalists (OUN).


title: Roman Shukhevych

text: Roman Shukhevych was posthumously conferred the title of Hero of Ukraine by President Viktor Yushchenko on 12 October 2007. On 12 February 2009, an administrative Donetsk region court ruled the Presidential decree awarding the title to be legal after a lawyer had claimed that his rights as a citizen were violated because Shukhevych was never a citizen of Ukraine.


title: Roman Shukhevych

text: President Viktor Yanukovych stated on 5 March 2010 he would make a decision to repeal the decrees to honor the title as Heroes of Ukraine to Shukhevych and fellow nationalist Stepan Bandera before the next Victory Day (in August 2011 he stated "if we look at our past history and build our future based on this history, which had numerous contradictions, we will rob our future, which is wrong"). Although the Hero of Ukraine decrees do not stipulate the possibility that a decree on awarding this title can be annulled, on 21 April 2010, Donetsk Administrative Court of Appeals declared unlawful former Ukrainian President Viktor Yuschenko's decree of 12 October 2007 to award the Hero of Ukraine title to Roman Shukhevych. The court ruled that the former President had had no right to confer this title to Shukhevych, because Shukhevych had died in 1950 and therefore he had not lived on the territory of independent Ukraine (after 1991). Consequently, Shukhevych was not a Ukrainian citizen, and this title could not be awarded to him. On 12 August 2010 the High Administrative Court of Ukraine dismissed suits to declare four decrees by President Viktor Yanukovych on awarding the Hero of Ukraine title to Soviet soldiers illegal and cancel them. The filer of these suit stated they were based on the same arguments used by Donetsk Administrative Court of Appeals that on 21 April satisfied an appeal that deprived Roman Shukhevych the Hero of Ukraine title, as Shukhevych was not a citizen of Ukraine. The title however was not rescinded, pending an appeal to the Supreme Administrative Court of Ukraine which set aside all previous court decisions on 17 February 2011. The Supreme Administrative Court of Ukraine ruled Shukhevych's Hero of Ukraine title illegal in August 2011. On 1 September 2011 former President Yuschenko filed an appeal at the Supreme Court of Ukraine with a request that it cancel the ruling by the Supreme Administrative Court of Ukraine.


title: Bob Mackie

text: Robert Gordon "Bob" Mackie (born March 24, 1939) is an American fashion designer and costumier, best known for his dressing of entertainment icons such as Lucille Ball, Carol Burnett, Diahann Carroll, Carol Channing, Cher, Doris Day, Marlene Dietrich, Barbara Eden, Lola Falana, Farrah Fawcett, Judy Garland, Mitzi Gaynor, Liza Minnelli, Marilyn Monroe, Marie Osmond, Diana Ross, Tina Turner, Julia Louis-Dreyfuss, and Barbra Streisand, among others. He was the costume designer for all the performers on "The Carol Burnett Show" during its entire eleven-year run. For his work, Mackie has received nine Primetime Emmy Awards, a Tony Award, and three nominations for the Academy Award for Best Costume Design.


title: Bob Mackie

text: Mackie was born March 24, 1939, in Monterey Park, California, to Charles Robert Mackie and Mildred Agnes ( Smith) Mackie. His father worked at Bank of America. He has an older sister.


title: Bob Mackie

text: He was raised in early childhood by his maternal grandparents in Alhambra, California because his parents divorced. By high school he moved to Rosemead, California and lived with his father. He attended Rosemead High School.


title: Bob Mackie

text: Mackie continued his education at Pasadena City College and one-year study at Chouinard Art Institute but left without earning a degree from either school. At Chouinard, Mackie studied under Eva Roberts, the head of the fashion design department. He left Chouinard early because he got his first job sketching for Frank Thompson at Paramount Studios. Between 1960 until 1963, Mackie worked as a novice designer and assistant under designer Ray Aghayan at Paramount Studios. Aghayan would later become Mackie's long term life partner.


title: Bob Mackie

text: In Mackie's early career he worked as a sketch artist for French haute couturier Jean Louis, who is noted for crafting stage gowns worn by actress Marlene Dietrich during her career as a cabaret singer. As one of his first assignments, he drew the original sketch of Marilyn Monroe’s dress worn in 1962 at President John F. Kennedy's birthday celebration at Madison Square Garden in New York.


title: Bob Mackie

text: In 1966, Mackie was hired by Mitzi Gaynor to design her new stage show at the Riviera in Las Vegas. Mitzi was the first star client for whom Mackie designed an entire show. He would continue to design for Mitzi's television specials and live stage shows for the next 50 years. He won two Emmy Awards for Outstanding Achievement in Costume Design for Music-Variety for Mitzi's TV specials "Mitzi...Roarin' in the Twenties" (1976) and "Mitzi...Zings Into Spring" (1977).


title: Bob Mackie

text: In 1969, Mackie was hired to design costumes for Diana Ross, The Supremes, and The Temptations in the television special "GIT: On Broadway". In 1972, he and Aghayan were nominated for Best Costume Design for "Lady Sings The Blues", starring Diana Ross. Mackie and Diana Ross continued their collaborative efforts well into the 21st century, with Mackie designing stage costumes for Ross' 2010 .


title: Bob Mackie

text: Mackie designed costumes for the Las Vegas Strip-based burlesque shows, "Hallelujah Hollywood", which was inspired by the Ziegfeld Follies and ran at the MGM Grand (now Bally's Las Vegas) from 1974 to 1980, and "Jubilee!", which ran from 1981 to 2016. Both productions involve intricate, elaborate costumes and grandiose sets.


title: Bob Mackie

text: Images of many of Mackie's design drawings for these productions are available in the "Showgirls" collection from UNLV Libraries Digital Collections. He created the costumes for Cher’s 2008–11 Las Vegas Cher at the Colosseum residency at Caesars Palace, as well as for her 2017 “Classic Cher” shows in Las Vegas and Washington D.C.


