Metamorphosis is the second studio album by American actress and singer Hilary Duff. The album was released on August 26, 2003, by Hollywood Records as the follow-up to her debut studio album and first Christmas album, Santa Claus Lane (2002). According to Duff, the album incorporates elements of pop and rock music, and it represents changes that are specific to her life and that everyone experiences. Duff worked with several producers on the album such as The Matrix. Others who collaborated on the album include Chico Bennett, Matthew Gerrard, John Shanks and Kara DioGuardi.

The album coincided with other high-profile projects in which she was involved in other media. Metamorphosis received mixed reviews from music critics; some complimented it for being a modern-day bubblegum album, while others considered the album to be a promotional gimmick for Duff, lacking real substance. The album debuted at number two on the US Billboard 200, selling 203,000 copies in its first week, becoming the highest opening week sales figure for a debut album by a female artist in 2003. In the following week, the album rose to number one on the chart. It became the eighth best-selling album of 2003 in the US, according to Nielsen SoundScan, selling 2.6 million copies in a period of five months. By late 2005, the album had sold five million copies worldwide. For Hollywood Records, Metamorphosis was the label's first high-seller in several years and led to the company's further successful cultivation of new artists and brands using the Disney Channel. She was the sixth solo artist to peak at number one on the Billboard 200 under the age of 18.

Three singles were released from the album. The lead single, "So Yesterday", was released in July 2003 to mixed reviews. The song failed to make much of an impact in the United States, peaking in the top 50. Internationally, it peaked within the top-ten of the music charts in Australia, Canada, France and the United Kingdom. The second single, "Come Clean", released in early 2004, was more successful in the United States, peaking at number 35 on the US Billboard Hot 100 and becoming her best-selling single in the country. The third and final single from the album, "Little Voice", was only released in Australia. Duff further promoted the album with the Metamorphosis Tour, which began in November 2003 and ended in May 2004.

Background
Hilary Duff had always wanted to follow in the footsteps of her elder sister, Haylie. Duff watched her sister rehearsing in 2001, after which she told her mother that she wanted to be involved in singing. During the same time period, she attended a Radio Disney concert where she met Andre Recke, whose client Myra was performing. According to Duff, watching the pop musicians preparing and warming up backstage at the concert made her think, "I want to do this so bad". Recke said he thought Duff, who was popular with preteens at the time because of her role in the popular Disney Channel original series Lizzie McGuire, had "something special ... Sometimes you just have that feeling, that, 'Wow, she's a star.'" After becoming determined to start a music career, Duff resumed her vocal lessons—which she had started before her acting career began—and became one of Recke's clients. "I've always had a big drive", she said. "When I felt like something looked fun or I wanted to accomplish something, I really just go for it ... I didn't really know what it was gonna be like, but I knew I wanted to try it and I knew that I could do it." Duff recorded several songs for Disney soundtrack and compilation albums, and a Christmas album, Santa Claus Lane, in 2002. Her songs "I Can't Wait", "Why Not" and "What Dreams Are Made Of" were hits on Radio Disney, but Recke and executives at Buena Vista Music Group envisioned Metamorphosis as a vehicle by which Duff could reach a more mature audience.

Recording
Duff, her mother Susan, and Recke enlisted the songwriting and production team The Matrix—whom Recke had previously hired to write songs for Myra's 2001 eponymous debut album—and songwriter Charlie Midnight, who had contributed to Santa Claus Lane (2002). According to Duff, her mother, Recke and Duff herself worked very hard to get music that she related to and was age-appropriate for her. Duff said that she did not want to make "a really poppy album" because that was not the type of music she listened to. The presence of The Matrix was noted because of their work on Avril Lavigne's highly successful debut album, Let Go (2002), but Duff said that she did not want to emulate other artists: "There are definitely people I respect and I love their music, but there was never really an artist that I said, 'I want to be just like them...' ... I wanted to be like myself".

According to Duff, although she did not write most of the songs, she collaborated on each of them. Aside from The Matrix and Charlie Midnight, contributions to the album came from singer-songwriter Meredith Brooks, Kara DioGuardi, Matthew Gerrard, John Shanks and Duff's sister, Haylie, who Duff said knows her better than "anyone else in the world". Duff discussed her feelings with some of the songwriters, and she praised them because they were open to her opinions and "really got it". She said that she would have liked more time to work with the songwriters and co-write more of her own material, saying "I feel like you need time to really get in touch with yourself to do that". In May 2004, Meredith Brooks, writer and producer of "Party Up", complained about the million-dollar budgets major labels spend to produce albums, saying "There's something seriously wrong with all that! You can't keep that going. Artists have to sell millions of records for anybody to make money off of those bloated budgets."

Production

Influences and sound
As Duff was really into Destiny's Child at the time, initial work on the album carried a more "urban style" than the finished project. The work, according to Chico Bennett, "didn't strike a chord", so they went for a different approach. Recke asked Duff what type of music she would like to do, to which she responded: "Well, growing up, we listened to a lot of rock music, and I like a little bit more guitar in it." So they decided to go about the record with a "real band vibe". According to Recke, the album is still pop, but with a "little rockier edge to it". They wanted to do something that would fit Duff's personality and "something that she wanted to be". Recke made sure that the music was what Duff wanted, as there's "nothing worse than an artist not excited to perform it".

Recke, Landers and Duff wanted to make "not just a record that might appeal to an audience because of her television popularity", but they wanted to create a "really fun, great pop record that Hilary could get behind personally". According to Recke, the songs on the album were all "molded around" Duff. He cited this as the reason why the album "feels so  authentic". According to Midnight, the album does not contain "just a bunch of different songs that don't have anything to do with the others. When you look at the overall roster of songs, they all do fit into a certain context." Of the process, Midnight explained:

Considering how young she was, I thought that was interesting, that it wouldn't be a complete fabrication, because I'm used to working with very strong artists, strong personalities. After I got to know Hilary and we hung out, I saw that she had real points of view and was going to be real involved, which makes it easier to actually create the music—coming from somewhere, from a personality, from a point of view, rather than created out of whole cloth. So that excited me. Hilary had so much personality that she was able to convey on a recording.

Contributors

As she was not familiar with the process of creating an album, Duff met with many different record producers. She sat down with each of them and told them what she enjoyed listening to. In some instances, Duff would go into detail about events in her personal life that could be used for inspiration in a song. While Recke and Landers were in charge of looking for the "right songs" for the album, Duff was also heavily involved in the song selection and in "making sure the lyrics were where she was at that age".

Kara DioGuardi, who had long outgrown Disney, thus making her unaware of who Duff was, was told by an acquaintance of hers who worked at EMI that she should meet up with Recke. DioGuardi told her friend that she was "on a tight schedule", but later decided that she'd "try it". During their initial meeting, DioGuardi played Recke several songs that she had written. After hearing the selection, he immediately told her that he wanted "Come Clean" and "Little Voice" for Duff, saying that they were perfect for her.

Having liked the chemistry between Charlie Midnight, Recke and Duff on Santa Claus Lane, Landers asked Midnight to provide material for Metamorphosis. He submitted "quite a few songs" for the album because he loved working with Duff. He concentrated on trying to "bounce things" off Recke, Landers and Duff about "what topics they thought would be right" for the album. Midnight was "pretty much ground zero" for a lot of people involved with Metamorphosis, according to Charlton Pettus; he was the lyricist who "seemed to get the tone of it all".

Pettus deemed his involved in the project as being "completely accidental"; he had just moved from New Jersey to Los Angeles and was introduced to Midnight through their mutual friend Marc Swersky. The three wrote several songs together with no particular artist in mind. One song in particular, "Workin' It Out", was given to Duff for Metamorphosis. Similarly, Midnight had written "Love Just Is" with Jim Marr and Wendy Page without "necessarily thinking of Hilary at first". After insisting that Duff should record it, Recke played the song for her and she "absolutely loved it".

The Matrix, a record production team consisting of Lauren Christy, Graham Edwards and Scott Spock had "just come off the back of a very successful little run" with three number one hits with Avril Lavigne when Disney approached them and asked if they would be interested in writing for Duff. They agreed and called Midnight, who had already been involved in the project. Christy cited him as one of her favorite writers and her mentor. Being familiar with their work, meeting with The Matrix was "very exciting" for Duff. Upon hearing the demos for "So Yesterday", "Where Did I Go Right?" and "The Math" – performed by Christy – Hollywood Records "immediately loved them".

Writing

DioGuardi wrote "Come Clean" with John Shanks as a "personal statement" to herself. At the time, she had just finished work on Marc Anthony's sixth studio album, Mended (2002), and was "really, really uninspired writing to tracks". DioGuardi felt as if it was "very binding", as "the melodies had to be within the constraints of what was going on in the tracks". According to DioGuardi, the song was "kind of this statement for [herself]", as she was "getting away from all of that" and "going to go back to the way it should be done in music". "Little Voice" was written by DioGuardi and Patrik Berger for Swedish singer Sahlene.

After Recke chose the songs, DioGuardi had the task of rewriting some of the song's lyrics to make them more appropriate for Duff's demographic. According to Recke: "Kara got [it]. It morphed into this really cool creative relationship that Hilary and Kara developed. What I always loved about Kara was she wrote like an artist, not as a typical songwriter. I think that's what really connected with Hilary." Duff herself credits DioGuardi as helping her find her "voice".

Duff loved the recording process of "Come Clean", having a "good time" in the studio with Shanks, who produced the song. According to Duff, he was "really, really, really great" about making her feel comfortable in the studio. DioGuardi's idea for the vocals on "Little Voice" were "very, very character—it was one of those songs that's more about the character of the vocal as opposed to being a more straight-to-the-middle kind of vocal performance". According to Bennett, the song's producer, "it was kind of an acting job as opposed to a more traditional approach" for Duff.

"Inner Strength" was an "awesome experience" for Duff, as it was the first time that she and her sister Haylie wrote together. Writing with Haylie was a "specific comfort place" for her at the time, as her life had been changing "so fast and so quickly". According to Duff, "it was kind of scary and a lot of times I felt alone or criticized". Haylie used to write a lot of poetry and when she was 16 she wrote a poem about sweet sixteen. She read it for my family and Duff suggested that they make it into a song, which became "Sweet Sixteen".

Christy found writing the songs for Duff as "really fun and easy". The Matrix had just completed their work with Avril Lavigne on her debut studio album, Let Go (2002) at the time, so they were "in that zone". The Matrix knew that they had a hit on their hands as soon as they began working on "So Yesterday". When Duff heard the song for the first time, she was very unsure about it. Despite her reluctance to do the song, she recorded it and once Hollywood Records heard it, "everybody started sort of freaking out". She later recalled, in August 2013, that it was not one of her favorite songs, but that it "definitely grew on [her]". Christy recalled the process of working with Duff as being "too easy". She cited Duff as "just a professional" and that the one thing that she remembers the most from working on Metamorphosis was that Duff is a "real worker". According to Christy, "Where Did I Go Right?" and "So Yesterday" are among her favorite songs that she has ever written.

As she had already worked with Midnight in the past, he already knew what "she wanted to talk about and what she was going through at that time". For "Metamorphosis", Bennett, Midnight and Duff had discussions about "all these changes that were going on" in her life. Bennett wrote the track and then got together with Midnight to compose the lyrics and the melody. Duff had only a couple of days to record the vocals for "Metamorphosis", as she was also working on a film at the time. As Bennett was putting the song together he realized that he had a "different spin on the melody", so Duff went back into the studio to "lay down a different melody" for the chorus at the last minute. Duff's "really strong work ethic" greatly impressed Bennett.

Music and lyrics

Duff described the album as "pop music [that] has some more rock and edginess to it"; she said the type of music was "somewhere in between" pop and "hardcore rock", but that she did not know how to explain it. According to her, there is "a lot of different music" on Metamorphosis that she finds difficult to categorise. The music on the album is "a little different" from her previous music because, according to her, the album "has all the kinds of music I like to listen to". She said that there are many "different sounds" on the album, such as rock and electronic, and "a whole range" of tempos, including "deep, slow" tracks and "high-energy" songs to provide her with a "boost". According to Duff, everyone experiences varied feelings and moods, and they can "feel a bit better" by playing their favorite song.

