Jonathan Ronald Walters (born 20 September 1983) is a former professional footballer who played as a forward.

Walters started his senior career at Blackburn Rovers but failed to break into the first team and joined Bolton Wanderers. He then went out on loan to Hull City, Crewe Alexandra and Barnsley before joining Hull permanently. He then went on to play for Wrexham and Chester City before finally finding regular football at Championship side Ipswich Town. Walters spent three years at Portman Road before joining Stoke City for £2.75 million in August 2010. He scored twice in the 2011 FA Cup semi-final against Bolton Wanderers to bring the final score to 5-0, with Stoke reaching the 2011 FA Cup Final. Walters played 54 matches during the 2011–12 season and then played in UEFA Euro 2012 with the Republic of Ireland. Walters remained a regular at Stoke under managers Tony Pulis and Mark Hughes, scoring 62 goals in 271 appearances, before joining Burnley in July 2017.

Walters scored five times for the Republic of Ireland in 2015 during their successful UEFA Euro 2016 qualifying campaign, and was acknowledged with that year's FAI Senior International Player of the Year award.

Club career

Blackburn Rovers
Walters was born in Moreton, Merseyside and started his career at Blackburn Rovers having been spotted by playing for Shaftesbury under 16s in the Eastham & District Junior League by Rovers' scout for Wirral and Wales, Mike O'Brien who moved quickly to sign him.

He played for Blackburn's youth and reserve teams where he scored prolifically, helping the club reach the FA Youth Cup final in 2001, losing 6–3 on aggregate to Arsenal. However his promising career with Rovers was ended due to a 'serious breach of club discipline' which was described as 'totally out of character' and saw him suspended by the club.

Bolton Wanderers
He then joined Bolton Wanderers for a fee of £50,000 following interest from numerous clubs. He played in four Premier League games for Bolton making his professional debut as an 85th-minute substitute in a 2–1 defeat to Charlton Athletic, before signing for Hull City on loan in 2003. On his debut for Hull Walters scored twice in a 5–1 win over Carlisle United. Following his loan spell at Hull, Walters returned to Bolton, where he again went out on loan, this time to Crewe Alexandra however he failed to make an appearance for Crewe due to a tooth infection. In the 2003–04 season he joined Barnsley on loan and played eight league games for the "Tykes".

Hull City
Walters signed for Hull City for a second time in 2004, this time on a permanent transfer. In February 2005, he joined Scunthorpe United on a one-month loan deal and made three appearances for the "Iron".

Wrexham
After scoring only three goals for Hull in two seasons, Walters was sold to League Two side Wrexham. Upon signing for the club, Walters believed that he made the right choice moving closer to his Merseyside home. He played in 41 matches in the 2005–06 season, scoring against Cheltenham Town, Stockport County, Torquay United (twice) and Mansfield Town.

Chester City
He spent the 2005–06 season at Wrexham before he joined their rivals Chester City in 2006. Walters thrived under the management of Mark Wright and scored ten goals in 33 matches. He impressed in an FA Cup tie against Ipswich Town, prompting Ipswich manager Jim Magilton to make a £100,000 bid for Walters, which was accepted.

Ipswich Town

Walters agreed terms with Ipswich on a deal worth £100,000 plus add-ons in mid-January 2007, having impressed in FA Cup ties between the clubs earlier in the month. He made his debut for Ipswich on 30 January 2007 in a 0–0 draw at Stoke City. Walters scored his first goal for Ipswich in their 2–1 victory over Queens Park Rangers at Portman Road on 3 March 2007. Walters ended the 2006–07 season with goals against Barnsley and a brace on the final day of the season against Cardiff City.

He scored his first ever senior hat-trick in the 6–0 win over Bristol City in November 2007 at Portman Road, in the same week he received a call-up to the Republic of Ireland B squad. On 12 January 2008, he extended his contract with Ipswich until 2011. He had surgery on a niggling knee problem on 19 March 2008 and returned to action against Norwich City on 13 April in half the expected time. Walters played 41 times for Ipswich scoring 13 goals in 2007–08 as the Tractor Boys missed out on a play-off place by just one point. His performances during the season earned him the Player of the Year and Players' Player of the Year awards.

The 2008–09 season saw Walters again play 41 matches, scoring seven goals as Ipswich failed to build on last season and finished in 9th position.

The 2009–10 season under the management of Roy Keane saw Ipswich struggle to score goals with Walters top-scoring with only eight and Ipswich finished the season in a poor 15th position. In August 2010, Walters expressed to Roy Keane his desire to leave Portman Road after Stoke City made an offer for him.

Stoke City
On 18 August 2010, Walters joined Premier League side Stoke City for an initial £2.75 million fee on a four-year contract. He made his Stoke debut on 21 August 2010 against Tottenham Hotspur. He scored his first goal on 24 August 2010 in a 2–1 Football League Cup win over Shrewsbury Town. He scored his first league goal for Stoke on 2 October 2010 in a 1–0 win over Blackburn Rovers. After the match, Walters earned praise from his former manager Sam Allardyce, and City manager Tony Pulis. In November, Walters scored twice for Stoke in a 3–0 win over West Bromwich Albion, the first goal coming from the penalty spot and the other via a rebound from Scott Carson.

In January 2011, Walters scored twice for City in a 2–0 FA Cup third round replay win at Cardiff City. It took him until the end of March 2011 to find the back of the net in the Premier League again, scoring in a 4–0 win over Newcastle United. He scored in the next match against Chelsea and was named as Man of the Match. Following the match, Tony Pulis spoke of his delight at Walters' improved performances. "Jon's come from the Championship and sometimes it takes time to have the confidence and the belief to make the step up. He had an up-and-down start but he's been fantastic for us. He's certainly my type of player, he gives everything, he never stops and whatever you've paid him, you know he's earned it."

Walters scored twice in Stoke's 5–0 rout over former club Bolton Wanderers in the FA Cup semi-final at Wembley to help Stoke into their first FA Cup Final. Walters described it as the pinnacle of his career. Walters ended the 2010–11 season as joint top goalscorer with Kenwyne Jones, both having scored 12 goals. His first goal against Bolton in the semi-final won Goal of the Season. He played in the 2011 FA Cup Final against Manchester City as Stoke lost 1–0.

Walters played in his first European match on 28 July against Hajduk Split where he scored the only goal in a 1–0 Stoke win. He signed a 12-month contract extension in August 2011. Walters went on to play in 31 matches during the first half of the 2011–12 season scoring seven goals. In March 2012, Walters won the Sir Stanley Matthews Potteries Footballers of the Year award for 2012. Speaking after picking up the award, Walters revealed that he would like to remain at Stoke for the rest of his career. By 21 April 2012, Walters had played in 50 matches during the 2011–12 campaign and scored nine goals of which five were penalties. This led to Walters being criticised by some Stoke supporters but he was backed by his manager. On his 100th appearance for Stoke, Walters scored twice against his old club Bolton Wanderers in a 2–2 draw, a result which relegated the "Trotters".

Walters continued to be a virtual ever-present in the 2012–13 season as he went on to make a club-record 61 consecutive Premier League starts by 3 November 2012. He scored a well-worked set-piece in a 1–1 draw against West Ham United which earned praise from pundit Gary Neville. He scored twice against Liverpool on Boxing Day 2012 in a 3–1 victory.

On 12 January 2013, whilst playing against Chelsea, Walters scored two own goals becoming only the fourth player to do so in the Premier League, he also missed a penalty in the match as Stoke lost 4–0. He made amends three days later, scoring twice in an FA Cup third round replay victory over Crystal Palace. Walters played in every match in the 2012–13 season and was the club's top-scorer with 11 goals. The final game of the season against Southampton was his 89th consecutive league start.

Walters made a bad start to the 2013–14 season against Liverpool. After being awarded a last-minute penalty, he saw his shot easily saved by Simon Mignolet and Stoke went on to lose the match 1–0. However, despite this Walters insisted that he would not shy away from taking penalties. On 10 November 2013, Walters featured in his 100th consecutive Premier League match and marked the occasion by scoring in a 3–3 draw with Swansea City. His run of 102 consecutive league starts ended on 4 December 2013 against Cardiff City after picking up an injury. Walters scored a penalty against Arsenal in a 1–0 win on 1 March 2014. He also scored from the spot in the next match against Norwich City but was later sent off for the first time in his career for a high challenge on Alexander Tettey. Walters ended the 2013–14 season with five goals in 36 matches as the Potters finished in 9th position.

Walters opened his account for the 2014–15 season with a brace against Portsmouth in the League Cup. He also scored winning goals against Swansea City, Tottenham Hotspur and Arsenal. On 31 January 2015, Walters became the first Stoke player to score a Premier League hat-trick in a 3–1 victory over Queens Park Rangers. Walters scored his 50th Stoke goal on 24 May 2015 in a 6–1 victory against Liverpool. In total, he scored 11 goals in 36 appearances in 2014–15 as Stoke finished in ninth position for a second consecutive season.