title: Bob Mackie

text: Two of Mackie's best-remembered creations had a humorous aspect. While working on "The Carol Burnett Show", he designed a "curtain dress" (complete with a curtain rod across the shoulders) that Carol Burnett wore in "Went with the Wind!", a parody of "Gone with the Wind". He designed the exotic ensemble worn by Cher at the March 1986 Academy Awards: black stretch pants, a bejeweled loincloth, knee-high boots, a black chainlink top, and a huge feathered Mohawk headdress that was one and a half times taller than her head. Introduced by Jane Fonda with the words, "Wait'll you see what's gonna come out here". "As you can see," said Cher, "I did receive my Academy booklet on how to dress like a serious actress."


title: Bob Mackie

text: Mackie designed costumes for Whitney Houston, especially splashy evening gowns which she wore for many years during concert tours and award shows. He was often referred to as "the sultan of sequins" or "the rajah of rhinestones", known for his sparkling and imaginative costume designs. He has won nine Emmy Awards for his designs, and has been nominated three times for an Academy Award. Mackie has said, "A woman who wears my clothes is not afraid to be noticed."


title: Bob Mackie

text: In 1981, Mackie guest starred as himself on two episodes of the television series "The Love Boat". In 2002, Mackie was inducted into the Television Hall of Fame. In more recent years, Mackie has been mainly known as the costume designer for Cher's elaborate outfit during her latest tours, including her latest Here We Go Again Tour. In 2019, Mackie won the Tony Award for Best Costume Design in a Musical for his work on "The Cher Show".


title: Bob Mackie

text: More recently in 2020, Mackie's dresses were featured and worn by television hostess Vanna White over the week of April 27 in the long-running syndicated game show "Wheel of Fortune" as part of honoring the San Francisco Bay Area.


title: Bob Mackie

text: On March 14, 1960, Mackie married LuLu Porter (née Marianne Wolford), a singer, actress, and later an acting teacher. The couple had a son, Robert Gordon Mackie Jr. (known as "Robin"), the previous year. The couple divorced in 1963. Robert Mackie, a makeup artist, died in 1993 at the age of 33 of an AIDS-related illness, predeceasing his parents.


title: Bob Mackie

text: Beginning in 1963, Mackie's significant other was costume designer Ray Aghayan, whom Mackie worked with as an assistant. The two worked together through the 1970s, as well as having separate clients. They remained together until Aghayan's death in 2011.


title: Bob Mackie

text: The Academy Awards are awarded annually by the Academy of Motion Picture Arts and Sciences. Mackie has received 3 nominations.


title: Bob Mackie

text: The American Choreography Awards honored outstanding choreographers in the fields of feature film, television, music videos, and commercials. Mackie has received 1 honorary award.


title: Bob Mackie

text: The Costume Designers Guild Awards are awarded annually by the Costume Designers Guild for costume designers in motion pictures, television, and commercials. Mackie has received 1 honorary award.


title: Bob Mackie

text: The Emmy Awards are presented at one of the numerous annual American events or competitions that each recognize achievements in a particular sector of the television industry. Mackie has received 1 honorary award and 9 competitive awards from 32 nominations.


title: Bob Mackie

text: The Tony Awards are presented annually by the American Theatre Wing and The Broadway League. Mackie has received 1 award from 1 nomination.


title: Bob Mackie

text: The TV Land Award generally commemorates shows now off the air, rather than in current production. Mackie has received 1 honorary award.


title: Iraqi dinar

text: The Iraqi dinar () (Arabic: دينار; sign: ID in Latin, د.ع in Arabic; code: IQD) is the currency of Iraq. It is issued by the Central Bank of Iraq and is subdivided into 1,000 fils (فلس), although inflation has rendered the fils obsolete since 1990. On 16 October 2022, the exchange rate with the US Dollar was US$1 = 1460.1 dinars.


title: Iraqi dinar

text: The Iraqi dinar entered circulation on 1 April 1932, replacing the Indian rupee, which had been the official currency since the British occupation of the country in World War I, at a rate of 1 dinar = 11 rupees. The dinar was pegged at par with sterling until 1959 when, without changing its value, the peg was switched to the United States dollar at the rate of ID 1 = US$2.80. By not following the US devaluations in 1971 and 1973, the official rate rose to US$3.3778, before a 5% devaluation reduced its rate to US$3.2169, a rate which remained until the Gulf War in 1990, although in late 1989 the black market rate was reported at five to six times higher than the official rate.


title: Iraqi dinar

text: After the Gulf War in 1990, due to UN sanctions, Iraq was no longer able to place orders with De La Rue for further issues of the previously high quality notes, so new, inferior quality notes were produced. The pre-1990 notes became known as the “Swiss dinars” while the new dinar notes were called “Saddam dinars”. Due to United States and the international sanctions on Iraq along with excessive government printing, the Saddam dinar currency devalued quickly. By late 1995, US$1 was valued at ID 3,000 on the black market.


title: Iraqi dinar

text: Swiss dinars notes continued to circulate in the politically isolated Kurdish regions of Iraq. The Kurdish government refused to accept the low quality Saddam dinar notes (which were issued in huge amounts). Since the supply of Saddam dinar notes increased while the supply of Swiss dinar notes remained stable (even decreased because of notes taken out of circulation), the Swiss dinar notes appreciated against the Saddam dinar note. By having its own stable currency, the northern part of Iraq effectively evaded inflation, which ran rampant throughout the rest of the country.


title: Iraqi dinar

text: After Saddam Hussein was deposed in the 2003 invasion of Iraq, the Iraqi Governing Council and the Office for Reconstruction and Humanitarian Assistance printed more Saddam dinar notes as a stopgap measure to maintain the money supply until a new currency could be introduced.