Rolling Stone magazine described the album as "a slick collection of pop songs, master-crafted to appeal to huge numbers of young people". Duff told the Chicago Sun-Times in 2005 she was under the control of the record label during the making of Metamorphosis and her second album, Hilary Duff (2004), and could not incorporate the sound she wanted into her recordings. She said the production "[had] been mastered and sounds really pretty ... If I could change it, I would, and it would sound [less pop]. My name is Hilary Duff, and I don't know why I don't get to make Hilary Duff music." In spite of the release of Santa Claus Lane, Metamorphosis is considered Duff's "proper" debut album.

Duff said the album represented "kind of a change" because it was "kind of different" from anything she had previously done; as she put it, "We called the album Metamorphosis because it's about changes that everybody experiences". Duff called change "a very important and natural thing", saying that the album was a good way to introduce everyone to "the real me" because, in her words, "Everyone evolves and changes". She said she was "excited" about Metamorphosis because it represented her rather than characters she played: "It's more personal than acting", she said; however, she said that the album was "not just about me". Duff said she believed her music provided a way for people to get to disassociate her from her Lizzie McGuire persona, a goal she said was "so important to me". She described it as "definitely stuff that everybody my age can relate to". She characterized the recording process as "cool" because the songs are strongly related to her personal life.

The album opens with its lead single "So Yesterday," that according to Duff is an empowering song about breaking up with someone and getting over it. The song, that incorporates elements of pop and rock music, was cited as having influences of Avril Lavigne. The second song on the album, and second single, "Come Clean" documents a relationship between a boy and a girl who feel they are "in the dark" about each other; in Duff's words: "they're coming clean, whether it means they're gonna be together or not." "Little Voice," a cover of the 2000 single "The Little Voice" by Swedish recording artist Sahlene, is the album's third single. The song speaks of having a conversation with ones conscience. "Sweet Sixteen" is a song by Haylie Duff described as being "a really fun song that totally relates to [her] life right now." The album's title track "Metamorphosis" is a song about "getting over a boy." Duff insisted the song was not about fellow singer and ex-boyfriend Aaron Carter, with whom she was rumored to have broken up after a fight. "Inner Strength," another contribution of Haylie Duff, is described by as "very empowering and uplifting" and "really beautiful". The final song on the album, "Why Not," was previously released on the soundtrack for The Lizzie McGuire Movie, a film in which Duff starred.

Release and promotion
Metamorphosis was released in North America on August 26, 2003. Its CD+DVD deluxe editions were released in Japan and Australia in 2004. During the period in which Metamorphosis was released, Duff was participating in many projects in film, brand licensing, music and television; USA Today wrote in July 2003 that she was emerging as "The Next Big Thing" and "a marketing powerhouse" with nine to twelve year-olds, and Billboard magazine said that she "is looking to become more than just the nation's next teen pop princess. She wants to become a brand-name phenomenon ... [Metamorphosis] is just the beginning." These projects included the high-profile Hollywood films Cheaper by the Dozen (2003) and A Cinderella Story (2004), a clothing and accessories line called Stuff by Hilary Duff, a Lizzie McGuire merchandise line, and a Visa prepaid credit card for children aged six to thirteen. She also participated in a marketing campaign for the Hasbro personal video player VideoNow, for which she filmed the video A Day in the Life of Hilary Duff, which included a behind-the-scenes look at the making of the "Why Not" music video. Entertainment lawyer Larry Golring called it "a great cross-promotion" for VideoNow and Duff's music career, which he said were "two new brands that are going to be huge this time next year, and they hopefully will have helped each other get there". The Associated Press quoted Bob Cavallo, the chairman of Buena Vista Music Group, as saying that "At this point, she's obviously already a franchise".

Marketing people such as Laura Groppe, president of Girls Intelligence Agency, said that the timing of the release of Metamorphosis and other Duff-related products was right because there had been a lack of teen idols since Britney Spears, and that Duff "[is] not too pretty. Not too thin. Not too anything ... like a little Meg Ryan." According to Marketing Evaluations/TvQ, Duff was, in July 2003, the female star most popular with kids aged between six and eleven. Amy Doyle, at MTV's vice president of music programming, said Duff was "definitely one of the hot people to watch ... She's become the fabric of pop culture with teens right now." There was concern from some, however, that Duff could become overexposed, although Duff's manager emphasised his selectiveness against "[i]f something looks cheesy", and that Duff "doesn't want to be all over TV commercials". Others, such as Robert Thorne, the CEO of the Olsen twins' Dualstar Entertainment, said that Duff should have stayed with The Walt Disney Company — from which she separated after contract negotiations broke down — to build the Lizzie McGuire franchise and use it to help develop her career into adulthood. In spite of this split, the profile of Duff and the album was supported by the DVD release of The Lizzie McGuire Movie and reruns of Lizzie McGuire episodes on the Disney Channel for two seasons. Duff herself said that Lizzie McGuire was "a great place to begin my career", but said that "it's exciting to go out on my own" with Metamorphosis.

Before the release of the album, and beginning in July 2003, Duff and Metamorphosis were given substantial promotional support from MTV, which highlighted "So Yesterday" on Making the Video and Total Request Live; Duff co-hosted the special TRL's All-Star Backyard BBQ. "So Yesterday" was released to U.S. Top 40 radio in mid-July, after which it became the "most added" song on the format. On the internet AOL Music had a marketing relationship with Duff and Metamorphosis: it hosted the premiere of "So Yesterday" and recording a Sessions@AOL broadcast with her, among other content exclusive to AOL members. In late September The WB Television Network aired an hour-long Hilary Duff birthday special, and MTV aired an episode of the documentary series Diary that followed Duff through a day. A DVD containing music videos, performance and behind-the-scenes footage and bonus features, Hilary Duff: All Access Pass, was released in November.

Duff embarked on a four-week concert tour in the U.S. from November to early December 2003. The song "Anywhere But Here" was included on the soundtrack of the film A Cinderella Story; Duff promoted the film and Metamorphosis with a series of television appearances in July 2004, including one on ABC's Good Morning America. She performed before roughly 7,000 people, breaking a Good Morning America audience record. In the same period she embarked on a U.S. summer tour, during which she performed a one-hour set that included Metamorphosis tracks, covers of The Go-Go's' "Our Lips Are Sealed" and The Who's "My Generation", and previously unheard material from Hilary Duff. Haylie Duff was the opening act on the tour, which ran for thirty-six dates and sold well in major arenas ; Pollstar editor-in-chief said that there was "a real positive buzz about ticket sales for Hilary's show". The tour was involved with the charity Kids with a Cause, of which Duff was a charter member in 1999; it sponsored a "Food for a Friend" drive and encouraged attendees to bring canned food to each tour venue, where the cans were collected and distributed across shelters in each city through which Duff toured. By early August 2004, enough food had been amassed to feed more than 12,000 children. The success of the tour was credited with helping keep the teen pop market alive in the tour circuit, and for being one of the "bright spots" in a slow concert season.

Singles
"So Yesterday" was released as the lead single from the album on July 29, 2003. The song, written by Lauren Christy, Scott Spock, Graham Edwards and Charlie Midnight, was produced by production team The Matrix, who were notable at the time for their work with Avril Lavigne. Thus, some similarities arose between the song and the work of Lavigne. "So Yesterday" debuted on the Billboard Hot 100 chart at number fifty-three in the thirty-third week of 2003, and peaked at number forty-two in its eleventh week. It spent twenty weeks on the Hot 100. The song topped the US Billboard Hot 100 Singles Sales chart, making Duff the first artist in four months not affiliated with American Idol, to top the chart. The song peaked at number two in Canadian Singles Chart. In Australia the song debuted at number thirty-nine, peaked at number eight in its eighth week, and remained on the chart for twenty weeks. It was the forty-ninth best selling single of 2003 in Australia, and was certified platinum in 2004. In Japan, the song reached number 199 on the Oricon weekly charts. In United Kingdom, the song debuted at number nine on the UK Singles Chart. The song peaked in the top ten on the charts in other European countries such as the Netherlands and France. The Chris Applebaum-directed music video for the song premiered on MTV on July 24, 2003. It was later featured on MTV's Making the Video two days after the video's premiere on July 26, 2003. The video shows Duff playing a break-up prank on her aloof boyfriend.

"Come Clean" was released as the second single from the album on January 13, 2004. Duff described the song as being "obviously about a boy and a girl's relationship and it's just talking about how somebody thinks they're in the dark." "She's tired of it and he's tired of it and they're coming clean, whether it means they're gonna be together or not. They're laying all the cards out on the table and coming out with everything that hasn't been said basically.", she said. Duff cited the song as her favorite on Metamorphosis, saying it is "a little more mellow" than her previous single, "So Yesterday", "but it's not really pop. It sounds sort of like techno, but it's slow. It's really cool." The song peaked at number thirty five, becoming Duff's first top forty single in the US and also her highest charting single at the time. However, the song failed to match the success of its predecessor "So Yesterday" in many other countries. It reached a peak of number seventeen in Australia and eighteen in the UK, while charting inside top twenty in Canada, Netherlands, Ireland and New Zealand. The accompanying music video, directed by Dave Meyers, premiered on MTV's Total Request Live on January 14, 2004. The video showed Duff inside a house on a rainy day, waiting for her love interest. The video was nominated for Best Pop Video at the 2004 MTV Video Music Awards.

"Little Voice" was released as the third and final single from the album on June 15, 2004, only in Australia. The song is a re-make of the 2000 song "The Little Voice" by Swedish recording artist Sahlene, written by Kara DioGuardi and Patrik Berger. The new version by Duff featured slightly different lyrics and was produced by Chico Bennett and DioGuardi. The song peaked at number twenty-nine in Australia. The music video for the song was taken from The Girl Can Rock Tour DVD.

Critical reception

Bob Cavallo said he expected the album to sell "a couple of million [copies] ... [i]f the pixie dust flies the right way". Stephen Thomas Erlewine of AllMusic wrote the album, "is what teen pop should sound like in 2003... a very good modern bubblegum album"; he said that it was influenced by Avril Lavigne but that Duff "has a sweeter, more appealing voice than Avril, and the rest of the record follows her cheerful charisma, resulting in a charmingly effervescent listen". However, Slant magazine said that Duff "has decided to ride the Avril wave" and noted that, like Lavigne, Duff enlisted The Matrix to produce and write some of the tracks. Blender magazine called it "a masterfully executed tour through contempo mall-pop, '80s new-wave bubblegum and girl-power affirmations". USA Today named it the tenth worst pop album of 2003, writing "Note to all young, modestly talented singers: Stay in school and you won't wind up on worst-of lists before you're old enough to vote."

Metamorphosis was nominated at the Juno Awards of 2004 for International Album of the Year, but lost to 50 Cent's Get Rich or Die Tryin'. Duff won in the Best New Artist category at the 2004 World Music Awards and Best Female Artist at the Kids Choice Awards, on top of that "Come Clean" was nominated for a MTV Video Music Award for Best Pop Video. Duff also won a TMF award for the "Fake ID Award" category.

Commercial performance
The album debuted at number two on the U.S. Billboard 200 (behind Mary J. Blige's Love & Life) with 203,000 copies sold in its first week of release; at the time, it was the highest opening week sales figure for a debut album by a female artist in 2003. Despite a 30% sales drop in its second week, during which it sold 131,000 copies, Metamorphosis peaked at number one on the chart for that week. It was certified platinum by the RIAA in three months, and two times platinum by the end of the year. In late November/early December, after Duff had appeared at the Macy's Thanksgiving Day Parade and sneak previews of the film Cheaper by the Dozen were held in select cities, Metamorphosis returned to the top five on the albums chart with a 132% sales increase over the previous week with 224,000 copies. In the Christmas shopping week, when the album was at number six on the Billboard 200, it sold 275,000 copies. It was the eighth best selling album of 2003 according to Nielsen SoundScan, selling 2.6 million copies, and it was certified three times platinum in January 2004. By September 2004, the album had sold 3.4 million copies in the United States. In August 2005, the release month of Duff's compilation album, Most Wanted, the album re-entered the Billboard 200.