With Walters entering into the final year of his contract, Stoke rejected a bid from Norwich City at the start of the 2015–16 season. Walters vented his frustration with contract talks claiming the club were undervaluing him. This led to him handing in a transfer request but despite this he failed to secure a move away from the club. Walters then scored in back-to-back matches against Leicester City and Bournemouth. Chief executive Tony Scholes stated that he hoped the club could reach a 'compromise' with Walters over his contract. His contract dispute was resolved and he signed a new two-and-a-half-year deal with Stoke on 7 November 2015. Walters played 33 times in 2015–16, scoring eight goals as the Potters again finished in ninth position.

Walters played 24 times in 2016–17, scoring four goals as Stoke finished in 13th.

Burnley
On 7 July 2017, Walters joined fellow Premier League side Burnley on a two-year contract for a fee of £3 million. He was restricted to just five appearances in the 2017–18 season as he struggled with a recurring knee injury and on his return to action wasn't able to force his way into Sean Dyche's plans.

Walters re-joined Ipswich Town, on loan, on 30 August 2018. However, after making only three appearances for the club, Walters was ruled out for six months due to an Achilles injury on 26 September, making him unavailable for the rest of his loan spell at the club.

Walters announced his retirement from football on 22 March 2019 after struggling to recover from his Achilles injury.

International career

Walters qualifies to play for the Republic of Ireland national team through his Irish mother. He made his international debut for Republic of Ireland U21 against Switzerland in October 2003, scoring twice in a 2–0 win. He also played for the Republic of Ireland B team against Scotland B team in 2007. In 2010, Ireland manager Giovanni Trapattoni stated that he could give Walters a call up to the national side in the future. He was called up in November 2010 for the friendly match against Norway and was brought on as a half-time substitute in that game to make his senior international début. Walters was given the nod ahead of Simon Cox in the crucial Play-off game against Estonia and Walters repaid by scoring his first international goal in the 4–0 victory over Estonia in Tallinn in the first leg of the UEFA Euro 2012 qualifying play-offs. On 26 March 2013, Walters scored two goals against Austria before a late strike from David Alaba gave the Austrians a 2–2 draw.

Walters scored twice in a UEFA Euro 2016 play-off against Bosnia and Herzegovina on 16 November 2015 to earn Ireland a 2–0 victory and qualification to UEFA Euro 2016.

Personal life
Walters was brought up in Moreton, Merseyside, and the house in which he lived was opposite a number of community football pitches. He grew up supporting Everton. He is married and has two daughters and a son. One of his daughters, Scarlett was born with gastroschisis. His mother died when he was young and was brought up by his father James, along with his brothers Aidan and James and his sister Samantha.

Career statistics

Club

International

Scores and results list Republic of Ireland's goal tally first, score column indicates score after each Walters goal.

Honours
Blackburn Rovers
FA Youth Cup runner-up: 2000–01

Hull City
Football League One runner-up: 2004–05
Football League Third Division runner-up: 2003–04

Stoke City
FA Cup runner-up: 2010–11

Republic of Ireland
Nations Cup: 2011

Individual
Ipswich Town Player of the Year: 2007–08
Ipswich Town Players' Player of the Year: 2007–08
Ipswich Town Goal of the Season: 2008–09
FAI International Football Awards – Senior International Player of the Year: 2015

See also
 List of Republic of Ireland international footballers born outside the Republic of Ireland

References

External links

Profile  at the Burnley F.C. website
Profile at the Football Association of Ireland website

1983 births
Living people
Sportspeople from Wirral
Footballers from Merseyside
English men's footballers
Republic of Ireland men's association footballers
Republic of Ireland men's under-21 international footballers
Republic of Ireland men's B international footballers
Republic of Ireland men's international footballers
Men's association football forwards
Blackburn Rovers F.C. players
Bolton Wanderers F.C. players
Hull City A.F.C. players
Crewe Alexandra F.C. players
Barnsley F.C. players
Scunthorpe United F.C. players
Wrexham A.F.C. players
Chester City F.C. players
Ipswich Town F.C. players
Stoke City F.C. players
Burnley F.C. players
Premier League players
English Football League players
UEFA Euro 2012 players
UEFA Euro 2016 players

Jonathan Walters


Percy Lawrence Wells, JP (8 June 1891 – 3 April 1964) was a British trade union official and Labour Party politician.

Wells was born in Kent and went to Stone Church of England school in Greenhithe. At the age of 16 he enlisted in the Royal Navy, in which he served for three years; on leaving, he travelled around the world, stopping in Canada, the United States of America, the Pacific Islands, New Zealand and Australia.

In 1919, Wells became an official of the Transport and General Workers' Union. By the end of the 1930s he was Kent General Secretary of the union, and in 1937 he did his best to stop an unofficial strike of busmen. He was made a Justice of the Peace for Kent in 1938 and served on the Central Agricultural Wages Board; a large number of TGWU members in Kent were agricultural labourers.

At the 1945 general election, Wells was elected as the Member of Parliament (MP) for Faversham, and was immediately picked by Ernest Bevin (Foreign Secretary) as his Parliamentary Private Secretary. He retained the role until Bevin's death in 1951.

Later in the 1950s Wells campaigned for more industries to come to Sheerness and the Isle of Sheppey. He had to fight hard in a marginal constituency, and in the 1955 general election had a majority of only 59 votes. Against the trend, he improved his majority in 1959, but only to 253. In poor health, he announced his retirement in 1961, but died before the end of the Parliament. His seat was retained for Labour in the resulting by-election by Terence Boston.

References
M. Stenton and S. Lees, Who's Who of British MPs Vol. IV (Harvester Press, 1981)
Obituary, The Times, 6 April 1964

External links

1891 births
1964 deaths
British trade unionists
Labour Party (UK) MPs for English constituencies
Transport and General Workers' Union-sponsored MPs
UK MPs 1945–1950
UK MPs 1950–1951
UK MPs 1951–1955
UK MPs 1955–1959
UK MPs 1959–1964

Percy Wells


Class could mean:

Social class refers to the differences between groups in societies or cultures, and is a basic idea in economics, sociology and other social sciences
Class (education), a group of students in a course or lesson
 class, a lesson, in education
 class, short for a classroom

Class (biology), a rank used in taxonomy
Class (philosophy), distinguishes between classes and types
Class (set theory), in mathematics
Travel class

Media, entertainment and sport
Character class in role-playing games and other genres
Class (film), a romantic comedy released in 1983
Class: A Guide Through the American Status System, a book by Paul Fussell
The Class, a CBS sitcom which began in fall 2006
Class, known as one-design in sailing, where boats built the same way race against each other

Technology
Appliance classes, in making electric appliances
Class (emission), a type of radio emission
Ship class, in a navy, a set of vessels that are built the same way

Computer science
Class (programming), related to object-oriented programming
Class (file format), a Java file format
Class (warez), a warez group that stopped being used
Class attribute, a part of many HTML and XHTML elements, such as span and div, often to help apply styles

Railroads
Class (locomotive), a railroad locomotive design as assigned by the railroad
The classification of United States railroads by income:
Class I railroad
Class II railroad
Class III railroad

Other
Classes of United States Senators
CLASS, Community Leaders At Service of Society, a non-profit organization in Silicon Valley, California.
 "Class", British slang word meaning "great" or "fabulous".

Class


A proposition is a term in philosophy and logic. It is a statement which has a truth value, meaning it can be proved to be true or false. For a proposition to be valid, it must be possible to prove the proposition is either true or false. Many teachers and students of logic use the term statement and proposition to mean the same thing. Propositions are also often represented by capital letters such as ,  and .

It is possible to express the same proposition in many way. Proposition are only concerned with actual meaning, not the way the proposition is expressed. Propositions can look different, yet still mean the same thing. When two different propositions mean the same thing, they are said to be synonymous, meaning each statement has the same meaning.

For example, "Snow is white" (in English) and "Schnee ist weiß" (in German) are different sentences, because they are written in different languages. However, they mean exactly the same thing: snow is white. No matter what language the statement is written in, it will mean the same thing. As a result, these statements are synonymous.

In Aristotelian logic, a proposition is a specific kind of sentence that confirms or denies an action or predicate took place through a subject. Aristotelian propositions take forms like "All men are mortal" and "Socrates is a man". In each sentence, the subject (men, Socrates) has a status (are mortal, is a man) which can be regarded as true or false.