title: Iraqi dinar

text: Between 15 October 2003 and 15 January 2004, the Coalition Provisional Authority issued new Iraqi dinar notes and coins, with the notes printed by the British security printing firm De La Rue using modern anti-forgery techniques to "create a single unified currency that is used throughout all of Iraq and will also make money more convenient to use in people's everyday lives". Multiple trillions of dinars were shipped to Iraq and secured in the Central Bank to exchange for Saddam dinar notes. Saddam dinar notes were exchanged for the new dinars at par, while Swiss dinar notes were exchanged at a rate of one Swiss dinar = 150 new dinars.


title: Iraqi dinar

text: Inflation and depreciation of the currency has continued since. On 19 December 2020, Iraq's Central Bank devalued the dinar by 24% to improve the government's revenue, which was affected by the COVID-19 pandemic and low oil prices. On 2 March 2019, the Central Bank's indicative exchange rate was ID 1,190 = US$1. and on 18 June 2021 it was ID 1,460.5000 = US$1.


title: Iraqi dinar

text: There is considerable confusion (perhaps intentional on the part of dinar sellers) around the role of the International Monetary Fund in Iraq. The IMF as part of the rebuilding of Iraq is monitoring Iraq's finances and for this purpose uses a single rate (not a sell/buy) of ID 1170 per US$. This "program rate" is used for calculations in the IMF monitoring program and is not a rate imposed on Iraq by the IMF. For a wider history surrounding currency in the region, see British currency in the Middle East.


title: Iraqi dinar

text: Since Iraq has few exports other than oil, which is sold in dollars, there is little international demand for dinars, resulting in an extremely high exchange rate compared with other currencies.


title: Iraqi dinar

text: However, the downfall of Saddam Hussein resulted in the development of a multi-million-dollar industry involving the sale of dinars to speculators. Such exchange services and companies sell dinars at an inflated price, pushing the idea that the dinar would sharply increase in value to a profitable exchange rate some time in the future, instead of being redenominated. This activity can be either a legitimate service to currency speculators, or foreign exchange fraud: at least one major such currency exchange provider was convicted of fraud involving the dinar. This trade revived after the election of Donald Trump in November 2016, with many buyers believing that Trump would cause a sharp revaluation in the dinar (often referred to by the abbreviation "RV" by supporters of the dinar trade,) to an exchange rate comparable to the US dollar.


title: Iraqi dinar

text: In 2014, Keith Woodwell (director of the Utah Division of Securities) and Mike Rothschild (writer for "Skeptoid" blog) stated that the speculation over the Iraqi dinar originated from a misunderstanding of why the value of the Kuwaiti dinar recovered after the First Gulf War, leading to an assumption that the Iraqi dinar would follow suit after the fall of Saddam: Woodwell and Rothschild noted substantial differences in economic and political stability between Iraq and Kuwait, with Iraq facing pervasive sectarian violence amid near-total reliance on oil exports.


title: Iraqi dinar

text: In response to the growing concerns about fraud and scams related to investment in the Iraqi dinar, State agencies such as Washington State, Utah, Oklahoma, Alabama and others issued statements and releases warning potential investors. Further alerts were issued by news agencies. These alerts usually warn potential investors that there is no place outside Iraq to exchange the dinar, that they are typically sold by dealers at inflated prices, and that there is little evidence to substantiate the claims of significant appreciation of their investment due to revaluation of the currency.


title: Iraqi dinar

text: In February 2014, the Better Business Bureau included investing in the dinar as one of the ten most notable scams in 2013. There has also been a book written on the subject.


title: Iraqi dinar

text: Coins were introduced in 1931 and 1932 in denominations of round 1 and 2 fils in bronze, and scalloped 4 and 10 fils in nickel. 20, 50, and 200 fils were 50% silver. The 200 fils coin is also known as a "rial". Bronze substituted nickel in the 5 and 10 fils from 1938 to 1943 during the World War II period and reverted to nickel in 1953. Silver 100 fils coins were also introduced in 1953. These coins first depicted King Faisal I from 1931 to 1933, King Ghazi from 1938, and King Faisal II from 1943 until the end of the kingdom.


title: Iraqi dinar

text: Following the establishment of the Iraqi Republic, a new series of coins was introduced in denominations of 1, 5, 10, 25, 50, and 100 fils, with the 25, 50, and 100 fils in silver until 1969. In this series an allegorical sun replaced the image of the king, shapes and sizes remained the same with the exception of the 1 fil which was decagon shaped. This image was then replaced by three palms in 1968. In 1970, 250 fils pieces were introduced, followed by 500 fils and ID 1 coins in 1982. A number of the coins for 1982 were a commemorative series celebrating Babylonian achievements. During this period, many of the coins were identified by their shape due to being made of similar composition metals, as from 1980 onward 250 fils were octagonal, 500 fils square, and ID 1 decagon shaped. Coin production ceased after 1990 due to the emergency conditions generated by the Gulf War and international sanctions.


title: Iraqi dinar

text: In 2004, a new series of coins were issued in denominations of ID 25, ID 50 and ID 100 and were struck in bronze, brass, and nickel-plated steel respectively. They are sparse in design and depict an abstract map of Iraq and the main rivers.


title: Iraqi dinar

text: On 16 March 1932, banknotes were issued by the government in denominations of , , 1, 5, 10 and 100 dinars. The notes were printed in the United Kingdom by Bradbury, Wilkinson & Co. From 1932 to 1947, the banknotes were issued by the Iraqi currency board for the government of Iraq and banknotes were convertible into pound sterling. From 1947, the banknotes were issued by the National Bank of Iraq, then after 1954 by the Central Bank of Iraq.


title: Iraqi dinar

text: 100 dinars notes ceased production in the 1940s, however, the same denominations were used until 1978, when ID 25 notes were introduced. In 1991, ID 50 were introduced and ID 100 reintroduced, followed in 1995 by ID 250 notes and ID 10,000 notes in 2002.