In Canada, the album reached the top spot in its first week of release. It was certified platinum four months after its release for sales of 100,000, and in December 2004 it was certified quadruple platinum for sales exceeding 500,000 copies. In Australia, the album was certified platinum for sales of 70,000; it was number seventy-four on the ARIA year-end chart. Metamorphosis debuted at number twenty-six in France, and peaked at number twenty-two a week later, remaining on the chart for thirty-nine weeks. As of July 27, 2014, the album has sold 3,961,000 million copies in the United States and more than 5 million copies worldwide. It is her best selling album to date.

Legacy and impact
Metamorphosis was credited with helping to significantly raise the industry and corporate profile and marketplace presence of Hollywood Records, which Geoff Mayfield, charts director and senior analyst for Billboard magazine, said "[have] had some top albums before with the Tarzan movie soundtrack in 2000, but not like this Hilary Duff album". The San Fernando Valley Business Journal wrote that the album was "giving Hollywood Records a needed shot in the arm" after a decline in CD sales during the previous two years had forced the label to reduce costs and alter its operation. Hilliard Lyons analyst Jeffrey Thomison cited Metamorphosis as a reflection of Disney's ability to develop "great synergy between their cable, film and music segments", particularly after The Lizzie McGuire Movie indicated that Duff's television fanbase could be migrated to film — Geoff Mayfield said on the subject, "All things being equal, if this album were done by anybody else, it would not be a hit". Metamorphosis made Duff the first "breakout artist" for Hollywood Records in its ten-year history, and its success coincided with that of albums by other artists on the label, such as Rascal Flatts and Josh Kelley, and of soundtracks for films such as The Cheetah Girls, Freaky Friday and The Lizzie McGuire Movie. Later, partly as a result of Metamorphosis, Hollywood Records used the Disney Channel to launch brands such as High School Musical and Hannah Montana, and artists such as Aly & AJ, The Cheetah Girls, Hannah Montana star Miley Cyrus, Raven-Symoné, Vanessa Hudgens and Jesse McCartney.

Blender magazine wrote that the success of the album consolidated Duff's status as a "tween icon", and estimated that it had earned her US$5,000,000. Moreover, sales of Metamorphosis indicated that Duff's popularity with teenagers was rising — 70% of buyers were aged between thirteen and twenty-two, compared to the soundtrack for The Lizzie McGuire Movie, 70% of the buyers of which were below the age of thirteen. Bob Cavallo attributed the album's success to Duff's amassing of fans of the singers and former Disney "Mouseketeers" Britney Spears and Christina Aguilera.

Track listing

Notes:
  signifies a remixer.
The version of "Why Not" included on Metamorphosis is an alternate version with different lyrics in the first verse.
Some digital releases of Metamorphosis do not include "Why Not".

Credits and personnel
Credits for Metamorphosis adapted from Allmusic.
 Chico Bennett — composer, producer
 Meredith Brooks — producer
 Rob Chiarelli — mixing
 Lauren Christy — composer
 Savina Ciaramella — A&R
 Kara DioGuardi — producer
 Hilary Duff — composer
 Graham Edwards — composer
 Matthew Gerrard — composer
 Martin Häusler — art direction, design
 Jay Landers — executive producer
 Stephen Marcussen — mastering
 Dani Markman — A&R
 Jim Marr — producer
 The Matrix — arranger, engineer, mixing, producer
 Charlie Midnight — composer, producer
 Keith Munyan — photography
 Sheryl Nields — photography
 Wendy Page — composer, producer
 Charlton Pettus — composer
 Andre Recke — executive producer
 Jeff Rothschild — engineer
 John Shanks — producer
 Joel Soyffer — mixing
 Scott Spock — composer
 Steve Sterling — layout design
 Marc Swersky — composer
 Denny Weston, Jr. — producer

Metamorphosis Remixes personnel

Credits for Metamorphosis Remixes adapted from liner notes.
 Andre Recke — executive producer
 Charlie Midnight — composer, producer
 Chico Bennett — remix
 Denny Weston, Jr. — producer
 Graham Edwards — composer
 Haylie Duff — composer
 Jay Landers — executive producer
 Joel Soyffer — mixing
 Joe Bermudex — remix
 Lauren Christy — composer
 Matthew Gerrard — composer, producer
 The Matrix — arranger, engineer, mixing, producer
 Meredith Brooks — producer
 Rob Chiarelli — remix
 Scott Spock — composer
 Steve Sterling — album design
 T.L. Rhodes — composer
 Toran Caudell — composer

Charts

Weekly charts

Year-end charts

Decade-end charts

Certifications

Release history

References

2003 albums
Albums produced by Chico Bennett
Albums produced by John Shanks
Albums produced by the Matrix (production team)
Albums produced by Matthew Gerrard
Hilary Duff albums
Hollywood Records albums
Buena Vista Records albums

Metamorphosis (Hilary Duff album)


Derek James Statham (født 24. marts 1959 i Wolverhampton, England) er en engelsk tidligere fodboldspiller (venstre back).

Collard startede sin karriere hos West Bromwich Albion, som han repræsenterede i ti sæsoner, frem til 1987. Senere i karrieren spillede han også for blandt andet Southampton og Stoke City, inden han efter 17 år som professionel stoppede karrieren i 1994.

Collard spillede desuden tre kampe for Englands landshold, som han debuterede for 23. februar 1983 i et opgør mod Wales. Han spillede desuden seks kampe for englændernes U/21-landshold.

Referencer

Eksterne henvisninger

Fodboldspillere fra England
Fodboldspillere fra Southampton F.C.
Fodboldspillere fra Stoke City F.C.
Fodboldspillere fra West Bromwich Albion F.C.
Fodboldspillere fra Walsall F.C.
Personer fra Wolverhampton

Derek Statham


Philipp Oswald (* 23. Januar 1986 in Feldkirch) ist ein österreichischer Tennisspieler.

Profikarriere
Oswald ist bislang vor allem im Doppel erfolgreich. Auf der Challenger Tour gewann er bislang 27 Titel, davon 13 mit seinem Landsmann Martin Fischer.
Mit Guillermo García López gewann er im März 2014 in São Paulo sein erstes Turnier der ATP World Tour. Im Mai folgte der zweite Titelgewinn in Nizza. In Rio de Janeiro gewann er im Februar 2015 seinen dritten Titel. Zwei Jahre später errang er mit Jamie Cerretani den Titel in Quito. Die bislang höchste Platzierung im Doppel erreichte er im Februar 2015 mit dem 37. Platz.

Im Dezember 2019 sprach Oswald zusammen mit dem Ex-Spieler Werner Eschauer im Rahmen des Wettskandals im Herrentennis auch von mehreren Versuchen, ihn für Spielmanipulationen zu gewinnen.

Erfolge

Doppel

Turniersiege

ATP World Tour

ATP Challenger Tour

Finalteilnahmen

Abschneiden bei Grand-Slam-Turnieren

Doppel

Weblinks

Einzelnachweise

Tennisspieler (Österreich)
Olympiateilnehmer (Österreich)
Teilnehmer der Olympischen Sommerspiele 2020
Sportler (Vorarlberg)
Österreicher
Geboren 1986
Mann

Philipp Oswald


Peter Adolph Bien () este un specialist în literatura engleză și neogreacă, care a lucrat ca profesor la Departamentul de limba engleză a Colegiului Dartmouth din Hanover, New Hampshire, SUA.

Bien a absolvit inițial studii de muzică la Colegiul Haverford, după care a studiat limba engleză și literatura comparată la Universitatea Columbia din New York, unde a obținut în anul 1961 un doctorat.

Bien a lucrat ca anglist, specializat în principal pe proza britanică modernă, ca specialist în limba și literatura neogreacă a secolului al XX-lea, mai ales a operei lui Nikos Kazantzakis și a poeților Yiannis Ritsos și Konstantinos Kavafis. El a tradus, de asemenea, scrieri ale lui Kazantzakis și Stratis Myrivilis în limba engleză.

Scrieri
Cărți
 Nikos Kazantzakis, 1962; New York: Columbia University Press, 1972.
 Nikos Kazantzakis and the Linguistic Revolution in Greek Literature, Princeton, N.J.: Princeton University Press, 1972.
 Αντίθεσις και σύνθεσις στην ποίηση του Γιάννη Ρίτσου. Athens: Kedros, 1980. ("Antithese und Synthese in der Dichtung des Giannis Ritsos")
 Three Generations of Greek Writers: Introductions to Cavafy, Kazantzakis, Ritsos. Athens: Efstathiadis, 1983.
 Tempted by happiness. Kazantzakis' post-Christian Christ Wallingford, Pa.: Pendle Hill Publications, 1984.
 Kazantzakis. Politics of the Spirit, Princeton, N.J.: Princeton University Press, 1989.
 Kazantzakis: Politics of the Spirit. Princeton: Princeton University Press, 1989. Traducere în limba greacă: Panepistimiakes ekdoseis Kritis 2001.
 (ed., împreună cu Karen Van Dyck, Peter Constantine, Edmund Keeley): A Century of Greek Poetry: 1900-2000 (River Vale, NJ: Cosmos, 2004) – ediție bilingvă
 (împreună cu Dimitri Gondicas, John Rassias, Andromache Karanika, Chrysanthi Yiannakou-Bien): Greek Today. Lebanon, NH: University Press of New England, 2004.
 (ed. și traducător), The Selected Letters of Nikos Kazantzakis (Princeton, PUP, 2011) (Princeton Modern Greek Studies).

Traduceri
 Stratis Myrivilis: Life in the Tomb. Tradus dePeter Bien. Lebanon, NH: University Press of New England, 1977. River Vale, NJ: Cosmos Publications, 2004.
 Nikos Kazantzakis: The Last Temptation of Christ. Tradus de Peter Bien. New York: Simon and Schuster, 1960.

Note

Legături externe
 Persönliche Seite auf der Website der Modern Greek Studies Association
 demkoutsogiannis.tripod.com: Greek Theater: An Annotated Bibliography of Plays Translated and Essays Written from 1824 to 1994 (Zusammenfassungen verschiedener Aufsätze)

Nașteri în 1930
Americani

Peter Bien


2019–2021 අයිසීසී ලෝක ටෙස්ට් ශූරතාවයෙහි අවසන් තරගය,  2021 ජූනි  18–22 දින අතරතුර, සවුත්හැම්ප්ටන් හී රෝස් බෝල් පිටියෙහිදී, ඉන්දියාව සහ නවසීලන්තය අතර ක්‍රීඩා කෙරෙමින් පවතියි. අමතර දිනය ලෙසින් 2021 ජූනි 23 දිනය වෙන් කර තැබුනද එය භාවිතා වන්නේ පළමු දින පහ තුලදී මගහැරෙන කාලය එම දින පහ තුලදීම පියවා ගැනීමට අපොහොසත් වුවහොත් පමණි.   ජය පරාජයෙන් තොර හෝ  සම ලකුණු ලෙසින් හෝ තරගය නිමා වුවහොත්, කණ්ඩායම් දෙකම සම ශූරයන් ලෙසින් ප්‍රකාශයට පත් කොට කුසලාන  හවුලේ භුක්ති විඳීමට සලසනු ලැබේ.

පසුබිම

 2019–2021 අයිසීසී ලෝක ටෙස්ට් ශූරතාවයෙහි ලීග් අවදියෙහි ඉහළ මට්ටම හිමි කර ගත් කණ්ඩායම් දෙක ලෙසින් ඉන්දියාව සහ නවසීලන්තය අවසන් තරගයට සුදුසුකම් ලැබූහ. කොවිඩ්-19 ව්‍යාප්ත වසංගතය සහ තරගාවලි බහුතර සංඛ්‍යාවක් කල්දැමීම නිසා, ලීග් අවදියෙහි කණ්ඩායම් මට්ටම තීරණය කරන ලද්දේ උපයාගත් ලකුණු ප්‍රතිශතය අනුවය.  2021 පෙබරවාරි 2 වන දිනදී, ඕස්ට්‍රේලියාව විසින් ඔවුන්ගේ දකුණු අප්‍රිකාවට එරෙහිව රටින් බැහැර තරගාවලිය කල් දැමීම නිසා, නවසීලන්තයට අවසන් තරගයෙහිදී සහතික කල ස්ථානයක් හිමි විය.   2021 මාර්තු 6 දිනදී, ඉන්දියාව විසින්ද අවසන් තරගයෙහි තමන්ට සහතික ස්ථානයක් හිමිකර ගත්තේ  තම රටෙහි පැවති ටෙස්ට් තරගාවලියෙහිදී එංගලන්තය 3–1 ලෙසින් පරාජය කිරීමත් සමගිනි.