In logical positivism, a proposition whose truth value cannot possibly be decided is meaningless (Quine, for instance, believes that propositions generally have no clear criterion of identity). For example, statements about the existence of deities cannot be proved under logical positivism. Because the statements have no truth value, a logical positivist would consider propositions about deities (such as "God exists" or "God does not exist") to have no logical meaning.

Related pages
Axiom
Propositional logic
Predicate logic

References

Philosophy
Logic

Proposition


William Trufant Foster (January 18, 1879 – October 8, 1950) was an American educator and economist, whose theories were especially influential in the 1920s. He was the first president of Reed College.

Early life and education
Foster was born in Boston, Massachusetts, on January 18, 1879. He attended Roxbury High School in Boston. He graduated from Harvard University with an A.B. in 1901 and an A.M. in 1904.

Career
Foster was an instructor of English at Bates College in Maine, from 1901 to 1903 and served as a coach of Bates' internationally known debate program. Foster was also professor of English and Argumentation at Bowdoin College in Maine in 1905. He authored "Argumentation and Debating", published in 1908. Foster eventually received a Ph.D. in 1911 from Teachers College, Columbia University.

His conception of "the ideal college" set out in the concluding chapter of his dissertation, led to his appointment as the first president of Reed College. He served from 1911 to 1919. He rejected intercollegiate sports and Greek life in favor of an intense academic education. He fostered close intellectual collaboration between faculty and students. He treated undergraduates as if they were graduate students and created a system of small seminars, comprehensive examinations, undergraduate research, and senior theses.

He was director of the Pollak Foundation of Economic Research from 1920 to 1950, in Newton, Massachusetts, where he emphasized the need to protect consumer interests.

Economics
He collaborated with his Harvard classmate Waddill Catchings in a series of economics books that were highly influential in the United States in the 1920s. His influential books, written with Catchings, were Money (1923), Profits (1925), Business Without a Buyer (1927), The Road to Plenty (1928), and Progress and Plenty (1930).

With Catchings, he was one of the leading pre-Keynesian economists, in the underconsumptionist tradition, advocating similar issues to Keynes such as the paradox of thrift and economic interventionism. The two are now rarely mentioned in contemporary economics texts, standing as they do in the shadow of Keynes's The General Theory.

Foster and Catchings rejected traditional laissez-faire economics and called for aggressive federal involvement to balance the economy lest destabilizing forces upset prosperity. The main problem was underconsumption, which could be overcome by strategic government spending in public works. The theory strongly influenced the anti-depression programs of Herbert Hoover, Franklin D. Roosevelt, and Federal Reserve Board Chairman Marriner Eccles.

See also

References

External links

 Should Students Study? at Wikisource
 Should Students Study? hosted by Harper's Magazine
 Reed Magazine: What's so funny 'bout communism, atheism, and free love? (1/8)
 William Trufant Foster edited and contributed three chapters to "The Social Emergency: Studies in Sex Hygiene and Morals". The work was based on an extension course given at Reed College.
 Reed College Oral History Project Time Line
Introducing Foster and Catchings at Reviving Growth Keynesianism

1879 births
1950 deaths
American economics writers
American male non-fiction writers
Bates College faculty
Teachers College, Columbia University alumni
Economics educators
Education in Portland, Oregon
Harvard University alumni
Macroeconomists
Presidents of Reed College
Economists from Oregon
20th-century American economists

William Trufant Foster


The Island New Democrats are one of the three major political parties in Prince Edward Island. The party ran 24 candidates in the 2003 provincial election. The leader of the party at the time of the election was Gary Robichaud.

Candidates
Leona Arsenault (Evangeline-Miscouche)
Ken Bingham (Park Corner-Oyster Bed)
Nicholas Boragina, Jr. (Parkdale-Belvedere)
J'Nan Brown (Charlottetown-Rochford Square)
Lorne Cudmore (Montague-Kilmuir)
Jane Dunphy (Georgetown-Baldwin's Road)
Miranda Ellis (Crapaud-Hazel Grove)
Gerard Gallant (Stanhope-East Royalty)
Paulette Halupa (St. Eleanors-Summerside)
Donna Hardy (Alberton-Miminegash)
Marlene Hunt (North River-Rice Point)
George S. Hunter (Kensington-Malpeque)
Ronald G. Kelly (Sherwood-Hillsborough)
Ed Kilfoil (West Point-Bloomfield)
Jane MacNeil (Glen Stewart-Bellevue Cove)
Michael Page (Belfast-Pownal Bay)
Reg Pendergast (Tignish-Deblois)
Edith Perry (Murray River-Gaspereaux)
Robert Perry (Tracadie-Fort Augustus)
Teresa Peters (Charlottetown-Spring Park)
Kevin Roach (Charlottetown-Kings Square)
Peter Robinson (Cascumpec-Grand River)
James Rodd (Borden-Kinkora)

New Democratic Party of Prince Edward Island politicians
2003 elections in Canada

New Democratic Party of Prince Edward Island candidates in the 2003 Prince Edward Island provincial election


Dezider Ursiny, also known as Dežo Ursiny (; 4 October 1947 – 2 May 1995) was a Slovak rock musician and a television and film screenwriter and director. He is considered one of the most important personalities of Slovak rock music and one of the most talented and unique Slovak popular music composers. He belongs to a wide group of legends of Czechoslovak Big Beat. Dežo Ursiny was a member of big beat bands The Beatmen, The Soulmen in the 1960s and since the mid-1970s, until his death he pursued a solo-career, composing sophisticated artistic and critically highly praised music, which varied slightly from one album to another and is sometimes hard to define, can be described as jazz rock, or more widely – progressive rock. He composed music to several films, including the popular musical "Neberte nám princeznú" and also shot several documentary movies during his lifetime.

History
Ursiny was born and raised in Bratislava. He attended electrotechnical high school where he made his first musical contacts. He started playing guitar at the age 11, and in the early 1960s he is known to play in the amateur bands Fontána and Jolana. At the end of 1964 he joined The Beatmen as a lead guitarist and singer, and the following year they gained nationwide success in Czechoslovakia. The group played Beatles-like music and wrote critically praised songs, of which 4 were released on two singles. Ursiny, being only 17, wrote their best song, "Let's Make A Summer". However, their success didn't last long and the band didn't manage to build themselves a stable position on the scene and after their breakup they soon disappeared from people's memories. In 1966 the band decided to emigrate to West Germany in search for wider success, limited by the unfriendly political regime, but Ursiny refused to leave his homeland. The band, with a replacement for him soon broke up because of disappointment from the lack of success in the west.

In 1967 Ursiny started studying film and television dramaturgy at the Musical Arts College in Bratislava and from mid-1967 to mid-1968 he was a founding member of The Soulmen, the group that was proclaimed the best at the 1st Czechoslovak Beat Festival in Prague in December 1967. They played Cream-like music and released 4 songs on an EP in the early 1968. In late 1968 he founded The New Soulmen who however disbanded soon thereafter, and didn't release any songs. After the 1968 occupation of Czechoslovakia the situation much worsened for musicians, and it was more difficult to perform and release as freely as before. The normalization removed English from the band names and song lyrics and the song themes were undergoing very strong censorship.

In 1970 he founds the band Provisorium after meeting his lifelong mate, keyboardist Jaro Filip. The band existed shortly in two line-ups, and played only two shows during their existence but managed to arrange a recording deal, before they finally broke up. Ursiny and Filip recorded an album with Czech musicians Vladimír Kulhánek (bass) and Jaroslav Erno Šedivý (drums) from the band Flamengo, whom they first met three days before recording. The album "Dežo Ursiny & Provisorium", with all lyrics in English, was released to a miracle in 1973. It consisted of four songs, with side long track
"Christmas Time". Full of jazzy melodies it is now considered a classic and one of the best Slovak albums ever recorded (as would later be probably every Ursiny's album), but at the time of its release it remained practically unnoticed by the public.

In the same year Ursiny finished his studies and later started working at the Koliba film studios in Bratislava. He escaped military service by fleeing to a psychiatric hospital and in 1974 he met another his lifetime friend, poet Ivan Štrpka, who would remain his almost sole lyricist for the rest of the time. He changes his opinion that only English is the language of rock and all his later recordings will have Slovak lyrics. He considered the lyrics so important that all his albums after his first Slovak one would read "Dežo Ursiny/Ivan Štrpka" as artists on their covers. In 1975 they both start working on the musical trilogy "Gondwana – Laurasia – Pangea", which was later abandoned, and the material was reworked and used differently up to a certain level. The 18-minute-long song "Ostrov" (Island), from his first Slovak album "Pevnina detstva", is a remnant from the original material, named originally "Tristanov ostrov" (Tristan's Island). The album was recorded in late 1977 and released in 1978, and again didn't gain practically any success, partly because it was not at all promoted by the media and the publishing industry, because of various problems with censorship. However the album is also a classic now for the fans of the Czechoslovak progressive scene, and musically it is very much treasured, "Ostrov" is a jazz rock masterpiece, and Štrpka's lyrics are praised as well.