title: Iraqi dinar

text: Banknotes that were issued between 1990 and October 2003, along with an ID 25 note issued in 1986, bear an idealized engraving of former Iraqi President Saddam Hussein. Following the 1991 Gulf War, Iraq's currency was printed both locally and in China, using poor grade wood pulp paper (rather than cotton or linen) and inferior quality lithography (some notes were reputedly printed on presses designed for printing newspapers).


title: Iraqi dinar

text: The primitive printing techniques resulted in a limitless variety in coloration and detail, one layer of the printing would be too faint while another would be too dark. Counterfeit banknotes often appeared to be of better quality than real notes. Some notes were very poorly cut, and some notes even lacked serial numbers. Despite the collapse in the value of the Iraqi dinar, the highest denomination printed until 2002 was ID 250. In 2002, the Central Bank of Iraq issued an ID 10,000 banknote to be used for "larger, and inter-bank transactions". This note was rarely accepted in practice due to fears of looting and counterfeiting. This forced people to carry around stacks of ID 250 note for everyday use. The other, smaller notes were so worthless that they largely fell into disuse. This situation meant that Iraq, for the most part, had only one denomination of currency in wide circulation.


title: Iraqi dinar

text: Currency printed before the Gulf War was often called the "Swiss dinar", a term of obscure and uncertain origins. These notes were manufactured in England by De La Rue and were of significantly higher quality than those later produced under the economic sanctions that were imposed after the first Gulf War. After a change-over period, this currency was unendorsed by the Iraqi government. However, this old currency still circulated in the Kurdish regions of Iraq until it was replaced with the new dinar after the second Gulf War. During this time the Swiss dinar retained its value, whilst the new currency consistently lost value at sometimes 30% per annum.


title: Iraqi dinar

text: In 2003, new banknotes were issued consisting of six denominations: ID 50, ID 250, ID 1,000, ID 5,000, ID 10,000, and ID 25,000. The notes were similar in design to notes issued by the Central Bank of Iraq (CBI) in the 1970s and 1980s. An ID 500 note was issued a year later, in October 2004. In the Kurdish regions of Iraq, the ID 50 note is not in circulation.


title: Iraqi dinar

text: In March 2014, the CBI began replacing banknotes with anti-counterfeiting enhanced versions that include SPARK optical security features, scanner readable guarantee threads in addition to braille embossing to assist vision-impaired persons.


title: Iraqi dinar

text: In February 2015, the CBI announced the removal from circulation on 30 April 2015 of the ID 50 notes. Persons holding these banknotes were advised to immediately redeem them at their nearest bank for the ID 250 and higher denomination dinar notes at a one-to-one rate at no charge.


title: Iraqi dinar

text: In November 2015, the CBI announced the introduction of a new ID 50,000 banknote. This is the first new denomination banknote since the new series was first issued in 2003, and also the largest ever printed by the CBI. The current notes no longer depict Saddam Hussein and now feature inscriptions in both Arabic and Kurdish. The banknotes are printed using new security features from Giesecke & Devrient & De La Rue and measure 156 × 65 mm. They feature an outline map of Iraq showing the Euphrates & Tigris rivers as well as the Great Mosque of Samarra.


title: Sayaji Shinde

text: Sayaji Shinde (Marathi pronunciation: ]; born 13 January 1959) is an Indian actor who has acted in Telugu, Marathi, Tamil, Kannada, Malayalam, English, Gujarati, Hindi, Bhojpuri films and several Marathi Plays. Sayaji started his acting career in 1978 in Marathi one-act plays. His performance in a 1987 Marathi play titled "Zulva" was very well received, and since then he started gaining popularity among the circle of stalwarts. Later, he moved on to Marathi cinema and then started acting in other languages. He also appeared recently in Bacha Mat Bolna Yt Channel


title: Sayaji Shinde

text: Born in a farmer's family in a small village named Sakharwadi in Satara District in Maharashtra, Sayaji completed his bachelor's degree in arts in Marathi language, and started his career in 1978 while studying in college as a night watchman for Maharashtra Government's Irrigation Department for a meager pay of Rs. 165 per month. During his service as a watchman, he developed an interest in theatre and his passion for acting drew him to the theater and films. After his initial struggling years, he moved to Mumbai.


title: Sayaji Shinde

text: Sayaji started his acting career in 1978 with acting in Marathi one-act plays. His first Marathi film as an actor was "Aboli" in 1995. He did many Marathi plays, among which, his role as Sakharam Binder was highly appreciated. Other hit Marathi plays were Zulva(1987), One Room Kitchen(1989) and Amchya ya gharat(1991). He acted in many Marathi movies thereafter, among which, his role as an Agricultural Minister in the movie "Goshta Chhoti Dongara Evadhi" was to be remembered. Hindi actor Manoj Bajpai happened to see an article on Sayaji in "Times of India" and the former recommended Sayaji's name to Ram Gopal Varma.


title: Sayaji Shinde

text: Varma, who was at that time making the movie "Shool", immediately offered the role of Bachhu Yadav to Sayaji, thus marking the latter's entry in the Bollywood. "Shool" gave Sayaji a decent start, however, it was a Tamil film called "Barathi" which made his career. Sayaji received tremendous appreciation for his acting in the said film. In spite of not speaking Tamil, Sayaji effectively played the role of Tamil Nadu's poet and writer, Subramanya Bharathi in the movie directed by Gnana Rajasekaran, and was honored with Tamil Nadu State Award for his efforts. Later on, he also acted in Tamil blockbusters like "Azhagi" and "Dhool".


title: Sayaji Shinde

text: He produced couple of Marathi movies. Sayaji helped Nagesh Bhonsle produce the Marathi film Goshta Choti Dongraevadhi. He also produced the Makarand Anaspure-directed film, "Dambis"(2011).