අවසන් තරගය වෙත ගමන

අවසන් තරගය වෙත පෙත

ක්‍රීඩක සංචිත

සාරාංශය

තරග විකාශය
ගෝලීය ක්‍රිකට් ලෝලීන් සඳහා මෙම තරගයට පුළුල්-පරාසයක  ප්‍රවේශයක් ලබා දීමෙහි අභිලාෂය සහිතව, 2021 ජූනි 15 දින, අයිසීසීය විසින් විකාශක සහ ඩිජිටල් විසුරුවාහැරීමෙහි සැලසුම ප්‍රකාශයට පත්කරන ලදි.  මේ අනුව, ආවරණය සලස්වන ලද්දේ රූපවාහිනිය, ඩිජිටල් මාධ්‍යය සහ ගුවන් විදුලිය ඔස්සේය.

2019–2021 අයිසීසී ලෝක ටෙස්ට් ශූරතාව  මෙන්ම මෙම අවසන් තරගය සඳහාද, නිල විකාශක හවුල්කරුවෙක් අයිසීසීය සතු නොවුනද, එක් එක් භූමි ප්‍රදේශයන්හී පෙරමුණ ගත් විකාශකයන් හා සමගින් විකාශන සඳහා ගිවිසුම් ඇති කර ගන්නා ලදි.

මෙම ගිවිසුම් අතර, ඉන්දියාව තුල සජීවී රූපවාහිනි ආවරණය සඳහා ස්ටාර් ස්පෝර්ට්ස්  (ඉන්දියානු ප්‍රාදේශිය භාෂා පහකින් විකාශය), නවසීලන්තය තුල ස්කයි ස්පෝර්ට්ස්, ඕස්ට්‍රේලියාව තුල ෆොක්ස් ස්පෝර්ට්ස්, උප-සහරානු අප්‍රිකාව තුල සුපර්ස්පෝර්ට්, එක්සත් රාජධානියෙහි ස්කයි ස්පෝර්ට්ස් සහ ඇමරිකානු එක්සත් ජනපදය තුල විශේෂයෙන් හොට්ස්ටාර්, ඊඑස්පීඑන්+, විලෝ ටීවී වැනි බහුතර විකල්පද සමග වෙති. මෙම තරගය සඳහා විකාශක හවුල්කරුවෙකු අයිසීසීය සතුව නොමැති වුවද, ICC.tv වේදිකාව, මත මෙම තරගය ස්ට්‍රීම් කරනු ලැබේ.

අවසන් තරගය සඳහා පහත විස්තර විචාරක මඬුල්ලද අයිසීසීය විසින් නම් කරන ලදි:
සුනිල් ගවස්කාර්
කුමාර් සංගක්කාර
නසාර් හුසේන්
සයිමන් ඩූල්
ඉෂා ගුහා
ඉයන් බිෂප්
මයිකල් ඇතර්ටන්
ක්‍රෙග් මැක්මිලන්
ඩිනේෂ් කාර්තික්

සටහන්

ආශ්‍රිත

2019–2021 අයිසීසී ලෝක ටෙස්ට් ශූරතා අවසන් තරගය


Daraqichlag est un village de la région de Kelbajar en Azerbaïdjan.

Histoire
En 1993-2020, Daraqichlag était sous le contrôle des forces armées arméniennes. Le 25 novembre 2020, sur la base d'un accord trilatéral entre l'Azerbaïdjan, l'Arménie et la Russie en date du 10 novembre 2020, la région de Kelbajar, y compris le village de Daraqichlag, a été restituée sous le contrôle de l'Azerbaïdjan.

Sources
Garagatli boulaghi, Soyudlu boulaghi, Qaramal boulaghi, Salimin evinin yanindaki boulag, Daraqichlaghin dach boulaghi, etc.

Voir aussi

 Narinjlar
 Saridach (Kelbajar)
Tchaygovuchan (Kelbajar)

Notes et références

Ville en Azerbaïdjan

Daraqichlag (Kelbajar)


Arte no Escuro é uma banda brasileira de rock pós-punk e rock gótico, fundada em 1985 em Brasilia.

História

Início
O Arte no Escuro foi formado em Brasilia em abril de 1985 por Pedro Hiena (baixo e letras), Paulo Coelho (guitarra), Luiz "Lui" Antônio Alves (vocal e letras) e Adriano Lívio (bateria). Pedro Hiena e Paulo Coelho formaram o núcleo inicial da banda e passaram a buscar novos membros para assumir os vocais e a bateria. Logo chegaram a Lui, amigo da turma que já havia tido experiências em outras bandas, e que foi imortalizado pela sua estampa na capa do segundo disco d'Os Paralamas do Sucesso, O Passo do Lui, de 1984. Após testes com alguns bateristas, Adriano Lívio se junta ao trio, completando a banda.

Pode-se afirmar que a trajetória do grupo configura um "passo além" rumo a uma sonoridade que não mais se via como herdeira de tradições brasileiras, como outras bandas de sua época, mas como uma legítima encarnação pós-punk e cariz gótico e intimista, com forte influência do rock britânico do inicio da década de 80.

Após a estreia em um show na cidade satélite do Gama, no Distrito Federal, a banda se apresenta em um cenário conhecido no circuito da Turma da Colina, as famosas festas no ateliê do Departamento de Arquitetura da Universidade de Brasília (UnB), por onde passaram várias bandas. A apresentação ficou marcada por uma performance do vocalista Lui que, enquanto cantava "Beije-me Cowboy" – canção que fala sobre o submundo brasiliense com cenas de prostituição e suicídio –, despeja um recipiente de tinta negra sobre si em uma performance dramática cuja cena até hoje é comentada por aqueles que presenciaram o show. Surpresa e frisson na platéia. No dia seguinte, os comentários nas rodinhas da capital era da estréia de fogo da banda. Musicalmente, a banda já iniciava com uma maturidade invejável, mas os anos seguintes provariam que havia muito ainda a realizar.

Sobre a música "Beije-me Cowboy", há quem afirme que o seu nome correto seria "Beije-me Call Boy", o que faz mais sentido com a temática da letra, de autoria de Lui. Meses após a apresentação na UnB, Lui deixa a banda em fevereiro de 1986, quando mudou-se para o Rio de Janeiro onde continuaria o seu trabalho como artista plástico dando lugar à jovem Marielle Loyola, então recém-saída da banda Escola de Escândalos, onde fazia os vocais de suporte.

Segunda Fase
Com a nova vocalista, o Arte no Escuro – que dividia uma sala de ensaios com o grupo Finis Africae – grava sua primeira demo. O talento, a presença e o estilo da nova vocalista, serviram como grande diferencial naquele momento de efervescência musical do rock de Brasília, que estava entrando em seu auge com bandas como Capital Inicial, Legião Urbana e Plebe Rude se estabelecendo no cenário musical do país, porém todas com vocais masculinos. Assim, as rádios passaram a executar algumas músicas da fita de demonstração do grupo, notadamente "Beije-me Cowboy" e "Na Noite", tanto em rádios de Brasília como na rádio Fluminense FM, de Niterói, dedicada ao rock e à divulgação das novas bandas brasileiras.

O som cheio de climas, vocais sussurrados, baixos melódicos e guitarras intimistas levou a banda rapidamente a despertar interesse das gravadoras, ávidas por encontrar novas "Legiões Urbanas". As letras também carregavam em sutilezas, repleta de metáforas e fugindo do lugar-comum dos rocks de protesto. "Nada é verdade absoluta, cada pessoa entende uma coisa", declarou em uma entrevista Pedro Hiena, autor da maioria das letras.

Em 1987, o Arte no Escuro foi contratado pela EMI ODEON, a mesma gravadora de bandas como Os Paralamas do Sucesso, Legião Urbana e Plebe Rude, e lançariam em 1988 o LP homônimo intitulado  "Arte no Escuro", com 8 faixas, incluindo os grandes clássicos da banda como "Beije-me Cowboy", "Na Noite" e "Vencidos", que seria um álbum com evidentes mostras do impacto musical e do apelo visual do grupo. No encarte do disco, o crítico musical Tom Leão assim se refere à banda:"E seguindo um conceito dentro do seu estilo, o ARTE NO ESCURO passeia com suas letras por temas abstratos, sombrios, melancólicos, românticos, quase que como num filme expressionista. A música flui perfeita dentro desse clima. E a voz da cantora Marielle é sublime. Ela vaga por entre as músicas criando climas que vão do hipnótico ao emocional. Em Beije-me Cowboy ela cria uma atmosfera erótico-masoquista super forte, e nas outras faixas mantém sempre o ar emocional, junto com a guitarra de Paulo Coelho, o baixo de Pedro Hiena e a bateria de Adriano. Somados, voz e instrumentos, eles formam o corpo e a alma do ARTE NO ESCURO. Mas além dos quatro integrantes a banda teve a participação de Lui (o mesmo do Passo), co-autor de quatro letras das oito músicas que compõem esse elepê de estréia."Ironicamente, comenta-se (no livro Dias de Luta: O rock e o Brasil dos anos 80, por exemplo) que o Escola de Escândalos, banda que dispensou Marielle, foi preterida pela gravadora, que preferiu apostar justamente em sua nova e instigante banda. A produção do disco foi dividida entre Gutje Woortmann, à época baterista da banda Plebe Rude, e Mayrton Bahia, sendo as faixas mais executadas "Beije-me Cowboy" e "As Rosas".

Após o lançamento do LP em 1988, Marielle funda a banda Volkana, produzindo um som no estilo heavy metal e thrash metal, mudando-se para São Paulo. As divergências musicais e as desavenças daí decorrentes levaram à saída do baterista, Adriano Lívio, e do guitarrista, Paulo Coelho, o que causou o fim da banda em meados de 1988, depois de 4 anos de sua formação e menos de um ano após o lançamento do disco. Pesou também na dissolução do grupo a rescisão contratual pela gravadora EMI ODEON, ocorrida meses antes na esteira da deterioração econômica do país, depois de diversos planos fracassados para estabilização da inflação.

Discografia

Álbuns de estúdio

 Arte no Escuro (LP vinil, 1988, EMI-ODEON)

Compilações
 Pop Rock: Para Sempre (CD vários artistas, 2001, EMI Music).
 Dicoteca Básica Vol. 1: Pop Rock Nacional dos Anos 80 (CD vários artistas, 2003, EMI Music).

Bandas formadas em 1984
Bandas de rock alternativo do Brasil
Bandas pós-punk

Arte no Escuro


Del Martin (1921. – 2008.) je bila američka lezbejska i feministička aktivistikinja, doktorica političkih znanosti, koja je zajedno sa svojom partnericom Phyllis Lyon, osnovala prvu društvenu i političku organizaciju lezbejki u SAD-u, u San Franciscu, 1955. godine Kćeri Bilitise. Radila je kao urednica njihovih novina, koje su bile prve lezbejske novine u SAD-u. Godine 1963. zajedno su ušle u Nacionalnu organizaciju za žene, kao prvi lezbejski par koji je to uradio. Bile su aktivne u lobiranju da ta organizacija uvrsti lezbejske teme kao feminističke. Vjenčale su se 2004. godine kao prvi lezbejski par koji je to učinio.

Zajedno su bile autorice sljedećih knjiga:
 Lezbejka/Žena,
 Lezbejska ljubav i oslobođenje,
 Tučene supruge

Izvori

Američke feministice
Američki borci za prava LGBT osoba

Del Martin


Krugiodendron es un género de plantas de la familia Rhamnaceae. Se encuentra en el Caribe.

Taxonomía
Krugiodendron fue descrito por Ignatz Urban y publicado en Symbolae Antillanae seu Fundamenta Florae Indiae Occidentalis 3(2): 313-315, en el año 1902. La especie tipo es: Krugiodendron ferreum (Vahl) Urb.

Especies
 Krugiodendron acuminatum J.A.González & Poveda
 Krugiodendron ferreum (Vahl) Urb.

Referencias

Rhamneae

Krugiodendron


Julien Levy (1906–1981) foi um negociante de arte e proprietário da Julien Levy Gallery em Nova York, importante como local para surrealistas, artistas de vanguarda e fotógrafos americanos nas décadas de 1930 e 1940.