In 1979 another album, "Nové mapy ticha" was released, which introduced shorter songs and some more accessible lyrics (which was, however, even more apparent on several subsequent albums). The backing band was named Burčiak (Federweisser) and with this group Ursiny released also another album "Modrý vrch", which is considered to be his best by the most of his fans and the critics. By this time he had written music to various films, including popular television musical "Neberte nám princeznú" (Don't take the princess away from us), with its songs performed by singers Marika Gombitová, Miroslav Žbirka and Marie Rottrová. Songs from this musical are for sure most remembered by the people from all the music ever written by Ursiny.

In 1983 the album "4/4" was released with the band named Prognóza (Prognosis), and in 1984 "Bez počasia", with band again named Provisorium (the name had then remained on the rest of Ursiny's albums). These brought again simpler lyrics and music, some funky elements which later appeared on subsequent albums. However these albums also failed to make their way to wide public, and next ones "Zelená", "Na ceste domov" again consisted of long tracks. Throughout the time he composed music to another movies, including musical "Niekto ako ja" (Someone like me). He also co-wrote and directed the film "Vôňa života" (Fragrance of life) about sexual education.

In 1989 he was diagnosed with cancer, from which he partly recovered in 1990. In 1991 his movie "O rakovine a nádeji" (Of cancer and hope) was premiered, and in 1992 he released a double album "Ten istý tanec", which included mostly his own lyrics, many of them autobiographical, of meditating character. In 1994 his health grew worse again, he released his final album "Príbeh" which now belongs to his fans' most favourite ones. In December 1994 he played his final show in Prague. He died of cancer on 2 May 1995.

In 1997 and 2000 the two compilation albums "Pevniny a vrchy" and "Pevniny a vrchy 2" were released, which include official recordings from the singles and EPs released during his career as well as various rarities from The Beatmen, The New Soulmen, never released songs or his songs included on albums of other artists. The disc 2 of "Pevniny a vrchy 2" contains live recordings of The Soulmen from the 1st Czechoslovak Beat Festival from 1967 and of Provisorium from 1971, in a very low sound quality. The album "Pevniny a vrchy" was part of the eponymous biography or Ursiny by Marián Jaslovský. (  )

Discography

With The Beatmen
Singles
 Safely Arrived/The Enchanted Lie - 1965 (Supraphon)
 Break It/Let's Make A Summer - 1965 (Supraphon)

With The Soulmen
EP
 Sample Of Happiness/Wake Up/I Wish I Were/Baby Do Not Cry – 1968 (Panton)

Solo career
Studio albums

English album
 Dežo Ursiny & Provisorium – 1973 (Supraphon)

Slovak albums (all but the first one as Dežo Ursiny – Ivan Štrpka):
 Pevnina detstva (Childhood's Mainland) – 1978 (Opus)
 Nové mapy ticha (New Maps Of Silence) – 1979 (Opus)
 Modrý vrch (Blue Hill) – 1981 (Opus)
 4/4 – 1983 (Opus)
 Bez počasia (Without Weather) – 1984 (Opus)
 Zelená (Green) – 1986 (Opus)
 Na ceste domov (On The Way Home) – 1987 (Opus)
 Momentky (Snapshots) – 1990 (Opus)
 Do tla (Burned To Embers) – 1991 (Opus)
 Ten istý tanec (The Same Dance) – 1992 (Arta)
 Príbeh (Story) – 1994 (BMG Ariola)

Compilation albums:
 Pevniny a vrchy (Mainlands And Hills) – 1997 (Bonton/Slovenský rozhlas)
 Pevniny a vrchy 2 (Mainlands And Hills 2) – 2000 (Sony Music Bonton)

Live:
 Posledný príbeh live (The Last Story Live) – 2000 (Rádio Bratislava)

Single:
 Hra je hra/Stá pieseň o daždi – 1980

See also
 The Beatmen
 The Soulmen
 Jaroslav Filip
 The 100 Greatest Slovak Albums of All Time

Notes

External links

1947 births
1995 deaths
Czechoslovak Big Beat groups and musicians
Slovak musicians
Deaths from cancer in Slovakia

Dežo Ursiny


Tonalite is an igneous, plutonic (intrusive) rock, of felsic composition, with phaneritic (coarse-grained) texture. Feldspar is present as plagioclase (typically oligoclase or andesine) with alkali feldspar making up less than 10% of the total feldspar content. Quartz (SiO2) is present as more than 20% of the total quartz-alkali feldspar-plagioclase-feldspathoid (QAPF) content of the rock. Amphiboles and biotite are common accessory minerals.

In older references tonalite is sometimes used as a synonym for quartz diorite. However the current IUGS classification defines tonalite as having greater than 20% quartz, while quartz diorite varies its quartz content from 5 to 20%.

The name is derived from the type locality of tonalites, adjacent to the Tonale Line, a major structural lineament and mountain pass, Tonale Pass, in the Italian and Austrian Alps. The name was first applied by Gerhard vom Rath in 1864. The term adamellite was originally applied by A. Cathrein in 1890 to orthoclase-bearing tonalite (likely a granodiorite) at Monte Adamello, Italy, in 1890, but later came to refer to quartz monzonite, and is now a deprecated term.

Trondhjemite is an orthoclase-deficient variety of sodium-rich tonalite with minor biotite as the only mafic mineral, named after Norway's third largest city, Trondheim.

Tonalites, together with granodiorites, are characteristic of calc-alkaline batholiths formed above subduction zones.

References

External links

Felsic rocks
Granitic rocks

Tonalite


Little Iodine was a popular comic strip published in the United States on Sundays. It was created by Jimmy Hatlo. It was published from 1943 until 1985.

The story is about a girl called "Little Iodine". She first appeared in an earlier comic strip by Hatlo, called They'll Do It Every Time. She was the daughter of the strip's main character, Henry Tremblechin. She constantly annoyed her father with pranks and practical jokes. The character of Iodine became very popular, so Hatlo promoted the character into her own strip in 1943.

Iodine's antics were on the Sunday comics page for over forty years. It came before Dennis the Menace. From 1943 to 1963, Little Iodine was written and drawn by Hatlo.

Movie adaptations
A movie based on the comic strip was released in 1946. It was by Comet Productions. The 56-minute movie stars Jo Ann Marlowe as Little Iodine, Hobart Cavanaugh as her father Henry, and Irene Ryan as her mother Cora.

In the movie, Iodine thinks that her mother is having an affair with Professor Simkins (played by Leon Belasco). She tries one antic after another to break up the couple. Her efforts backfire when they cause conflict between her father and his employer, Mr. Bigdome (Emory Parnell).

The movie was planned to be released earlier than October 20, 1946 (its actual distribution date), but that date was delayed due to an epidemic of polio that prevented children across the United States from attending movies. The movie is believed to be lost.

References

Other websites
Don Markstein's Toonopedia entry

American comic strips
Movies based on comic book characters
American movies
1947 movies
Movies directed by William A. Seiter
English-language movies

Little Iodine


Sulz is the name for several concepts:

Generally
Sulz or Sülze is the German name for head cheese.
In German, Sulz can refer to tripes.

People with the name
The Counts of Sulz were German nobility, can be traced AD 910 to 1687
Serge K. D. Sulz, born 1946 is a German psychotherapist

Places with the name

Germany
Sulz am Neckar, a town in Baden-Württemberg, near Rottweil

As a placename
Sulz is a part of the city of Lahr
Sulz is a part of the city of Wildberg, Baden-Württemberg
Kloster Sulz (Sulz abbey) is a part of the city of Dombühl, Bavaria
Sulz is a part of the city of Münster, Bavaria
part of the village of Peißenberg, used to be known as Bad Sulz

Austria
Sulz im Weinviertel, Lower Austria
Sulz, Vorarlberg
Sulz im Wienerwald, Lower Austria
Sulz (Deutschlandsberg), Styria
Sulz (Sulztal), Styria

As a placename
A part of the city of Weitra
A part of the village of St. Margarethen an der Raab, Styria

Switzerland
Sulz, Aargau
Sulz, Lucerne
The German name of Soulce, Jura

As a placename
A part of Rickenbach, Zürich
A part of Künten, Aargau
Soulce in the canton of Jura, Switzerland was formerly known as Sulz

Others
Sülz, a village in Silesia
The German name of Soultz-Haut-Rhin in Alsace, France, Sülz im Oberelsass

Sulz


Asexual reproduction is reproduction without sex.

In this form of reproduction, a single organism or cell makes a copy of itself. The genes of the original and its copy will be the same, except for rare mutations. They are clones.