title: I Only Want to Be with You

text: "I Only Want to Be with You" is a song written by Mike Hawker and Ivor Raymonde. The debut solo single released by British singer Dusty Springfield under her long-time producer Johnny Franz, "I Only Want to Be with You" peaked at number 4 on the UK Singles chart in January 1964. Three remakes of the song have been UK chart hits, the first two by the Bay City Rollers (1976) and The Tourists (1979) matching the number 4 peak of the Dusty Springfield original, while the 1989 remake by Samantha Fox peaked at number 16. In the US on the "Billboard" Hot 100 chart, "I Only Want to Be with You" has been a Top 40 hit three times, with both the Dusty Springfield original and the Bay City Rollers' remake peaking at number 12 while the Samantha Fox remake peaked at number 31. "I Only Want to Be with You" has also been recorded by a wide range of artists, several of whom sing the song with lyrics translated from the original English.


title: I Only Want to Be with You

text: Of this song, more than a hundred versions have been made, in different languages (English, French, Spanish, Portuguese, Japanese, etc.).


title: I Only Want to Be with You

text: According to Jean Ryder, the ex-wife of songwriter Mike Hawker, "I Only Want to Be With You" was written soon after she and Hawker married on 1 December 1961, being inspired by Hawker's intense romantic feelings for his new bride. Ryder, who would later be a member of the Breakaways, had been a member of a vocal chorale, the Vernons Girls. Reportedly, she and Hawker had intended that she herself would record "I Only Want to Be With You". However, no formal arrangement for this eventuality had apparently been made by the autumn of 1963, when Hawker received a phone call from Philips A&R director Johnny Franz. Ryder paraphrases Franz as saying "Look we need something which is going to put this girl into the charts, because everybody is knocking her, everybody is saying she'll never make it [solo] – have you got a song that's a guaranteed hit?" Springfield had already recorded nine solo tracks, none of which was deemed the right vehicle to launch her solo career. With Ryder's permission, Hawker submitted "I Only Want to Be With You" to Franz, having made a demo featuring Ryder singing while keeping the beat by tapping on a biscuit tin lid. Franz, and then Springfield, approved the song, which Springfield recorded in a 25 October 1963 session at Olympic Studios, arranged and conducted by Ivor Raymonde, and recorded by engineer Keith Grant. Jean Ryder was included in the vocal chorale on the session. For unknown reasons, a version with Springfield's unadulterated vocals was rejected. The song was produced using the Wall of Sound production method first conceived by Phil Spector, while the various instrumental features in the arrangement such as backup singers, double-tracked vocals, and a horn section were inspired by groups such as the Shirelles.


title: I Only Want to Be with You

text: Released in November 1963, three weeks after the Springfields' final concert, "I Only Want to Be With You" was a global success, reaching number 4 UK, number 12 US, number 6 Australia, and number 21 Canada. In the US, Dusty Springfield was the second artist of the British Invasion, after the Beatles, to have a hit, entering the Billboard chart at number 77 in the last week of January 1964 (the Beatles having "She Loves You" at number 69 and "I Want to Hold Your Hand" at number 3).


title: I Only Want to Be with You

text: Raymonde's arrangement is unmistakable, with its relentless "ticker-ticker" beat and cascading drum rolls, full-on choirs and "Tower of Power" horn section pitched against soaring rock strings. It set the production standard for Springfield's later hits, such as "Stay Awhile" and "Little by Little". Springfield also recorded the song with an almost identical arrangement in German, with the title "Auf dich nur wart' ich immerzu".


title: I Only Want to Be with You

text: The song was performed by Springfield on the first-ever edition of the BBC's "Top of the Pops", on 1 January 1964.


title: I Only Want to Be with You

text: Springfield's version was re-released in 1988, coinciding with its use in a soft-drink commercial, as a 7" & 12" single (see cover in infobox), peaking at number 83 in the UK.


title: I Only Want to Be with You

text: Springfield's "I Only Want to Be with You" served as the theme song for the HBO sitcom "Arliss", from 1997 to 2002 (replacing "I Can't Help Myself (Sugar Pie Honey Bunch)" by the Four Tops which was the series' theme in its inaugural 1996 season).


title: I Only Want to Be with You

text: The Bay City Rollers recorded "I Only Want to Be with You" for their 1976 album "Dedication" in June and July 1976 at Soundstage Studio in Toronto with producer Jimmy Ienner. "Dedication" was the first Bay City Rollers recorded under the auspices of Arista Records, and it was Arista president Clive Davis who suggested that the group remake "I Only Want to Be with You." Jimmy Ienner was chosen by Davis to produce the Bay City Rollers on the basis of Ienner's work with the Raspberries.


title: I Only Want to Be with You

text: In the US "I Only Want to Be with You" was issued as advance single from "Dedication" in August 1976: that October the track reached a "Billboard" Hot 100 peak of number 12, besting the number 28 peak of the precedent Bay City Rollers' single "Rock and Roll Love Letter" while failing to match the Top Ten success the group had enjoyed in 1975–1976 with "Saturday Night" and in 1976 with "Money Honey". "I Only Want to Be with You" appeared to wrap up the group's burst of North American stardom as their next three US single releases were Top 40 shortfalls: however the group's fourth US single release subsequent to "I Only Want to Be With You": "You Made Me Believe in Magic", did afford the group a final Top Ten hit.


title: I Only Want to Be with You

text: Issued in the UK as a non-album single on 3 September 1976, "I Only Wanna Be with You" – so entitled – reached number 4 UK, affording the Bay City Rollers' a tenth and final Top Ten hit.


title: I Only Want to Be with You

text: It's noteworthy that the US and UK chart peaks of the Bay City Rollers' 1976 remake of "I Only Want to Be with You" exactly match the US and UK chart peaks achieved in 1964 by the Dusty Springfield original. However the Springfield original version had had a significantly stronger UK chart run holding at number 4 for 4 weeks – as opposed to the Bay City Rollers remake's one week chart peak – with the original's Top 50 tenure of 18 weeks being twice as long as the remake's. Conversely in the US the Bay City Rollers' remake had a "Billboard" Hot 100 tenure of 15 weeks while the Springfield original had maintained a Hot 100 presence for 10 weeks in total. (Comparisons between the chart impact of singles issued in distinct time periods should be considered imprecise, the methodology behind both the UK and US chart rankings having been frequently revised.)