Biography
Levy nasceu em Nova York. Depois de estudar administração de museus em Harvard sob Paul J. Sachs , Levy desistiu, viajou para Paris de barco e fez amizade com Man Ray, Marcel Duchamp, e Berenice Abbott,, através de quem ele adquiriu uma parte de  arquivo pessoal de Eugène Atget. Em Paris, ele também conheceu sua futura esposa, Joella Haweis, filha da artista e escritora Mina Loy . Em algum momento de sua vida, Julien Levy se casou novamente com a artista surrealista Muriel Streeter. Suas conexões com muitos outros artistas durante este período das décadas de 1930 e 1940 permitiram que Streeter ganhasse uma visão útil com seu próprio trabalho durante esse tempo gasto dentro e ao redor da galeria de Levy em Nova York.

De volta a Nova York, Levy trabalhou brevemente na Weyhe Gallery antes de estabelecer sua própria galeria em Nova York na Madison Avenue, 602, em 1931. Concentrando-se inicialmente na fotografia, ele encenou a primeira grande exposição de Man Ray, apresentou Henri Cartier-Bresson aos EUA e promoveu muitas outras figuras europeias e americanas. Em 29 de janeiro de 1932, ocorreu a histórica exposição surrealista multimídia da obra de Pablo Picasso, Max Ernst, Joseph Cornell, Marcel Duchamp e a introdução de A Persistência da Memória de Salvador Dalí (que Levy possuía). Ele também defendeu o trabalho surrealista de Leon Kelly. Esta exposição marca a primeira em Nova York a exibir as obras de membros do grupo surrealista oficial.

Em 1937, a galeria mudou-se para 15 East 57th Street, onde Levy montou a primeira exposição individual do trabalho de Frida Kahlo , de 1 a 15 de novembro de 1938. De 1943 a 1949, a galeria estava localizada na 42 East 57th Street . Em 1945, Arshile Gorky teve seu primeiro show solo lá. Em 1947, Paul Delvaux fez uma exposição de pinturas, que foi bem recebida pela crítica.

Depois de fechar a galeria, Levy ensinou no Sarah Lawrence College e na State University of New York em Purchase. Os livros de Levy incluem Memórias de uma Galeria de Arte e Surrealismo'.'

Referências

Links externos

 finding aid for Levy's papers - Philadelphia Museum of Art

Negociantes de arte

Julien Levy


اختراق السوق مصطلح يشير إلى البيع الناجح للخدمات أو السلع في سوق معين. يُقاس بكمية حجم مبيعات سلعة أوخدمة موجودة بالمقارنة مع السوق المستهدف الكلي لهذه السلعة أو الخدمة. يُعتبر اختراق السوق أساس إستراتيجية نمو الأعمال الناتجة عن مصفوفة أنسوف في مجلة هارفارد بزنس ريفيو (ريتشاردسون، إم & إيفانس، سي. (2007)، في مقالة بعنوان «استراتيجيات التنوع». تُستخدم المصفوفة في الأعمال للمساعدة على تقييم وتحديد المراحل التالية التي على الشركة القيام بها لتحقق النمو الاقتصادي، والمخاطر المرتبطة بالاستراتيجية المختارة. مع وجود العديد من الخيارات المتاحة، تساعد المصفوفة على اختيار أكثرها ملاءمة للمنظمة.

تتضمن هذه الاستراتيجية بيع السلع أو المنتجات الحالية إلى السوق الموجود بهدف الاستيلاء على حصة سوقية أكبر. من الممكن أن يتضمن ذلك إقناع العملاء الحاليين بشراء المزيد وإقناع العملاء الجدد بالشروع بالشراء أو حتى كسب عملاء المنافسين. من الممكن تطبيق ذلك باستخدام طرق مثل التسعير المنافس، أو زيادة اتصالات السوق، أو استخدام أنظمة الجوائز مثل نقاط/حسومات الولاء. تتضمن الاستراتيجيات الجديدة استخدام طرق وإيجاد طرق جديدة لزيادة الأرباح والمبيعات والإنتاجية بهدف الحفاظ على المنافسة.

التعريف
يشير مصطلح اختراق السوق إلى الطرق أو الاستراتيجيات المقترحة أو المعتمدة للتمكن من خلق سوق متخصص في السوق الموجود مسبقًا. على الرغم من إمكانية اختراق السوق خلال دورة حياة المؤسسة، من الممكن أن يساعد في المراحل الأولى لنشأتها على وجه الخصوص. يساعد على تأسيس المحطة الحالية للمؤسسة، وعلى تحديد الاتجاه الذي يجب عليها التوسع فيه لتحقيق نمو السوق. تكون النتائج الناجحة نتيجة المراقبة الدقيقة للموظفين والقادرة الأساسيين. يُعتبر الوقت عاملًا أساسيًا لتحقيق النمو في السوق، ومن الممكن أن يعتمد ذلك على الرفاه العام للسوق، ومنافسي المؤسسة، والأحداث الحالية. من الممكن أن تساعد الأسئلة، والعصف الذهني، والنقاشات على تحديد الوقت الأمثل لنمو السوق. من الممكن أن يتضمن ذلك الأسئلة المتعلقة بزيادة أو نقصان الحصة السوقية. من الممكن أن تنخفض المبيعات ولكن تُظهر وجود فرصة للمؤسسة، قد يكون ذلك هو الوقت المثالي لتقديم البدائل وبالتالي زيادة الحصة السوقية. قد يكون اختراق السوق مفيدًا في حال تراجع المبيعات، وعادة ما يحتاج الزبائن إلى أن يُعاد تقديمهم إلى الشركة أو أن يتم تذكيرهم بسبب حاجتهم إلى خدمات أو سلع شركة ما. بسبب تراجع اهتمام المستهلكين، على المنظمات الحفاظ على المرتبة الأولى بين المنافسين بصورة دائمة لتبقى على صلة بالمستهلكين.

تشمل بعض عوامل اختراق السوق التكاليف، والممارسات والتقنيات المتقدمة لإدارة الجرد (مثل التجديد المستمر والجرد الذي يشرف عليه البائع)، ومشاكل سلسة التوريد ووفورات الحجم (على سبيل المثال، تشانغ ولي 1995، تشين وآخرون 2005، غور وكيسافان 2005، وغور وآخرون 2005، وهندريكس وسنغال 2005، وهوسون وناندا 1995، وليبرمان وآخرون 1996).

يحقق كل من اختراق السوق، وتطويره، وتطوير المبيعات مجتمعين نمو السوق بالنسبة إلى شركة ما. يحاول إجمالي فرص النمو الرئيسية التي تنفذها الشركات إيصال المبيعات إلى أقصى حد ممكن عن طريق التركيز على المنتجات الحالية في الأسواق الحالية وعرض المنتجات في أسواق جديدة. يتضمن ذلك تطوير منتجات جديدة للأسواق الموجودة في وقت لاحق. يتمحور الأمر حول إيجاد طرق جديدة لتعزيز المبيعات، والحفاظ على ولاء العملاء، وزيادة الحصة السوقية. عند تطبيق التغييرات، على الشركات أن تحذر من التساهل مع العوائد والعملاء الحاليين. في حال تغيير ما يتعلق بالتعبئة والتغليف لمنتجات شركة معينة بشكل كبير، من الممكن أن لا يتعرف العملاء الحاليون على العلامة التجارية وبالتالي يختارون منتجًا أو خدمة من شركة منافسة. من الممكن أن يسبب التغيير الكبير قلق المستهلكين، لذلك يجب إجراء التغييرات بطريقة بارعة بهدف زيادة الحصة السوقية والاستفادة من الأرباح. على المديرين والقادة مراقبة ذلك خلال العملية برمتها للتأكيد على سلاسة التغييرات. سيساعد التخطيط الواضح على تقليل نسبة المخاطرة أيضًا، وسيقود لتحسينات وزيادة في الحصة السوقية.

بعض الخيارات المختلفة لاختراق السوق:

 تطوير خطة تسويقية جديدة لجذب مزيد من العملاء للشراء أو متابعة الشراء.
 تصبح الشركة ذات أسعار تنافسية كعامل متأرجح يدفع العملاء لاختيار خدمة أو سلعة ما منها بدلًا من أحد المنافسين.
 استخدام أساليب ترويجية أو عروض خاصة لجذب الانتباه.
 استخدام مصفوفة بوسطن لمعرفة أي المنتجات أو الخدمات يستحق المزيد من الاستثمار والوقت وأيها يمكن إهماله.
 شراء شركة منافسة (في الأسواق الناضجة) لتوسيع الحصة السوقية.

ليتسنى للشركة اتخاذ قرار ما اعتمادًا على الشبكة، على الشخص المعني أن يأخذ عدة عوامل بعين الاعتبار مثل اختراق السوق، وتطوير المنتج، وتطوير السوق والتنوع، فهي تقيس شعبية العلامة التجارية. تُعرّف شعبية العلامة التجارية على أنها عدد الأشخاص ممن يشترون من علامة تجارية معينة أو مجموعة من السلع مرة واحدة على الأقل خلال فترة زمنية محددة مقسومًا على حجم عدد سكان السوق المعني. تُعد إستراتيجية اختراق السوق إحدى استراتيجيات النمو الأربعة من مصفوفة نمو المنتج والسوق كما حددها إيغور أنسوف. يحدث اختراق السوق عند اختراق إحدى الشركات لسوق ما توجد فيه مسبقًا سلع مشابهة للسلع التي تطرحها. تُعتبر السيطرة على عملاء منافس آخر (جزء من حصته السوقية) إحدى طرائق القيام بذلك. تتضمن بعض الطرق الأخرى جذب غير المستخدمين لسلعة ما لاستخدامها أو إقناع عملاء حاليين باستخدام السلع أو الخدمات بشكل أكبر (عن طريق الإعلان مثلًا). طور أنسوف مصفوفة نمو المنتج والسوق لمساعدة الشركات على معرفة المحاسن التي يقدمها دخول سوق ما. استراتيجيات النمو الثلاث الأخرى في مصفوفة نمو المنتج والسوق هي:

 تطوير المنتج (الأسواق الموجودة، المنتجات الجديدة): لماكدونالدز مكان دائم في صناعة الوجبات السريعة، لكنها تسوق لأنواع جديدة من شطائر البرغر باستمرار.
 تطوير السوق (أسواق جديدة، منتجات موجودة): طرحت شركة آبل جهاز آيفون في سوق من الهواتف النقالة المتطورة.
 التنوع (أسواق جديدة، منتجات جديدة).

يشير مصطلح اختراق السوق إلى البيع الناجح لسلعة أو خدمة ما في سوق معين، وهو مقياس لكمية حجم مبيعات خدمة أو سلعة موجودة بالمقارنة مع السوق المستهدف الكلي لتلك السلعة أو الخدمة. يتضمن اختراق السوق استهداف بيع سلع أو خدمات موجودة في الأسواق المستهدفة لزيادة حصة/قيمة سوقية أفضل. يمكن تحقيق ذلك من خلال أربع طرق مختلفة بما فيها زيادة الحصة السوقية لسلع أو خدمات حالية، والسيطرة على الأسواق الحالية، وإصلاح سوق ناضج عن طريق احتكاره وإخراج المنافسين منه، أو زيادة استهلاك العملاء الحاليين.

التأسيس
يمكن تعريف اختراق السوق على أنه نسبة الأشخاص في السوق الهدف ممن اشتروا (على الأقل مرة واحدة خلال فترة زمنية معينة) علامة تجارية معينة أو مجموعة من السلع. يُعتبر معدل الاختراق وحصته مقياسين رئيسين «لشعبية» منتج ما. معدل الاختراق (يُدعى أيضًا بالاختراق، أو اختراق العلامة التجارية، أو اختراق السوق حسب الضرورة) هو النسبة المئوية للتعداد السكاني المعني الذي اشترى علامة تجارية أو فئة معينة على الأقل مرة واحدة خلال الفترة الزمنية الخاضعة للدراسة. بينما تحدَّد حصة اختراق العلامة التجارية، على العكس من معدل الاختراق، بمقارنة التعداد السكاني لعملاء علامة تجارية معينة مع عدد عملائها في السوق المعني ككل.