The main process of asexual reproduction is mitosis. This type of reproduction is common among some single-cell organisms, for example, Amoeba. Many plants also reproduce asexually, for example by means of runners. The individual zooids in a particular coral  or bryozoan are usually genetically identical. They are formed by asexual reproduction of the first individual to arrive in a place. One whole order of the rotifers, the bdelloid rotifers, has no sexual reproduction. Many types of living things have a double cycle. At one stage they have sexual reproduction, at another they simply multiply by splitting, or producing eggs which develop without fertilisation (aphids). All the daughters of the honey bee develop from unfertilised eggs. So, asexual reproduction is common in many forms of life.

Types of asexual reproduction

Binary fission

Some organisms like bacteria reproduce using binary fission. They split in two, so one bacterium becomes two bacteria. This always leads to daughter cells, and the offspring will be identical to the parent.

Budding

Budding is similar to binary fission, but it is used by plants and some animals, which cannot simply split in half as bacteria can. It is when a small part of a plant or animal breaks off and then, while they are separated from their "mother", they start to grow until both the "parent" and the "offspring" are the same size and both are capable of budding again. This may happen many more times.

Parthenogenesis
Parthenogenesis is found in both plants and animals. Eggs develop without fertilisation. Examples occur in water fleas, rotifers, aphids, stick insects, some ants, bees and parasitic wasps. Parthenogenesis is very rare for vertebrates.

Vegetative propagation
Very common in some types of plants using rhizomes or stolons (for example in strawberry). Other plants form bulbs or tubers (for example tulip bulbs and dahlia tubers). Some plants may form a clonal colony, where all the individuals are clones, and the clones may cover a large area.

Spores

Fungi (for example, mushrooms) produce spores, which may be asexual or sexual. The asexual spores have the genetic material inside, which allows them to make a whole new organism identical to its parent. They are produced by mitosis. Different fungi make different kinds of asexual spores, conidia, oidia, and pycniospores. The shape and colour of the spores can be helpful to identify the species of fungus.

Sexual vs asexual reproduction

References

Other websites
 Asexual reproduction in animals and plants
 Advantages and disadvantages of asexual reproduction
 Revision site directed towards IGSCE students

Methods of reproduction

Asexual reproduction


Florence Stanley (born Florence Schwartz; July 1, 1924 – October 3, 2003) was an American actress of stage, film, and television. She is best known for her roles in Barney Miller (1975–1977) and its spinoff Fish (1977-1978), My Two Dads (1987–1990), and Nurses (1991–1994), and the voice of Wilhelmina Bertha Packard in the franchise of Atlantis: The Lost Empire.

Early life and career
Stanley began a long career on stage, film and TV starting in the 1940s. Her earliest theatrical performances include The Importance of Being Earnest with the Touring Players, Bury The Dead at New York's Cherry Lane Theatre, and Machinal. She began using the stage-name Florence Stanley at some point in her career.

During the 1950s, Stanley appeared in numerous live TV shows, and gave an acclaimed performance as Clytemnestra in the New York Shakespeare Festival's 1964 production of Electra, opposite Lee Grant, who played the title role. Stanley began her long career on Broadway as Maureen Stapleton's understudy in a 1965 revival of The Glass Menagerie.

In 1966, she took over the role of Yente in Broadway's Fiddler On The Roof from Bea Arthur, leaving in 1971 (after more than 2,000 performances) to open in Neil Simon's The Prisoner of Second Avenue, directed by Mike Nichols. In 1972, she went on to tap dance in the Broadway production of The Secret Affairs Of Mildred Wild, and in 1981 went back to work for Neil Simon in the Broadway production of Fools.

Film roles
Her film roles began in 1967 with Up the Down Staircase starring Sandy Dennis. In 1973, she was asked by director Mike Nichols to play a small role in his film The Day of the Dolphin starring George C. Scott. She recreated her role in the film version of The Prisoner of Second Avenue (1975), and was again cast by Nichols for The Fortune (1975), starring Warren Beatty, Jack Nicholson and Stockard Channing. She went on to appear in the television series Joe and Sons for CBS in 1975; that same year Barney Miller producer Danny Arnold cast Stanley as Bernice Fish, the wife of Detective Fish (played by Abe Vigoda). Vigoda's and Stanley's characters were spun off in 1977 - Fish.  She also appeared in the 1994 film Trapped in Paradise starring Nicolas Cage, Jon Lovitz and Dana Carvey. Stanley played Edna "Ma" Firpo in the movie.

Later roles
In 1966 she was a voice actress on the gothic inspired soap opera Dark Shadows voicing the supposed ghost of a sobbing woman in the basement.

On television, Stanley portrayed Margaret Wilbur, a family court judge who assigned custody of a twelve-year-old girl to two former boyfriends of the girl's late mother on My Two Dads, and directed three episodes of the series. She made two guest appearances on the TV series Night Court: an uncredited one in the season 4 episode "Murder" in which she plays a woman who cheerfully confesses to her husband's murder but may be hiding something, and another, credited, role in the season 6 episode "The Game Show" where she played Judge Wilbur. She later played Dr. Amanda Riskin on Nurses. She portrayed Elsie Engelhoff on Drexell's Class provided the voice for Grandma Ethyl Phillips on Dinosaurs and made guest appearances on such television series as Mad About You (which reunited her with her former My Two Dads co-star, Paul Reiser), Malcolm in the Middle, Mr. Belvedere and Cybill. Later film roles include Trouble Bound (1993), The Odd Couple II and Bulworth (both in 1998) and Down With Love (2003). Stanley also provided the voice for Peter Griffin's mother, Thelma on Family Guy. In 1998, she played Muriel on The Simple Life.

In 2001, she provided the voice of Wilhelmina Packard in Disney's 41st animated feature film, Atlantis: The Lost Empire, for which she was nominated for an Annie Award for Voice Acting by a Female Performer in an Animated Feature Production, and the direct-to-video sequel, Atlantis: Milo's Return, in 2003.

Death
On October 3, 2003, Stanley died of complications from a stroke at age 79.

Partial filmography

References

Text from this site used with permission of Webmaster

External links

1924 births
2003 deaths
20th-century American actresses
21st-century American actresses
American film actresses
American stage actresses
American television actresses
American voice actresses

Florence Stanley


Elihu Phinney (1755–1813) was the first printer in Cooperstown, New York.  In the early 1790s he lived in Canaan, Columbia County, New York, where he published the Columbian Mercury, and Canaan Repository of Rural Knowledge.

Phinney was invited to Cooperstown by Judge William Cooper, the wealthy land developer who had established the Otsego County, New York village.  There in 1795, Phinney opened a printing and publishing business.  In his weekly newspaper, The Otsego Herald; or, Western Advertiser, Phinney wrote that he, "in the winter of 1793, penetrated a wilderness, and broke a track, through a deep snow, with six teams, in the 'depth' of winter, and was received with a cordiality, bordering on homage."

It is said that James Fenimore Cooper, Judge Cooper's son and future novelist, frequented Phinney's print shop and there, for his own enjoyment, learned the art of setting type. In fact, James Fenimore Cooper's daughter Caroline married Phinney's grandson, Henry Frederich Phinney, in 1849.

Early on, through his publications, Phinney provided political support for the Federalist Judge Cooper,  but by the end of the first decade of the 19th century, Phinney had begun to support the Clintonian Republicans who by then had become a majority in the county.  Besides endorsing Cooper's political opponents, Phinney went so far as to sponsor a petition to change the name of Cooperstown to "Otsego Village."

Phinney's company contributed to Cooperstown's status as a major publishing center through the first half of the 19th century. His sons, Henry and Elihu Phinney Jr., took over the business in 1813, upon their father's death and became known for the 138 Bible editions that they publishing  between 1822 and 1848, when their company, H. & E. Phinney, moved to Buffalo.

A copy of H. & E. Phinney's 1828 "Authorized" (i.e., King James) edition of the Bible, containing Old and New Testaments, as well as the Apocrypha was used by Joseph Smith, founder of the Latter Day Saint movement, as a basis for his "translation" of the Bible written between 1830 and 1833.

Besides operating a book shop in Cooperstown, the Phinneys sold books (both their own and those of other American publishers) from large wagons and Erie Canal "bookboats", which helped them expand into Western New York.

From 1833 to 1840, Elihu Phinney, Jr. held office as the supervisor of the Town of Otsego (in which the Village of Cooperstown is located).  Henry Phinney later held the office 1850.

Elihu Phinney's name may now be associated as much with the game of baseball as it is with the publishing business.  It was claimed that Abner Doubleday, the supposed inventor of baseball, regularly played the game on Phinney's farm.  This led to the purchase of the lot for use as a baseball park now called Doubleday Field, which was the site of the annual Baseball Hall of Fame Game.