title: I Only Want to Be with You

text: Chicago radio superstation WLS, which gave the song much airplay, ranked "I Only Want to Be with You" as the 14th most popular hit of 1976. It spent two weeks at number two on their survey of 6 November 1976.


title: I Only Want to Be with You

text: In 1979, the song was also covered by The Tourists, a band which included Annie Lennox on vocals – which served as the band's biggest hit. The song was used on a montage of stars when Thames Television went off the air in December 1992.


title: I Only Want to Be with You

text: The song was "put down in twenty minutes at the end of the album sessions", with Lennox recording the vocals in one take.


title: I Only Want to Be with You

text: Lennox later said that "we were taken to the cleaners for doing that bloody song", as "the press absolutely slaughtered us". Dave Stewart said that "It was a bit out of proportion with 'I Only Want To Be With You' – the poppy side of it was really overplayed by everybody".


title: I Only Want to Be with You

text: Reviewing the song for Record Mirror, Daniela Soave included it the singles of the week, writing that the song "definitely grows on you" and that "Lennox has the same deep mellow tones that Dusty Springfield displayed when she sang the same song, but it is saved from being a carbon-cover version by the instrumentation... handclaps, vicious guitar, chugging bass, that sort of thing.


title: I Only Want to Be with You

text: Nicolette Larson remade "I Only Want to Be with You" for her album "All Dressed Up and No Place to Go" produced by Andrew Gold and recorded October 1981 – January 1982 at Sunset Sound. Released as a single in July 1982 – parallel with the album's release – Larson's version featured as B-side "How Can We Go On", a track from Larson's 1981 album "Radioland" which had been an unsuccessful 1981 A-side release.


title: I Only Want to Be with You

text: Reviewing "All Dressed Up and No Place to Go", "High Fidelity" critic Steven X. Rea cited "Dusty Springfield's 60s gem 'I Only Want to Be with You'" as one of several tracks which "Nicolette sings in an awkward warble, devoid of any emotional range": Larson's "I Only Want to Be with You" drew similarly dismissive reaction from Tom Long of the "Santa Cruz Sentinel", who rated the original 1963 hit a "swell oldie [that's an] ingratiating piece of fluff" and Larson's remake "awful [although] despite uninspired vocals and sheet musicianship [it] sounds good on the radio simply because the song itself sounds good and tickles forotten memory synapses", and also Bill Provick of the "Ottawa Citizen" who opined Larson gave "a rather lacklustre reading of [a] normally effervescent pop-rock classic." Tim Gebhart of the "Rapid City Journal" was more positive: "Larson['s] version remains true to the original but also contains her own special touch in the vocals."


title: I Only Want to Be with You

text: Despite becoming Larson's fourth single to rank on the Hot 100 chart in "Billboard" magazine – and her first Hot 100 entry since 1980 – "I Only Want to Be with You" would prove a Top 40 shortfall stalling at #53 in September 1983. Larson's label WB Records, electing not to issue a second single from "All Dressed Up and No Place to Go", were motivated by the underperformance of that album and its one single to end Larson's label tenure. Larson would have one subsequent major label affiliation, having two C&W-focused albums released by MCA Records in 1985–86.


title: I Only Want to Be with You

text: In 1988, British singer Samantha Fox covered the song as "I Only Wanna Be with You" for her third studio album, "I Wanna Have Some Fun" (1988).


title: I Only Want to Be with You

text: Fox would recall the song as being the first song she ever learned to sing, the Dusty Springfield original version being among a stack of singles her mother handed down to Fox when she was aged ten. The decision to record the song was Fox's, and she was relieved when producers Stock Aitken Waterman agreed to the idea, having worried they would only want to record their own compositions, for publishing reasons.


title: I Only Want to Be with You

text: Released as the follow-up single to the album's title cut, "I Only Wanna Be With You" was promoted with a music video which included scenes of Fox hunting through rubbish bins, dancing, fireworks, and the singer in bed with her bespectacled lover. Fox also promoted the song via televised performances, including those on "Top of the Pops" in 1989 and "Viva el espectáculo" on TVE1 in 1990.


title: I Only Want to Be with You

text: "I Only Wanna Be with You" earned Fox her final global hit single to date. In the United States, where "I Wanna Have Some Fun" had been a Top Ten hit, "I Only Wanna Be with You" rose no higher than number 31 and would mark Fox's final "Billboard" Hot 100 appearance: in Fox's native UK her version outperformed her previous six single releases with a number-16 peak, but would also become Fox' final major hit bar her 1998 one-off comeback single "Santa Maria".


title: I Only Want to Be with You

text: Robin Smith, reviewer of British music newspaper "Record Mirror", was disappointed by such choice of Fox. As per him British singer made serious mistake after "sheer excellence of "Love House". Reporter considered that decision to use "tired remake of old hit" will grant her the "first class ticket back to bimbo land".


title: I Only Want to Be with You

text: Mexican singer Luis Miguel recorded a version of the song, titled "Ahora te puedes marchar" ("Now you can leave") which was released as the first single from his Grammy-nominated album "Soy como quiero ser" (1987), the first album recorded by the singer under the WEA record label. It was produced by Juan Carlos Calderón and adapted by Luis Gómez Escolar. This single became very successful, peaking at number-one in the "Billboard" Hot Latin Tracks chart for three non-consecutive weeks in 1987, being the first chart topper for the singer on the chart. At the time, Luis Miguel was the youngest to score a number-one hit on the Hot Latin Tracks at the age of 17, ironically replacing the then 44-year-old veteran Julio Iglesias at the summit. In 2005, Luis Miguel included this song on his compilation album "Grandes Éxitos". This version ranked at number 28 in the Hot Latin Tracks Year-End Chart of 1988. The song was translated into Portuguese as "Agora Você Pode Ir" for the Brazilian edition of the album. A version by Spanish pop singer Lita Torrelló, adapted by Julian Mario Suarez Gomez and released in 1964 also shares the same title.