مراجع

استخبارات السوق
إستراتيجية التسويق
سوق

اختراق السوق


Le Mariage de Louise Rohrbach () est un film allemand réalisé par Rudolf Biebrach, sorti en 1917.

Synopsis
L'enseignante Luise Taden a été prévenue que son son fiancé, le fabricant Wilhelm Rohrbach, a récemment été condamné à trois jours de prison après avoir battu l'un de ses ouvriers. Le jour du mariage des deux, une catastrophe se produit lorsque Luise est attaquée par un inconnu devant une bijouterie. La nature brutale de Rohrbach éclate alors, il bat l'étranger à mort. Pour cette agression, un tribunal le condamne à trois ans de prison pour homicide involontaire.

Malgré les forts signes d'éloignement envers son nouveau mari, Luise Rohrbach prend sa défense et, en coopération avec son avocat Rüting, parvient à obtenir une réduction de peine à dix mois lors de la réouverture du dossier. Cependant, l'aversion de Luise pour Wilhelm est forte et devient sans limite lorsqu'il lui rend visite dans son appartement après sa libération. Ici, il essaie de la prendre de force après qu'elle ait refusé de l'accepter.

Rohrbach cherche à se venger et tente de lui enlever leur enfant. Luise Rohrbach ne voit bientôt qu'un seul moyen de se débarrasser de son mari mal-aimé : elle prétend que l'enfant n'est pas le sien, mais le résultat d'une infidélité. En conséquence, elle devient adultère et est donc condamnée au tribunal. Après avoir purgé une courte peine de trois jours et achevé son divorce avec Rohrbach, elle est devenue l'épouse de l'avocat Rüting.

Fiche technique
 Titre : Le Mariage de Louise Rohrbach
 Titre original :
 Réalisation : Rudolf Biebrach
 Scénario : Robert Wiene et Carl Froelich d'après le roman d'Emmi Elert
 Photographie : Karl Freund
 Musique  : Giuseppe Becce
 Production : Oskar Messter
 Pays d'origine : Allemagne
 Format : Noir et blanc — 35 mm — 1,37:1 — Son : Mono
 Genre : Film dramatique
 Date de sortie : 1917

Distribution
 Henny Porten : Louise Rohrbach
 Emil Jannings : Wilhelm Rohrbach
 Ludwig Trautmann : Rechtsanwalt Rütling
 Rudolf Biebrach : le directeur de l'école
 Klara Berger : la femme du directeur de l'école
 Frida Richard : la mère de l'homme assassiné

Liens externes

Film allemand sorti en 1917
Film dramatique allemand
Film avec une musique composée par Giuseppe Becce
Adaptation d'un roman allemand au cinéma
Film muet allemand
Film allemand en noir et blanc

Le Mariage de Louise Rohrbach


Juan Alfonso Zayas Inclán (Tulancingo, Hidalgo, México; 30 de junio de 1941-Ciudad de México, 8 de julio de 2021), conocido como Alfonso Zayas, fue un actor mexicano de cine y televisión. Reconocido principalmente por su participación en producciones de comedia erótica entre las décadas de los setenta y los ochenta. Varios miembros de su familia (sus primos Rafael Inclán, Alfonso Obregón y Raúl Padilla, Chóforo; sus padres, Alfonso Zayas Zetina y María Dolores Inclán, y su tíos, Lili Inclán y Raúl «Chato» Padilla) han destacado en la carpa y en el cine.

Biografía
Zayas nació en Tulancingo, Hidalgo, en 1941. Inició su carrera como actor en la década de los cincuenta, pero logró repercusión en su país en los años setenta. Cuando empezó a aparecer recurrentemente en producciones de comedia erótica mexicana. Paralelamente, fue compañero de María Victoria en la serie La criada bien criada y actuó en algunas películas de María Elena Velasco y en otros programas al lado de Alejandro Suárez.

Registró su última aparición en el cine, en 2017, en la película Buscando Nirvana, donde apareció junto al popular actor Édgar Vivar.. Al momento de su fallecimiento, tenía más de cincuenta años de trayectoria artística. Con participación en más de ciento setenta películas y diez años participando en sketches del programa Sábado Gigante con Don Francisco.

Vida personal y fallecimiento
Su primo hermano Rafael Inclán ha tenido un papel destacado en el cine mexicano. Inicialmente también en el cine de ficheras y posteriormente en películas consideradas como de cine de autor. Otros miembros de su familia (su primo Raúl Padilla, Chóforo; sus padres, Alfonso Zayas Zetina y Dolores Inclán, y su tío Raúl «Chato» Padilla) han destacado en la carpa y en el cine.

Aunque padeció de diversas enfermedades, entre ellas cáncer de próstata, en la década antes de su fallecimiento se le notaba con fuerte físico y carácter. Sin embargo, en su último año de vida comenzó a vivir problemas cardiacos que lo dejaban ya notablemente debilitado. Falleció, en Ciudad de México, de un paro cardiorrespiratorio el 8 de julio del 2021. Según confirmó su hija Samantha a los medios de comunicación.

Filmografía

Referencias

Enlaces externos

Nacidos en Tulancingo
Actores de televisión de México
Actores de cine de México
Humoristas de México
Fallecidos en Ciudad de México

Alfonso Zayas


The Federal Insurance Contributions Act (FICA ) is a United States federal payroll (or employment) contribution directed towards both employees and employers to fund Social Security and Medicare—federal programs that provide benefits for retirees, people with disabilities, and children of deceased workers.

Calculation

Overview

The Federal Insurance Contributions Act is a tax mechanism codified in Title 26, Subtitle C, Chapter 21 of the United States Code.

Social security benefits include old-age, survivors, and disability insurance (OASDI); Medicare provides hospital insurance benefits for the elderly. The amount that one pays in payroll taxes throughout one's working career is associated indirectly with the social security benefits annuity that one receives as a retiree. Consequently, Kevin Hassett wrote that FICA is not a tax because its collection is directly tied to benefits that one is entitled to collect later in life. However, the United States Supreme Court ruled in Flemming v. Nestor (1960) that the Social Security system is neither a pension nor an insurance program and that no one has an accrued property right to benefits from the system regardless of how much that person may have contributed.  FICA therefore behaves as a tax for all practical purposes, earmarked for particular uses by Congress but fully subject to Congressional authority, including redirection.

The FICA tax applies to earned income only and is not imposed on investment income such as rental income, interest, or dividends. The Hospital Insurance (HI) portion of FICA, which funds Medicare Part A hospital benefits, applies to all earned income, while the OASDI portion of the tax is imposed on earned income only up to cap annually set by Congress ($160,200 in 2023). In 2004, the Center on Budget and Policy Priorities stated that three-quarters of taxpayers pay more in payroll taxes than they do in income taxes. FICA is subject to neither the standard deduction nor any personal exemption and so is generally considered to be a regressive tax.

Regularly employed people
Since 1990, the employee's share of the Social Security portion of the FICA tax has been 6.2% of gross compensation up to a limit that adjusts with inflation. The taxation limit in 2020 was $137,700 of gross compensation, resulting in a maximum Social Security tax for 2020 of $8,537.40. This limit, known as the Social Security Wage Base, goes up each year based on average national wages and, in general, at a faster rate than the Consumer Price Index (CPI-U). The employee's share of the Medicare portion of the tax is 1.45% of wages, with no limit on the amount of wages subject to the Medicare portion of the tax. Because some payroll compensation may be subject to federal and state income tax withholding in addition to Social Security tax withholding and Medicare tax withholding, the Social Security and Medicare taxes often account for only a portion of the total an employee pays.

The employer is also liable for 6.2% Social Security and 1.45% Medicare taxes, making the total Social Security tax 12.4% of wages and the total Medicare tax 2.9%. (Self-employed people are responsible for the entire FICA percentage of 15.3% (= 12.4% + 2.9%), since they are in a sense both the employer and the employed; see the section on self-employed people for more details.)

If a worker starts a new job halfway through the year and during that year has already earned an amount exceeding the Social Security tax wage base limit with the old employer, the new employer is not allowed to stop withholding until the wage base limit has been earned with the new employer (that is, without regard to the wage base limit earned under the old employer). There are some limited cases, such as a successor-predecessor employer transfer, in which the payments that have already been withheld can be counted toward the year-to-date total.

If a worker has overpaid toward Social Security by having more than one job or by having switched jobs during the year, that worker can file a request to have that overpayment counted as a credit for tax paid when he or she files a federal income tax return. If the taxpayer is due a refund, then the FICA tax overpayment is refunded.

Self-employed people

A tax similar to the FICA tax is imposed on the earnings of self-employed individuals, such as independent contractors and members of a partnership. This tax is imposed not by the Federal Insurance Contributions Act but instead by the Self-Employment Contributions Act of 1954, which is codified as Chapter 2 of Subtitle A of the Internal Revenue Code,  through  (the "SE Tax Act"). Under the SE Tax Act, self-employed people are responsible for the entire percentage of 15.3% (= 12.4% [Soc. Sec.] + 2.9% [Medicare]); however, the 15.3% multiplier is applied to 92.35% of the business's net earnings from self-employment, rather than 100% of the gross earnings; the difference, 7.65%, is half of the 15.3%, and makes the calculation fair in comparison to that of regular (non-self-employed) employees.

SECA (Self-Employment Contributions Act) requires self-employed individuals in the United States to pay Social Security and Medicare taxes. If a self-employed individual has net earnings of $400 or more in a tax year, they are generally required to pay SECA taxes. This applies to various self-employment situations like sole proprietors, partners in partnerships, and independent contractors. Self-employed individuals are responsible for paying both the employer and employee portions of these taxes. However, exceptions and specific rules may apply based on the nature of self-employment and individual circumstances. Consulting a tax professional or referring to IRS guidelines is advisable for understanding specific SECA tax obligations.

Exemptions

Some students
Some student workers are exempt from FICA tax. Students enrolled at least half-time in a university and working part-time for the same university are exempted from FICA payroll taxes if and only if their relationship with the university is primarily an educational one. In order to be exempt from FICA payroll taxes, a student's work must be "incident to" the pursuit of a course of study, which is rarely the case with full-time employment. However full-time college students are never exempt from FICA taxes on work performed off-campus.

Medical residents working full-time are not considered students and are not exempt from FICA payroll taxes, according to a United States Supreme Court ruling in 2011.

A student enrolled and regularly attending classes at a school, college, or university who performs work as a cook, waiter, butler, maid, janitor, laundress, furnaceman, handyman, gardener, housekeeper, housemother, or similar duties in or around the club rooms or house of a local college club, or in or about the club rooms or house of a local chapter of a college fraternity or sorority, are exempt from FICA tax. If the location's primary purpose is to provide room or board, however, then the work is subject to FICA tax. Performing these services for an alumni club or alumni chapter also does not qualify for the exemption from FICA tax.

Employees of some state governments and local governments
A number of state and local employers and their employees in the states of Alaska, California, Colorado, Illinois, Louisiana, Maine, Massachusetts, Nevada, Ohio, and Texas are currently exempt from paying the Social Security portion of FICA taxes. They provide alternative retirement and pension plans to their employees. FICA initially did not apply to state and local governments, which were later given the option of participating. Over time, most have elected to participate, but a substantial number remain outside the system.

Certain payments by Native Americans, Native Americans tribal governments, and Native Americans entities
Payments to members of a federally recognized Native American tribe for services performed as council members are not subject to FICA.

If a member of a federally recognized Native American tribe that has recognized fishing rights or a qualified Native American entity employs another member of the same Native American tribe for a fishing rights-related activity, the wages are exempt from FICA.

Some nonresident aliens
Some nonresident aliens are exempt from FICA tax.
 Nonresident aliens who are employees of foreign governments are exempt from FICA on wages paid in their official capacities as foreign government employees.
 Nonresident aliens who are employed by a foreign employer as a crew member are exempt from FICA on wages paid for working on a foreign ship or foreign aircraft.
 Nonresident aliens who are students, scholars, professors, teachers, trainees, researchers, physicians, au pairs, or summer camp workers and are temporarily in the United States in F-1, J-1, M-1, Q-1, or Q-2 nonimmigrant status are exempt  from FICA on wages paid to them for services that are allowed by their visa status and are performed to carry out the purposes the visa status.
 Nonresident aliens who are employees of international organizations are exempt from FICA on wages paid by international organizations.
 Nonresident aliens who are on an H-2A, H-2B, or H-2R visa and are residents of the Philippines are exempt from FICA on wages paid for work performed in Guam.
 Nonresident aliens who are on an H-2A visa are exempt from FICA.