Bibliography

External links
George Glazer Gallery: Amos Doolittle, Bonaparte in Trouble, shows an engraving (c.1814) printed on paper which Elihu Phinney produced.
Alan Taylor, Who Murdered William Cooper, quotes Phinney publications reporting Judge Cooper's death.
Philadelphia Rare Books & Manuscripts Company, shows an example of the Phinney edition that was the basis for Joseph Smith's translation.
Doubleday Field, A Diamond in the Pasture, explains how Phinney's farm became the famous baseball park.

1756 births
1813 deaths
American publishers (people)
People from Cooperstown, New York

Elihu Phinney


Tom Casey is a U.S. diplomat. He was the Deputy Spokesman and Deputy Assistant Secretary for Public Affairs at the United States Department of State, a position to which he was appointed on 3 July 2006. Immediately prior to this assignment, he served as Director of the Office of Press Relations.

Casey joined the Foreign Service in 1988 and was first posted to the U.S. Embassy in Caracas, Venezuela. He has served overseas in public affairs positions at the U.S. embassies in Lagos, Nigeria, and Lima, Peru, as well as at the U.S. Mission to NATO in Brussels, Belgium.

In Washington, D.C., Casey has worked as a public affairs advisor for the Bureau of Western Hemisphere Affairs, and in a number of positions dealing with NATO and European Union issues in the Bureau of European and Eurasian Affairs.

Prior to his entry into the Foreign Service, Casey worked as a management analyst at the United States Department of Justice. A native of the state of New Jersey, he holds a Bachelor of Arts in political science from Tufts University, and a Master of Arts in Law and Diplomacy from the Fletcher School of Law and Diplomacy.

Sources
The original version of this article was taken from Tom Casey: Biography, a public domain publication of the U.S. State Department.

External links

Year of birth missing (living people)
The Fletcher School at Tufts University alumni
Living people
American diplomats
United States Department of State officials
American expatriates in Nigeria
American expatriates in Belgium
American expatriates in Peru
American expatriates in Venezuela
Tufts University School of Arts and Sciences alumni
People from New Jersey
United States Foreign Service personnel

Tom Casey (diplomat)


Luo Haocai (; March 1934 – 12 February 2018) was a Chinese legal scholar, Supreme Court judge, and politician. He served as professor and Vice President of Peking University, Vice President of the Supreme People's Court, Chairman of China Zhi Gong Party (Public Interest Party), and Vice Chairperson of the Chinese People's Political Consultative Conference (CPPCC). In the field of administrative law, he proposed the "theory of balance", which has become highly influential in China.

Early life in Singapore
Luo was born in March 1934 in Singapore, with his ancestral home in Anxi County, Fujian, China. His grandfather had moved to Burma and later settled in Singapore. During the Japanese occupation of Singapore, his uncle and the principal of his school were killed in the Sook Ching massacre.

British rule was restored in Singapore at the end of World War II. While a 17-year-old student at The Chinese High School, Luo participated in the anti-colonial movement and was jailed by the British government for more than a year. As he had lost his birth certificate, he was deported to China in July 1952 after his release from prison.

Academic career
In China, Luo studied at Zhiyong High School in Guangzhou and Wuxi No.1 High School in Jiangsu. He was admitted to Peking University Law School in 1956, and stayed on as a faculty member after graduating in 1960.

Starting as an assistant teacher, he rose to lecturer, associate professor, professor, and eventually Vice President of Peking University. He was also Vice President of the Chinese Law Society and Vice Chairman of the All-China Federation of Returned Overseas Chinese.

Theory of balance
In the 1990s, Luo proposed the "theory of balance" in administrative law. According to Luo, the fundamental relationship in administrative law is that between the administrative power and a person or organization. In premodern times, the relationship was unequal: the authorities imposed duties on individuals. In modern capitalist societies, which have established the rule of law, administrative law aims to control the power of the authorities and protect the basic rights of individuals. Although this has been a major development in human society, Luo argued that the system sacrifices efficiency for the sake of democracy and impedes economic development. His proposed solution is a "theory of balance", which seeks to simultaneously protect and restrain both the power of the administrative organ and the rights of citizens. His theory has become highly influential in China, although it is also controversial.

Political career
He joined the China Zhi Gong Party (Public Interest Party) in 1992, and became its vice-chairman. From 1995 to 2000, he served as Vice President of the Supreme People's Court, China's highest court. In 1997 he was elected as Chairman of the Party, and in the following year, as Vice Chairperson of the Chinese People's Political Consultative Conference (CPPCC). He served in both positions for two terms (10 years).

In 1999, he served as a member of the Preparatory Committee for the Handover of Macau.

Death
Luo died in Beijing in the morning of 12 February 2018, at the age of 83.

References

External links
Luo Haocai profile at the Open University of China

1934 births
2018 deaths
Columbia University alumni
Peking University alumni
Academic staff of Peking University
Vice Chairpersons of the National Committee of the Chinese People's Political Consultative Conference
Members of the Standing Committee of the 8th Chinese People's Political Consultative Conference
Supreme People's Court judges
Singaporean emigrants to China
Chinese legal scholars
China Zhi Gong Party politicians
Chinese Communist Party politicians
20th-century Chinese judges
21st-century Chinese judges

Luo Haocai


Alma Elizabeth Deutscher (born 19 February 2005) is a British composer, pianist, violinist and conductor. A former child prodigy, Deutscher composed her first piano sonata at the age of five; at seven, she completed the short opera, The Sweeper of Dreams, and later wrote a violin concerto at age nine. At the age of ten, she wrote her first full-length opera, Cinderella, which had its European premiere in Vienna in 2016 under the patronage of conductor Zubin Mehta, and its U.S. premiere a year later. Deutscher's piano concerto was premiered when she was 12. She has lived in Vienna, Austria, since 2018. She made her debut at Carnegie Hall in 2019 in a concert dedicated to her own composition.

Background and education
Alma Elizabeth Deutscher was born on 19 February 2005, in Basingstoke, England. She is the daughter of literary scholar Janie Deutscher (née Steen) and linguist Guy Deutscher. Deutscher also has a younger sister, Helen Clara.

She began playing piano at the age of two, followed by violin at three. Her strong affinity to music was apparent from an early age. She could sing in perfect pitch before she could speak, and she could read music before she could read words. In a 2017 interview with the Financial Times, Deutscher said: "I remember when I was three and I was listening to a lullaby by Richard Strauss, I loved it! I especially loved the harmony; I always call it the Strauss harmony now. And after it finished I asked my parents "How could music be so beautiful?" She received a little violin as a present on her third birthday, and while her parents thought it would just be another toy, she was "so excited by it and tried playing on it for days on end", so her parents decided to find her a teacher. Within a year she was playing Handel sonatas.

At four she was improvising on the piano, and by five, had begun writing down her own compositions. These first written notations were unclear, but by age six, she could write clear compositions and had composed her first piano sonata, a recording of which was released in 2013. At seven, she composed her first short opera, The Sweeper of Dreams, at nine, a violin concerto, and her first full-length opera at age ten.

Until the age of 16, Deutscher was educated at home. She was registered for a school in England when she was five, but after attending the first orientation day, she came back in tears, and told her parents: "they haven't taught me to read and write". Her parents then decided to educate her at home. They later explained on the BBC Documentary Imagine and on CBS 60 Minutes that they were led to choose home education by their realization that their daughter's "volcanic imagination" and creativity were essential to her well-being, and they came to the conclusion that the freedom required for this intense creativity and imagination cannot be provided in a school. Deutscher herself told the BBC when she was ten: "I never want to go to school. I have to go outside and get fresh air, and read." Two years later she explained to the Financial Times: "I think that I learn at home in one hour what it would take at school five hours to learn".

In his 2017 BBC Documentary about Alma Deutscher, Alan Yentob described this intense world of imagination, in which Deutscher had created an imaginary country called "Transylvanian", with its own language and above all its own music. "I made up my own land with its own language and there are beautiful composers there, named Antonin Yellowsink and Ashy and Shell and Flara". These imaginary composers each had a different musical style, and Deutscher assigned various of her early compositions to these composers.

Deutscher's early musical education focused on creative improvisation, following a method of teaching called Partimenti, which was developed in eighteenth-century Italy, and which has been revived and popularized by Professor Robert Gjerdingen. Gjerdingen sent exercises for Alma Deutscher and commented on technical aspects of her composition, while she had lessons in improvisation with the Swiss musician Tobias Cramm. Deutscher thus initially became fluent in the musical grammar of eighteenth-century music, which she later described as her musical "mother tongue".