title: I Only Want to Be with You

text: The lyrics are considerably different from the original song, telling the story of a man rejecting a woman interested in reforming a relationship, counter to themes of unconditional love shown in Dusty Springfield's original.


title: I Only Want to Be with You

text: Two music videos were shot. The first one was shot with Angélica Rivera, while the second one was shot dancing in a bridge. The second one was included in Grandes Éxitos Videos.


title: I Only Want to Be with You

text: 1964 Les Surfs as "A présent tu peux t'en aller'" also recorded by Richard Anthony And Claudette Vandal


title: I Only Want to Be with You

text: 1965 Enrique Guzmán on his album "Éxitos internacionales" as "Sólo quiero estar contigo" also recorded by Juan Ramón () on his album "Más corazón que nunca"


title: I Only Want to Be with You

text: 2011 Amy Macdonald: recorded 2008 for canceled multi-artist Dusty Springfield tribute album: track first released on album "Reworked", a multi-artist fundraiser for Save the Children featuring songs used in John Lewis ad campaigns


title: Savannah Welch

text: Savannah Rose Welch (born August 4, 1984) is an American actress, musician and podcast host. She is best known for her work in the feature films "Boyhood", "The Tree of Life", and the History Channel drama "SIX". Welch is also a member of the alt-country band The Trishas.


title: Savannah Welch

text: She attended UT Austin and studied film for a year, then dropped out to pursue film production and acting.


title: Savannah Welch

text: Welch's first significant acting role was in 2005, in the independent film "Jumping Off Bridges", directed by Kat Candler. She went on to appear in higher profile projects including drama "Boyhood" directed by Richard Linklater. She also had a role in "The Tree of Life", written and directed by Terrence Malick. She would work with Malick again in 2017's "Song to Song".


title: Savannah Welch

text: In 2013, Welch appeared with her band The Trishas in two films. For her role in "Billy Bates", The Trishas played her backup band, and contributed to the soundtrack. The Trishas also appeared as a band in "Angels Sing".


title: Savannah Welch

text: In 2018, Welch played the role of ex-Marine Dawn who lost her leg in an IED explosion in the second season of the History Channel's drama series "SIX". Her character meets Alex Caulder (Kyle Schmid), one of the main characters of the Navy SEAL Team, while undergoing physical therapy. While shooting, Welch marked the one-year anniversary of her real-life accident.


title: Savannah Welch

text: Although she grew up in a musical family, Welch did not sing publicly until 2005's “Chip Off the Old Block” SIMS Foundation fundraiser hosted by the Braun Brothers (Reckless Kelly, Micky and the Motorcars).


title: Savannah Welch

text: She would not sing publicly again until the 2009 MusicFest in Steamboat Springs, Colorado. A tribute concert to her father, Kevin Welch, brought her together with 3 other independent artists: Liz Foster, Jamie Lin Wilson, and Kelley Mickwee. They would go on the form the alt-country girl group The Trishas.


title: Savannah Welch

text: Welch began recording her KUT NPR local podcast Enough About Music at Austin venue Cactus Cafe. Her first guest was Kevin Russell of Shinyribs. The only rule with her guests is to talk about anything at all, except music.


title: Savannah Welch

text: On November 2, 2016, Welch was at a farmer's market in Wimberley, Texas with her father and 4-year-old son when a vehicle hit her. Doctors determined the impact injury sustained to her right leg was beyond repair resulting in amputation.


title: Savannah Welch

text: There was an outpouring of support after the accident from both the Austin and music communities. Welch's first public appearance was at the "Eye Love Savannah" benefit November 28, 2016 organized by Austin photographer Todd Wolfson. A “Stand with Savannah” benefit concert was held in Nashville, Tennessee December 13, 2016 with Savannah's father, country music artist Kevin Welch, reuniting with his old band Dead Reckoners. Emmylou Harris also attended. On December 23, 2016, there was a "Standing Beside Savannah" Benefit Auction at the Continental Club in Austin held during the Legends & Legacies Holiday Show, which featured multi-generation family collaborations from Austin musical families performing, including Welch's brother Dustin and father Kevin, James McMurty, John Dee Graham, and Charlie Sexton.


title: Prunus mume

text: Prunus mume is an East Asian and Southeast Asian tree species classified in the "Armeniaca" section of the genus "Prunus" subgenus "Prunus". Its common names include Chinese plum, Japanese plum, and Japanese apricot. The flower, long a beloved subject in the traditional painting and poetry of East Asia and Vietnam, is usually called plum blossom. This distinct tree species is related to both the plum and apricot trees. Although generally referred to as a plum in English, it is more closely related to the apricot.


title: Prunus mume

text: In East Asian cuisine (Chinese, Japanese and Korean) and Vietnamese cuisine, the fruit of the tree is used in juices, as a flavouring for alcohol, as a pickle and in sauces. It is also used in traditional medicine.


title: Prunus mume

text: "Prunus mume" should not be confused with "Prunus salicina", a related species also grown in China, Japan, Korea and Vietnam. Another tree, "Prunus japonica", is also a separate species despite having a Latin name similar to "Prunus mume"'s common name.


title: Prunus mume

text: "Prunus mume" originated around the Yangtze River in the south of China. It was later introduced to Japan, Korea and Vietnam. It can be found in sparse forests, stream sides, forested slopes along trails and mountains, sometimes at altitudes up to , and regions of cultivation.