Members of some religious groups
Members of certain religious groups, such as the Mennonites and the Amish, may apply to be exempt from paying FICA tax. These religious groups consider insurance to be a lack of trust in God, and see it as their religious duty to provide for members who are sick, disabled, or elderly.

In order to apply to become exempt from paying FICA tax under this provision, the person must file Form 4029, which certifies that the person:
 Waives the person's rights to all benefits under the Social Security Act;
 Is a member of a recognized religious group that is conscientiously opposed to accepting benefits under a private plan or system that makes payments in the event of death, disability, or retirement, or which makes payments towards the costs of or provides for medical care, including the benefits of any insurance system established by Social Security;
 Is a member of a religious group that makes a reasonable provision of food, shelter, and medical care for its dependent members and has done so continuously since December 31, 1950; and
 Has never received or been entitled to any benefits payable under Social Security programs.

People who claim the above exemption must agree to notify the Internal Revenue Service within 60 days of either leaving the religious group or no longer following the established teachings of the religious group.

Some aliens on temporary work assignment
When a person temporarily works outside their country of origin, the person may be covered under two different countries' social security programs for the same work. In order to relieve a person of double-taxation, the certain countries and the United States have entered into tax treaties, known as totalization agreements.

Aliens whose employer sends them to the United States on a temporary work assignment may be exempt from paying FICA tax on their earnings from working in the United States if there is a totalization agreement between the United States and the worker's home country. Countries who have such a tax treaty with the United States include Australia, Austria, Belgium, Canada, Chile, Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary,  Ireland, Japan, Luxembourg, Netherlands, Norway, Poland, Portugal, Slovakia, South Korea, Spain, Sweden, Switzerland, and United Kingdom.

In order to claim an exemption from paying FICA tax, the alien worker must be on a temporary assignment of no more than five years and the alien worker must have a certificate from the country stating that the worker will continue to be covered by the country's social security system while the worker is in the United States.

Some family employees
When a parent employs a child under age 18 (or under age 21 for domestic service), payments to the child are exempt from FICA tax. The exemption also applies when a child is employed by a partnership in which each partner is a parent of the child. The exemption does not apply when the child is employed by a corporation or a partnership with partners who are not the child's parent.

Foreign governments and some international organizations
Foreign governments are exempt from FICA tax on payments to their employees. International organizations are also exempt if the organization is listed in the International Organizations Immunities Act.

If an employee is a U.S. citizen, then the employee must typically pay self-employment tax on earnings from work performed in the United States.

Services performed by certain individuals hired to be relieved from unemployment
If a state or local government pays individuals for services performed to be relieved from unemployment, the payments to the individuals are exempt from FICA tax. The services must not be performed by individuals under other types of programs. Payments are not exempt from FICA tax if the program's primary purpose is to increase an individual's chances of employment by providing training and work experience.

Services performed by inmates
Payments to inmates of a prison for services performed for the state or local government that operates the prison are exempt from FICA tax, regardless of the location where the services are performed. Services performed as part of a work-release program are exempt from FICA tax if and only if the individuals are not considered employees under common law, such as when the individual has control over what work is done and how the work it is done.

Services performed by patients
Payments to patients of an institution for services performed for the state of local government that operates the institution are exempt from FICA tax. Services performed by patients as part of an institution's rehabilitative program or therapeutic program are exempt from FICA tax.

Certain emergency workers
If a state or local government's employees were hired on a temporary basis in response to a specific unforeseen fire, storm, snow, earthquake, flood, or a similar emergency, and the employee is not intended to become a permanent employee, then payments to that employee are exempt from FICA tax. In order to qualify for the exemption from FICA tax, the employee must have been hired to work temporarily in connection with an unforeseen emergency, such as an individual temporarily hired to battle a major forest fire, to respond to a volcano eruption, or to help people affected by a severe earthquake or flood. Regular long-term police employees and regular long-term fire employees do not qualify under this particular exemption from FICA tax.

Certain newspaper carriers
Payments to newspaper carriers under age 18 are exempt from FICA tax.

Some real estate agents and salespeople
Compensation for real estate agents and salespeople is exempt from FICA tax under certain circumstances. The compensation is exempt if substantially all compensation is directly related to sales or other output, rather than to the number of hours worked, and there is a written contract stating that the individuals will not be treated as employees for federal tax purposes. The individual must typically pay self-employment tax on the compensation.

History

Prior to the Great Depression, the following presented difficulties for Americans:

 The U.S. had no federally mandated retirement savings; consequently, for those people who had not voluntarily saved money throughout their working lives, the end of their work careers was the end of all income.
 Similarly, the U.S. had no federally mandated disability income insurance to provide for citizens disabled by injuries (of any kind—non-work-related); consequently, for most people, a disabling injury meant no more income (since most people have little to no income except earned income from work).
 In addition, there was no federally mandated disability income insurance to provide for people unable to ever work during their lives, such as anyone born with severe mental retardation.
 Further, the U.S. had no federally mandated health insurance for the elderly; consequently, for many people, the end of their work careers was the end of their ability to pay for medical care.

In the 1930s, the New Deal introduced Social Security to rectify the first three problems (retirement, injury-induced disability, or congenital disability). It introduced the FICA tax as the means to pay for Social Security.

In the 1960s, Medicare was introduced to rectify the fourth problem (health care for the elderly). The FICA tax was increased in order to pay for this expense.

In December 2010, as part of the legislation that extended the Bush tax cuts (called the Tax Relief, Unemployment Insurance Reauthorization, and Job Creation Act of 2010), the government negotiated a temporary, one-year reduction in the FICA payroll tax. In February 2012, the tax cut was extended for another year.

Under FICA, the payroll tax applies to "wages" (defined by the Act as "remuneration for employment"). In 2014, the Supreme Court unanimously held in United States v. Quality Stores, Inc. that severance pay is taxable wages for FICA purposes.

In August 2020, President Donald Trump signed an executive order to temporarily suspend collection of the tax from September to December 2020. Critics fear this move will lead to more underfunding of the Social Security Trust Fund and Medicare trust fund.

Criticism

The Social Security component of the FICA tax is regressive. That is, the effective tax rate regresses, or decreases, as income increases beyond the compensation limit or wage base limit amount. The Social Security component is a flat tax for wage levels under the Social Security Wage Base (see "Regular" employees above). Because no tax is owed on wages above the wage base limit amount, the total tax rate declines as wages increase beyond that limit. In other words, for wage levels above the limit, the absolute dollar amount of tax owed remains constant.

The earnings above the wage base limit amount are not, however, taken into account in the Primary Insurance Amount (PIA) to determine benefits payable under the various insurance programs of social security.

The FICA tax also is not imposed on unearned income, including interest on savings deposits, stock dividends, and capital gains such as profits from the sale of stock or real estate. The proportion of total income that is exempt from FICA tax as "unearned income" tends to rise with higher income brackets.

Some, including Third Way, argue that since Social Security taxes are eventually returned to taxpayers, with interest, in the form of Social Security benefits, the regressiveness of the tax is effectively negated. That is, the taxpayer gets back (more or less) what they put into the Social Security system. Others, including The Economist and the Congressional Budget Office, point out that the Social Security system as a whole is progressive in the lower income brackets. Individuals with lower lifetime average wages receive a larger benefit (as both a percentage of their lifetime average wage income and a percentage of Social Security taxes paid) than do individuals with higher lifetime average wages; but for some lower earners, shorter lifetimes may negate the benefits.

See also

Cafeteria plan
FICO, a similar initialism sometimes confused with FICA
Form W-2
Income tax
Medicare (United States)
National Insurance contribution (NIC), a somewhat similar tax in the United Kingdom
Social Security (United States)
Trust Fund Recovery Penalty, the personal liability of employers who fail to pay the tax

Notes

References

External links
Annual maximum taxable earnings and contribution rates, 1937-2006, from the Social Security Administration
Summary of Social Security Amendments of 1983, from the Social Security Administration
Student Exception to FICA Tax, from the Internal Revenue Service
Go Ahead and Lift the Cap, discussing 2008 US presidential campaign plans regarding payroll taxes, from Dollars & Sense magazine

United States federal taxation legislation
Social security in the United States
Medicare and Medicaid (United States)
United States federal welfare and public assistance legislation
Withholding taxes

Federal Insurance Contributions Act


Alexander Funk (* 1974 in Backnang) ist ein deutscher Filmproduzent.

Leben und Wirken
Alexander Funk wurde 1974 in Backnang geboren. Nachdem er Amerikanische Kulturgeschichte, Medienrecht und Kommunikationswissenschaften studiert hatte, absolvierte er einige Praktika bei Filmproduktionen. Im Herbst 2000 begann Alexander Funk dann ein Studium der Filmproduktion an der Filmakademie Baden-Württemberg. Er beendete sein Studium im Februar 2004 mit Diplom.
Während seines Studiums arbeitete Alexander Funk bei der Ludwigsburger Filmproduktionsfirma GAMBIT Film GmbH als Produktionsleiter und Produzent. Von 2004 bis 2006 arbeitete er dort dann als fester Produzent. Seit Juni 2006 hat Alexander Funk mit Funkfilme | Alexander Funk Filmproduktion seine eigene Filmproduktionsfirma. Zudem ist er seit 2009 Geschäftsführer der Filmproduktionsfirma Oberon Film GmbH mit Sitz in München und Berlin.

Funk ist Mitglied der Deutschen Filmakademie.

Filmografie (Auswahl)
 2005: Zur falschen Zeit am falschen Ort
 2006: Die Unzerbrechlichen (Dokumentarfilm)
 2006: Rabenbrüder
 2008: Weitertanzen (Kinofilm)
 2008: Das Palmerprinzip (Dokumentarfilm)
 2009: Überall nur nicht hier (Dokumentarfilm)
 2009: Mädchengeschichten – Melihas dritte Hochzeit (Doku-Fernsehreihe)
 2011: Einer wie Bruno
 2012: Finn und der Weg zum Himmel
 2013: Harms (Kinofilm, Koproduktion)
 2016: Frauen (Kinofilm)
 2016: Seit Du da bist
 2016: Spuren der Rache (Fernsehzweiteiler)
 2022: Für Jojo (Spielfilm, Netflix)

Wissenswertes
 Alexander Funk hat mit Zur falschen Zeit am falschen Ort, Überall nur nicht hier und Melihas dritte Hochzeit aus der Fernsehreihe Mädchengeschichten bereits drei Filme der Dokumentarfilmerin Tamara Milosevic produziert.

Weblinks
 Alexander Funk bei oberon-film.de

Einzelnachweise

Filmproduzent
Person (Backnang)
Mitglied der Deutschen Filmakademie
Deutscher
Geboren 1974
Mann

Alexander Funk (Filmproduzent)


Combustibilul nuclear epuizat (iradiat, ars) reprezintă combustibilul nuclear scos dintr-un reactor nuclear după iradiere și care nu mai poate fi folosit în reactorul respectiv (dar – eventual – poate fi reprocesat). Depinzând de poziția sa în ciclul combustibilului nuclear, poate fi alcătuit din diverși constituenți izotopici.

Combustibili nucleari
Tehnologie nucleară
Fisiune nucleară

Combustibil nuclear epuizat


Die archäologische Ausgrabungsstätte Butuan City liegt im Norden der Insel Mindanao auf dem Gebiet der philippinischen Großstadt Butuan City, Provinz Agusan del Norte, Region Caraga.

Die Ausgrabungsstätte befindet sich im Flusstal des Agusan auf dem Gebiet des Barangay Libertat. Die Ausgrabungen, die ab 1975 durchgeführt wurden, belegen, dass die Region um Butuan City seit dem frühen Mittelalter ein bedeutendes Handelszentrum war. Der bedeutendste Fund waren insgesamt 11 hochseetaugliche Langboote, die legendären Balangays, deren Planken in einer der Kraweelbauweise ähnlichen Form zusammengefügt und mit Holzdübeln am Schiffsgerippe befestigt wurden. Das älteste Schiff konnte um das Jahr 320 n. Chr. datiert werden. Die meisten anderen gefundenen Boote datieren aus dem Zeitraum vom 10. bis 12. Jahrhundert. Es gibt weltweit nur zwei weitere Funde, die dieselbe Bootsform und Verarbeitungsweise aufweisen; sie stammen von der Insel Sumatra und aus Pontian in Malaysia.