Deutscher came to popular media attention in 2012, when she was seven, after writer and comedian Stephen Fry commented on her YouTube channel: "Simply mind-blowing: Alma Deutscher playing her own compositions. A new Mozart?" In 2014, a television program hosted by renowned pianist and pedagogue Arie Vardi, featuring performance and improvisation by Deutscher  brought her to the attention of leading figures in the classical music world, including conductor Zubin Mehta. In the same year, a viral YouTube mashup video released by musician Kutiman featured an ostinato from one of Deutscher's early videos.

In 2017, a CBS-60 Minutes feature with Scott Pelley about Deutscher created a stir and won an Emmy Award.

In 2018, Deutscher moved with her family to Vienna. She explained to The New York Times in 2019: "I grew up on the music of Mozart, Schubert, Beethoven, and Haydn. Musically speaking, I think that Vienna's always been my home."

In 2021, she was admitted to the conducting degree at the University of Music and Performing Arts Vienna, to study with conductor Johannes Wildner. At 16, she may be the youngest student ever to be admitted to this conducting course, whose alumni include Zubin Mehta, Claudio Abbado and Kirill Petrenko.

In the first years of her life, Deutscher was the subject of her father's linguistic experiments related to his professional research. In an effort to understand why ancient cultures did not use the term "blue" to describe the colour of the sky, he made sure never to inform his daughter that the sky was "blue". The development of her colour perceptions, and especially her insistence in an early age that the clear sky was "white", were reported in Guy Deutscher's 2010 book, Through the Language Glass: Why the World Looks Different in Other Languages.

Deutscher is trilingual in English, German and Hebrew.

Compositional method, style and aesthetics
Deutscher's music has been noted above all for the wealth and beauty of its melodies. The Austrian Newspaper Wiener Zeitung termed Deutscher a 'Melodist by High Grace', whose cantilenas "convey bottomless grief or overflowing yearning". Deutscher herself explained that her melodies often arrive unbidden, including in her dreams. The opening of her first short opera, The Sweeper of Dreams, came to her fully formed in a dream, as well as the theme of a set of piano variations in E-flat major, which eventually became the basis of the third movement of her piano concerto. Deutscher has also described a special excited state-of-mind, which she called an "improvising mood". She told the Daily Telegraph in 2016, "When I am in an improvising mood, melodies burst from my fingertips." At a younger age she also described melodic inspiration arising from skipping with her 'magical' skipping rope: "I wave it around, and melodies pour into my head". In 2019 she told the New York Times: "When I was younger, I really thought it was the rope that gave me inspiration. Now, I know it's not really the rope, it's the state of mind that I get into when I wave it around".

However, Deutscher has explained in numerous interviews the difference between the spontaneous moments of inspiration, in which she hears melodies in her head, and the laborious process of composing complete polished pieces based on these melodies. To the Financial Times, she said that the challenging part of composition is to develop the ideas and turn them into "a coherent structure. That's extremely difficult".

From a young age, Deutscher has repeatedly stated her determination to compose beautiful music and bring back melody and harmony to modern classical music. In a press conference of the Carinthischer Sommer Music Festival in 2017, which featured Deutscher's violin and piano concertos, she made a public statement about her style, her love of melody, and her musical aesthetics: "Why music should be beautiful". She explained that many people have told her that beautiful melodies are not acceptable in classical music of the twenty-first century, because music must reflect the complexity and ugliness of the modern world. "But I think that these people just got a little bit confused. If the world is so ugly, then what's the point of making it even uglier with ugly music?". She then cited the lullaby by Richard Strauss as her earliest inspiration for creating beauty. In another interview, she explained: "Melody is the essence of music – this is not just my own musical aesthetics, it's the aesthetics of almost everyone, young and old. It's not a great secret that the most loved pieces of music are the ones with the best tunes." She has elaborated on this theme in interviews with The New York Times in 2019 and The Times in 2022, as well as in a speech at the Vienna State Opera in 2019, on the occasion of receiving the European Culture Prize, where she said: "there is more to European Culture than just dissonance. Perhaps there is also a place in European Culture for harmony." In an interview with German Radio after the premiere of her third opera in 2023, Deutscher explained: "So that an art form stays alive and doesn't become a museum of holy relics, you always need something new and fresh. But you need new music which speaks to people, which moves them, which brings them solace, which entertains them".

Critical reception
Much of the response to Deutscher in the first years of her public exposure centred on her young age and status as a child prodigy, with various prominent musicians such as the violinist Anne-Sophie Mutter and conductors Zubin Mehta and Sir Simon Rattle expressing amazement at what she had achieved at such a young age. Rattle told the BBC: "I don't know that I've come across anyone of that age with quite such an astonishing range of gifts."

Deutscher herself, however, always professed her dislike of perception of her as a 'prodigy' and of her young age being the focus of the discussion. She said at the Google Zeitgeist conference when she was 10: "I want my music to be taken seriously ... and sometimes it's a little bit difficult for people to take me seriously because I'm just a little girl." Deutscher also repeatedly objected to the frequent headlines comparing her to Mozart: "I don't really want to be a little Mozart. I want to be Alma."

After the celebrated premiere of Deutscher's opera Cinderella in Vienna in 2016, the focus in the public reception of Deutscher's music has shifted to her unabashed love of melody and to her musical language and aesthetics. The striking quality of Deutscher's melodies was noticed early on. The musicologist Ron Weidberg wrote in 2015 that "few composers can write such tunes, which from the first moment are immediately impressed upon our memory, and thus turn into the possession of all those who listen to them. Alma is one of these composers."

Deutscher's melodies were a major theme in the reception of her opera Cinderella since 2016. The opera was described by one Viennese critic as containing "fireworks of earworms". The Spanish newspaper ABC wrote that "Cinderella is a flood of wonderful and radiant melodies, almost in excess." The German Opera Magazine Orpheus wrote that Cinderella was heralding the "Renaissance of German Singspiel". The Austrian Newspaper Der Standard expressed the hope that Deutscher's melodious music might help opera reconnect with the wider public and inject a new life into the world of opera, which has so often been pronounced dead.

Deutscher's musical idiom draws on the harmonic framework of 18th and 19th century classical music. Renowned Austrian critic  expressed his astonishment, when reviewing a performance of Deutscher's piano concerto in Vienna, that despite "moving in the Romantic worlds of Mendelssohn and Grieg, Deutscher's music is full of extraordinarily original ideas and genuine surprises." He concluded that it is a misconception that composers must reinvent musical language anew in each generation. "The world turns in a circle", he wrote, "but always sprouts new, beautiful flowers, if one only lets them sprout".

On the other hand, critics committed to musical modernism have criticized Deutscher's refusal to embrace the harsh dissonances that characterize much of classical music since the second half of the twentieth century. For example, after a performance of Deutscher's Piano Concerto in Lucerne in 2018, a reviewer for the newspaper Luzerner Zeitung criticized the concerto's "pastel-melodious" idiom and asserted that "the duty of the young generation of artists should be to give to the audience not what it wants, but what it needs".

The Wall Street Journal later observed that Deutscher's music is perceived as provocative by those who are committed to musical modernism. They "dislike her music for the same reason audiences love it. They object to its traditional tonality, its straightforward emotional appeal". In May 2022, the Leading Article of The Times endorsed Deutscher's call for beautiful music: "Deutscher seeks audiences rather than disciples. She is surely right to hold that the surest way to introduce her generation to the joys of classical music is to provide something beautiful".

Operas

The Sweeper of Dreams (2012)
Deutscher's first completed opera, from age seven, is a short work inspired by Neil Gaiman's story, "The Sweeper of Dreams", with the text adapted from a libretto by Elizabeth Adlington. Parts of the score came to Deutscher in a dream. The first performance of the opera was in Israel in 2013. In the story, a job is advertised for a Sweeper of Dreams, who is to help people forget their nightmares. The three middle-aged men on the committee are shocked to discover that the only candidate, Alex, is a sixteen-year-old girl. Her interviewers mock her, because she "committed two terrible crimes: the first was being a child, the second was being female".

The theme of female empowerment is recurrent in Deutscher's operas, and also dominates her full length opera, Cinderella. She told The New York Times in 2019: "I'm a very strong feminist and I'm really happy that I was born now, when girls are allowed to develop their talents.". She said she is particularly attracted to stories of women overcoming adversity.

Cinderella (2015–20)

Deutscher's second opera is a full-length work based on the fairy tale of Cinderella, but with significant modifications to the plot, which in her version revolves around music: Cinderella herself is a composer, the prince is a poet, and a haunting melody that Cinderella sings to the prince as she flees from the ball takes the place of the glass slipper of the traditional tale. Deutscher explained that it was important for her that Cinderella is not just a pretty girl with a dainty foot. The prince falls in love with Cinderella because of her talent.