title: Prunus mume

text: "Prunus mume" is a deciduous tree that starts to flower in mid-winter, typically around January until late February in East Asia. It can grow to tall. The flowers are in diameter and have a strong fragrant scent. They have colors in varying shades of white, pink, and red. The leaves appear shortly after the petals fall, are oval-shaped with a pointed tip, and are 4–8 cm long and 2.5–5 cm wide. The fruit ripens in early summer, around June and July in East Asia, and coincides with the East Asian rainy season, the meiyu (梅雨, "plum rain"). The drupe is in diameter with a groove running from the stalk to the tip. The skin turns yellow, sometimes with a red blush, as it ripens, and the flesh becomes yellow. The tree is cultivated for its fruit and flowers.


title: Prunus mume

text: The scientific name combines the Latin prūnus (“plum tree”) and the obsolete Japanese 梅 (mume, “plum”). The plant is known by a number of different names in English, including Chinese plum and Japanese apricot. An alternative name is "ume" or "mume". Another alternative name is "mei".


title: Prunus mume

text: The flower is known as the "meihua" () in Chinese, which came to be translated as "plum blossom" or sometimes as "flowering plum". The term "winter plum" may be used too, specifically with regard to the depiction of the flower with its early blooming in Chinese painting.


title: Prunus mume

text: In Chinese it is called "mei" (梅) and the fruit is called "meizi" (梅子). The Japanese name is "ume" (kanji: 梅; hiragana: うめ), while the Korean name is "maesil" (hangul: 매실; hanja: 梅實). The Japanese and Korean terms derive from Middle Chinese, in which the pronunciation is thought to have been "muəi". The Vietnamese name is "mai" or "mơ" (although "mai vàng" refers to a different plant, "Ochna integerrima", in southern Vietnam).


title: Prunus mume

text: Ornamental tree varieties and cultivars of "P. mume" have been cultivated for planting in various gardens throughout East Asia, and for cut blossoming branches used in flower arrangements.


title: Prunus mume

text: In China, there are over 300 recorded cultivars of "Prunus mume". These are classified by phylogenetics ("P. mume" and two hybrids) in branches, type of branches in groups, and characteristics of flowers in several forms:


title: Prunus mume

text: It is disputed whether "Prunus zhengheensis" () is a separate species or conspecific with "Prunus mume". It is found in the Fujian province of China. It is only known from one county, Zhenghe. It is a tree tall, preferring to grow at above sea level. The yellow fruit is delectable, and aside from its height it is indistinguishable from "P. mume".


title: Prunus mume

text: In Japan, ornamental "Prunus mume" cultivars are classified into "yabai" (wild), "hibai" (red), and "bungo" (Bungo Province) types. The "bungo" trees are also grown for fruit and are hybrids between "Prunus mume" and apricot. The "hibai" trees have red heartwood and most of them have red flowers. The "yabai" trees are also used as grafting stock. Among yabai trees, Nankoume is very popular variety in Japan, and which fruits are mainly used for making Umeboshi.


title: Prunus mume

text: In China and Taiwan, "suanmeitang" (; "sour plum juice") is made from smoked plums, called "wumei" (). The plum juice is extracted by boiling smoked plums in water and sweetened with sugar to make "suanmeitang". It ranges from light pinkish-orange to purplish black in colour and often has a smoky and slightly salty taste. It is traditionally flavoured with sweet osmanthus flowers, and is enjoyed chilled, usually in summer.


title: Prunus mume

text: In Korea, both the flowers and the fruits are used to make tea. "Maehwa-cha" (; "plum blossom tea") is made by infusing the flowers in hot water. "Maesil-cha" (; "plum tea") is made by mixing water with "maesil-cheong" (plum syrup) and is served either hot or cold. In Japan, similar drink made from green plums, tastes sweet and tangy, is considered a cold, refreshing drink and is often enjoyed in the summer.


title: Prunus mume

text: A thick, sweet Chinese sauce called "meijiang" () or "meizijiang" (), usually translated as "plum sauce", is also made from the plums, along with other ingredients such as sugar, vinegar, salt, ginger, chili, and garlic. Similar to duck sauce, it is used as a condiment for various Chinese dishes, including poultry dishes and egg rolls.


title: Prunus mume

text: In Korea, "maesil-cheong" (, "plum syrup"), an anti-microbial syrup made by sugaring ripe plums, is used as a condiment and sugar substitute. It can be made by simply mixing plums and sugar together, and then leaving them for about 100 days. To make syrup, the ratio of sugar to plum should be at least 1:1 to prevent fermentation, by which the liquid may turn into plum wine. The plums can be removed after 100 days, and the syrup can be consumed right away, or mature for a year or more.


title: Prunus mume

text: In Korea, "hwajeon" (; "flower pancake") can be made with plum blossoms. Called "maehwa-jeon" (; "plum blossom pancake"), the pancake dish is usually sweet, with honey as an ingredient.


title: Prunus mume

text: Plum liquor, also known as plum wine, is popular in both Japan and Korea, and is also produced in China. "Umeshu" (; "plum wine") is a Japanese alcoholic drink made by steeping green plums in shōchū (clear liquor). It is sweet and smooth. A similar liquor in Korea, called "maesil-ju" (; "plum wine"), is marketed under various brand names, including Mae hwa soo, Matchsoon and Seoljungmae. Both the Japanese and Korean varieties of plum liquor are available with whole plum fruits contained in the bottle. In China, plum wine is called "méijiǔ" ().


title: Prunus mume

text: In Taiwan, a popular 1950s innovation over the Japanese-style plum wine is the "wumeijiu" (; "smoked plum liquor"), which is made by mixing two types of plum liquor, "meijiu" () made of "P. mume" and "lijiu" () made of "P. salicina", and oolong tea liquor.


title: Prunus mume

text: In Vietnam, ripe plums are macerated in sticky rice liquor. The resulting liquor is called "". A brand selling plum liquor is Sơn Tinh.