Weitere Funde belegen die lange und weitreichende Handelstradition, die diese Region im Mittelalter hatte. Es konnten Handelskontakte mit der Region Guangdong in Südchina vom 10. bis 15. Jahrhundert, mit Persien vom 9. bis 10. Jahrhundert, mit dem Reich Dvaravati im 9. Jahrhundert, mit dem Reich Chenla vom 11. bis 13. Jahrhundert, mit der Region Songkhla und dem Reich Srivijaya vom 10. bis 11. Jahrhundert und mit Thailand vom 14. bis 15. Jahrhundert nachgewiesen werden.

Der wahrscheinliche Grund dafür, dass die Region zu einem bedeutenden Handelszentrum des Mittelalters aufstieg, war der Goldreichtum der Region. In den Bergen und am Fluss selber konnten zahlreiche Goldminen und Schürfplätze ausgemacht werden. So konnten zahlreiche mit Blattgold verzierte Ornamente im typischen Stil aus der Zeit der Song- und Ming-Dynastie gefunden werden.

Verschiedene Funde der Ausgrabungen werden im Balangay-Schrein-Museum, dem Nationalmuseum Butuan und dem Nationalmuseum der Philippinen präsentiert. Die archäologische Ausgrabungsstätte Butuan City steht seit 2006 auf der Vorschlagsliste der Philippinen zur Aufnahme in die Welterbeliste der UNESCO.

Siehe auch
 Archäologische Ausgrabungsstätte Arubo
 Archäologische Ausgrabungsstätten im Cagayan Valley
 Petroglyphen auf den Philippinen
 Kabayan-Mumien

Weblinks
 Eintrag in der Tentativelist der UNESCO (englisch)
 Zeitlinie der Geschichte der Philippinen (englisch) (PDF; 355 kB)

Archäologischer Fundplatz auf den Philippinen
Archäologischer Fundplatz in Asien
Butuan City

Archäologische Ausgrabungsstätte Butuan City


Folkets Selvstyre, grundlagt 1926, var et dansk dagblad, der blev udgivet seks gange om ugen, frem til 1928.
Redaktionen bestod af Cornelius Petersen og var ejet og udgivet af A/S Bondens Selvstyre & red.. Frem til marts 1928 var Bondens Selvstyre tillæg til avisen hver søndag.

Historie
Sønderjyske landmænd var særligt ramt af kronedepressionen, hvorfor de i ret stort tal sluttede op om Selvstyrebevægelsen. Den økonomiske krise førte til, at Cornelius Petersen oprettede protestbevægelsen Bondens Selvstyre. I tilknytning til bevægelsen opstod det sønderjyske Bondeværnet. Man udgav Folkets Selvstyre, hvor Cornelius Petersen havde rig mulighed for at agitere sine synspunkter.

Navnevarianter
 Folkets Selvstyre (1926-1928)

Referencer

 De Danske Aviser
 Dengang.dk

Eksterne henvisninger
 Digitaliserede udgaver af Folkets Selvstyre i Mediestream
 Folkets Selvstyre i opslagsværket "De Danske Aviser"

Aviser fra Danmark
Etableret i 1926

Folkets Selvstyre (1926-1928)


فيروس الإنفلونزا أ H5N8 هو أحد أنماط فيروس الإنفلونزا أ، وهو قادر على التسبب بالإنفلونزا لدى الطيور.

سبب أحد أنماط الفيروس شديد العدوى (A/turkey/Ireland/1378/83) فاشية إنفلونزا بين الدجاج الرومي في أيرلندا عام 1983.

المراجع

أنماط فرعية من فيروس الإنفلونزا A
فيروسات

فيروس الإنفلونزا أ H5N8


Onthophagus splendidoides é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Josso em 2013.

Referências

Ligações externas

splendidoides
Coleópteros descritos em 2013

Onthophagus splendidoides


ريما كتانة نزال واسمها الكامل عند الولادة ريما عزت شريف كتانة (1 مايو 1950 – ) سياسية فلسطينية، ولدت ونشأت في مدينة طولكرم الفلسطينية، تعد واحدة من وجوه الحركة الوطنية الفلسطينية، ومن رائدات العمل النسائي الفلسطيني، وأحد أعضاء منظمة التحرير الفلسطينية، وهي عضو المجلس الوطني الفلسطيني والمجلس المركزي الفلسطيني، وكانت إسرائيل قد أبعدتها عام 1969 إلى خارج فلسطين لتكون أصغر مبعدة فلسطينية ومن أوائل المبعدات الفلسطينيات، ثم وافقت إسرائيل عام 1996 على عودتها إلى فلسطين بعد إبعادٍ قسري استمر لمدة سبعة وعشرون عامًا متواصلة.

نشأتها
ولدت ريما عزت شريف كتانة بتاريخ 1 مايو 1950 في مدينة طولكرم الفلسطينية الحدودية ونشأت بها، وتلقت تعليمها في مدارس مدينتها طولكرم، وهي شقيقة الوزير الفلسطيني عمر كتانة.

والدها "عزت كتانة" كان قياديًا بعصبة التحرر الوطني الفلسطيني في مدينة طولكرم ومديرًا لبريد طولكرم قبل نكسة عام 1967، وبذلك تأثرت بشكل كبير بشخصية والدها السياسية، إذ تقول بأن والدها قد "ورّثها حب العمل السياسي"، كما كانت تشارك في الاجتماعات السرية منذ صغرها.

تقول ريما: .

حياتها السياسية
قادت ريما عام 1968 مظاهرة نسائية ضد السلطات الإسرائيلية في مدينتها طولكرم، فاعتقلتها السلطات الإسرائيلية وزجت بها في سجن طولكرم ليكون بذلك اعتقالها الأول.

اعتقلتها السلطات الإسرائيلية للمرة الثانية وذلك عام 1969 خلال سفرها عبر جسر الملك حسين على الحدود الفلسطينية الأردنية، حيث اتهمتها إسرائيل بحيازة بيانات سياسية لمنظمات فلسطينية، ثم وضعتها السلطات الإسرائيلية رهن الإقامة المنزلية الجبرية لمدة شهرين.

في 12 أكتوبر 1969 أصدرت السلطات الإسرائيلية قرارًا يقضي بإبعادها إلى خارج فلسطين، لتكون بذلك أصغر مبعدة فلسطينية ومن أوائل المبعدات الفلسطينيات، فأُبعِدت إلى الأردن والتحقت هناك بالجامعة الأردنية، وانخرطت رسميًا في تنظيم الجبهة الديمقراطية لتحرير فلسطين في الأردن، ومع اندلاع أحداث أيلول الأسود في الأردن عام 1970 فقد انتقلت إلى سوريا والتحقت بجامعة دمشق في تخصص بكالوريوس المحاسبة بكلية التجارة والاقتصاد في الجامعة حيث تخرجت منها لاحقًا.

أصحبت عضوة في المجلس الوطني الفلسطيني منذ الدورة العشرين للمجلس والمنعقدة في الجزائر بتاريخ 23 سبتمبر 1991.

وافقت إسرائيل عام 1996 وبضغوطٍ دولية على عودتها إلى فلسطين للمشاركة في اجتماعات المجلس الوطني الفلسطيني، لتعود بذلك بعد إبعادٍ قسري استمر لمدة سبعة وعشرون عامًا متواصلة.

شغلت عدة مناصب ضمن منظمة التحرير الفلسطينية وذلك في الصندوق القومي الفلسطيني والمجلس الوطني الفلسطيني والمجلس المركزي الفلسطيني، وهي أيضًا عضو الأمانة العامة للاتحاد العام للمرأة الفلسطينية.

في 6 فبراير 2022 تولت منصب عضوة في المجلس المركزي الفلسطيني، وسرعان ما أعلنت حينها ريما نزال برفقة حنان عشراوي كونهما أعضاء المجلس المركزي الفلسطيني عن عدم مشاركتهما في دورة المجلس المنعقدة حينها في رام الله، حيث قالت ريما: .

حياتها الشخصية
تزوجت عام 1975 من القيادي الفلسطيني خالد نزال الذي اغتيل في العاصمة اليونانية أثينا بتاريخ 9 يونيو 1986 على يد جهاز الموساد الإسرائيلي وذلك لمسؤوليته عن سلسلة من العمليات الهجومية الفلسطينية ضد إسرائيل، ولها منه اثنين من الأبناء وهما "ديما" و"غيث".

مؤلفاتها
نشرت العديد من المقالات والأبحاث خصوصًا حول أوضاع المرأة الفلسطينية وقرار مجلس الأمن رقم 1325، وهي كاتبة دورية للمقالات في عدة صحف ومواقع إلكترونية.

في يونيو 2023 أصدرت كتابها "خالدٌ في حياتي" الذي تحدثت فيه عن سيرة زوجها خالد نزال، وقد جرى إطلاق الكتاب في حفلٍ رسمي بتاريخ 3 يوليو 2023 في "قاعة الجليل" بمتحف محمود درويش في مدينة رام الله بحضورٍ رسمي وثقافي.

من أقوالها
 قالت ريما لقناة الجزيرة في مارس 2022: .

وصلات خارجية

مراجع

أشخاص على قيد الحياة
أشخاص من طولكرم
أعضاء المجلس المركزي الفلسطيني
أعضاء المجلس الوطني الفلسطيني
أعضاء منظمة التحرير الفلسطينية
أعلام الصراع الإسرائيلي الفلسطيني
خريجو جامعة دمشق
سجناء ومعتقلون فلسطينيون
سياسيات فلسطينيات في القرن 20
سياسيات فلسطينيات في القرن 21
سياسيو الجبهة الديمقراطية لتحرير فلسطين
سياسيون من طولكرم
صحفيات فلسطينيات
كاتبات فلسطينيات في القرن 20
كاتبات فلسطينيات في القرن 21
مغتربون فلسطينيون في الأردن
مغتربون فلسطينيون في سوريا
مواليد 1950
مواليد في طولكرم
ناشطات فلسطينيات

ريما نزال


George Washington Crouse (* 23. November 1832 in Tallmadge, Ohio; † 5. Januar 1912 in Akron, Ohio) war ein US-amerikanischer Politiker der Republikanischen Partei. Vom 4. März 1887 bis 3. März 1889 war er Mitglied des Repräsentantenhauses der Vereinigten Staaten für den 20. Kongressdistrikt des Bundesstaates Ohio.

Leben
In Tallmadge wurde Crouse 1832 geboren. Dort besuchte er für fünf Jahre die öffentlichen Schulen. Anschließend zog er nach Akron um. Zunächst war er dort in verschiedenen Positionen beim Summit County beschäftigt. Als Manager der C. Aultman & Co war er vor dem Sezessionskrieg beschäftigt. Während des Krieges kämpfte er für die Nordstaaten. Nach Ende des Krieges war er für vier Jahre Mitglied des Stadtrates von Akron, anschließend weitere vier Jahre Mitglied des Schulausschusses. 1874 und 1875 war er wiederum für den Summit County tätig. Zwischen 1885 und 1887 war Crouse Mitglied des Senats von Ohio.

1888 wurde Crouse dann als Vertreter des 20. Wahlbezirks von Ohio ins Repräsentantenhaus nach Washington, D.C. gewählt. Bereits bei seiner Kandidatur hatte er angekündigt, lediglich eine Legislaturperiode zur Verfügung zu stehen. So schied er bereits 1889 wieder aus dem Kongress aus, um wieder für die C. Aultman & Co zu arbeiten.

Crouse war mit Martha K. Parsons ab 1859 verheiratet. Gemeinsam hatten sie fünf Kinder. Crouse starb 1912 in Akron. Er wurde dort auf dem Glendale Cemetery zu Grabe getragen.

Weblinks

Mitglied des Repräsentantenhauses der Vereinigten Staaten für Ohio
Mitglied des Senats von Ohio
Mitglied der Republikanischen Partei
Militärperson (Nordstaaten)
US-Amerikaner
Geboren 1832
Gestorben 1912
Mann

George W. Crouse