Deutscher has worked on the opera over a period of at least five years, between the ages of nine to fifteen, producing succussive expansions and revisions. The first (chamber) version was premiered in Israel in 2015, when Deutscher was ten. An orchestral version premiered in Vienna the following year, with conductor Zubin Mehta as patron of the production. Reports about the sold-out performances appeared in newspapers all over the world, and Viennese critics expressed their astonishment at the accomplishment of Deutscher's orchestral writing and at the beauty of her melodies.

Deutscher further elaborated the work for the sold-out U.S. premiere in 2017 at Opera San Jose. The New Criterion called it an "opera of astounding wit, craft, and musical beauty... The sheer amount of orchestral and vocal invention is stunning", and predicted that Cinderella would find its way to Broadway. Opera Today described it as "a young talent's sensational burst to prominence... a once-in-a-lifetime opera-going event that had audiences standing and cheering."

The Vienna State Opera staged its own adaptation for children in 2018, and 2020.

In 2019–20 Deutscher undertook a further revision of the opera for a production at the Salzburg State Theatre, adding a children's chorus.

In November 2022 Deutscher made her U.S. debut as conductor, in a revival of the 2017 Opera San Jose production of Cinderella. That production was released on YouTube.

The Emperor's New Waltz (2023)
Deutscher's second full-length opera, "The Emperor's New Waltz" (), was a commission of the Salzburg State Theatre and premiered there in March 2023. In interviews with the BBC and with German KlassikRadio, Deutscher explained the main themes and inspirations for this musical comedy: "First of all, I wanted to tell a beautiful love story, between two young people, but also between two musical worlds: classical music and pop music. Then I wanted to write a musical comedy that isn't only for opera fans, but also appeals to young people who otherwise have no access to classical music. And finally I wanted to parody the tuneless world of atonal contemporary classical music – music that only "clever people understand" –  and to the rest of us just sounds like noise".

Deutscher said that she wanted to move away from the rigidity of the opera genre in this musical comedy: "My hero Jonas is a pop singer, he sings songs on the guitar, he raps over Mozart. But at the end he also sings in a ten-part fugue. I wanted to show that opera and musicals are much closer than one thinks. My dream is that young people go to a musical, but then think: "Actually, there was also opera in it and it didn't hurt at all, it was even beautiful..."

The Salzburg State Theatre describes the plot as follows: "Mozart versus modern beats, shrill dissonance against harmonic beauty. Inspired by the fairy tale "The Emperor's New Clothes," the opera tells a story about pretence and truth and about the bonding power of music. The gardener and the rich heiress: Jonas and Leonie could hardly be more different. No wonder that the two can't stand each other. What unites them, however, is the dream of studying at the music academy. But Leonie's father, fashion mogul Rudolf Kaiser, thinks that her planned marriage to the renowned contemporary composer Anthony Swindelle will bring enough high culture into the family. Leonie decides to visit the university disguised as a boy, and comes across Jonas there. Together they discover that Swindelle is pursuing some self-serving plans."

Awards and distinctions
 In May 2021, Deutscher received the Leonardo da Vinci International Award of 11 European Rotary Clubs. At age 16, she was the youngest person in the history of the prize ever to receive it.
 In October 2019, Deutscher was awarded the European Culture Prize (Young Generation Award) in a ceremony at the Vienna State Opera.
 In October 2019, Deutscher received the Beijing Music Festival Young Artist Award in a ceremony in Beijing.
 In September 2019, Deutscher was chosen by the German magazine Stern as one of its twelve "Heroes of Tomorrow". At 14, she was the youngest of the twelve to be chosen, with the other eleven ranging in age from 27 to 43.

Notable performances, recordings and publications
Deutscher has played her own music as soloist with renowned orchestras across the world, including the Israel Philharmonic Orchestra, Vienna Radio Symphony Orchestra, Mozarteum Orchestra Salzburg, Vienna Chamber Orchestra, Royal Philharmonic Orchestra, Shenzhen Symphony Orchestra (China), Lucerne Symphony Orchestra (Switzerland), Vancouver Symphony Orchestra, Orchestra of St. Luke's (New York). She has also given recitals of her own compositions in the renowned Lucerne Festival (Switzerland) and Aix-en-Provence Festival (France). At the invitation of the Austrian Chancellor, she has performed at the Chancellery in Vienna on several state occasions, including in 2018 at a service commemorating the end of the Second World War in Europe.

Notable live performances include:

 Deutscher's performance aged 10 at the Google Zeitgeist Conference in 2015, where she appeared alongside physicist Stephen Hawking.
 The opening concert of the Carinthischer Sommer (Carinthian Summer) Music Festival (Austria) in 2017, in which Deutscher performed as soloist both her own violin concerto and the world-premiere of her piano concerto, together with the Vienna Chamber Orchestra.
 Deutscher's sold out Debut in Carnegie Hall in New York in 2019. This concert, which received multiple standing ovations and which critics described as "a night of increasing musical wonder", was conducted by Dame Jane Glover with the Orchestra of St. Luke's, and was devoted exclusively to Deutscher's own compositions. It included her Violin concerto and Piano Concerto, both of which she again performed as a soloist, as well as highlights from her opera Cinderella and her concert waltz, Waltz of the Sirens. Deutscher introduced her waltz to the audience by explaining her musical philosophy and her determination to bring back harmony and beauty to modern classical music, and to find beauty even in the ugly sounds of the modern world. The event was streamed live by Medici.TV. A recording of the Waltz of the Sirens from the concert has been watched more than 1.5 million times on YouTube. A later short excerpt of Deutscher herself conducting her Waltz of the Sirens went viral on TikTok in May 2022.

Notable television appearances:

 In 2017 Deutscher was the subject of an hour long BBC documentary directed by Alan Yentob. The documentary accompanied Alma Deutscher during the rehearsals for the premiere of her opera Cinderella in Vienna in 2016.
 In 2017 Deutscher was also the subject of a CBS-60 Minutes documentary, which won an Emmy Award in 2018 for best "Arts, Culture, and Entertainment Report".
 Aged 9, Deutscher appeared on the program Intermezzo With Arik of the renowned pianist and pedagogue Arie Vardi on Israeli Educational Television, in a performance and interview which brought her to the attention of conductor Zubin Mehta.

Deutscher has appeared on television shows across the world, including The Ellen DeGeneres Show, and NBC Today.

The first album of Deutscher's music, "The Music of Alma Deutscher" was released in 2013 when she was 8. In 2019, Sony Classical Records released "From My Book of Melodies", a piano album of Deutscher's compositions from ages of four to fourteen. Two productions of her opera Cinderella has been released on DVD, by Sony Classical and by the Vienna State Opera.

Deutscher's collection of piano pieces, From My Book of Melodies, was published in 2020 by American classical music publishers G. Schirmer and Hal Leonard.

List of compositions

Operas
The Sweeper of Dreams (mini-opera)
Cinderella, a full-length opera
The Emperor's New Waltz (), an opera commissioned by the Salzburg State Theatre, premiered in March 2023.

Orchestral pieces
Dance of the Solent Mermaids (symphonic dance)
 Violin Concerto in G minor
 Piano Concerto in E-flat major
Waltz of the Sirens
Elmayer Waltz

Songs
The Lonely Pine Tree, song to words by H. Heine. (This piece appeared in public only in a piano solo arrangement, as part of the album From My Book of Melodies)
The Night Before Christmas, (song to words by C. Moore)
Near the Beloved, a song to words by Goethe
I Heard the Bells on Christmas Day, a Christmas Carol to words based on a poem by Henry Wadsworth Longfellow

Chamber music
Andante for Violin and piano
Rondino (trio) in E-flat major for violin, viola, and piano
 Quartet movement in A major (a piano arrangement appeared in the album From My Book of Melodies under the name Summer in Mondsee)
 Viola Sonata in C minor (first movement)
 Quartet movement in G major, Rondo
 Violin Sonata (first movement)
 Trio for violin, viola, and piano in D major (Cinderella Trio)

Piano pieces
Piano Sonata in E-flat major
The Chase (Impromptu in C minor)
Sixty Minutes Polka
Ludwig Waltz no. 1
Ludwig Waltz no. 2
Grinzinger Polka

Educational music

 Alma's Piano Songs: an Album for Young Musicians. (A collection of piano pieces for children by Alma Deutscher).

Discography

References

Further reading

External links

2005 births
21st-century classical pianists
Child classical musicians
English classical composers
English people of Israeli descent
English people of Jewish descent
English classical pianists
English women pianists
English classical violinists
English opera composers
Women classical composers
Living people
People from Dorking
Women opera composers
21st-century English women musicians
21st-century classical violinists
21st-century women pianists

Alma Deutscher


The Broken is a 2008 French-British horror film written and directed by Sean Ellis and starring Lena Headey.

Plot
Gina McVey, a successful radiologist, is examining x-rays of a patient with Situs Inversus, an uncommon condition in which a person is born with their heart and other organs reversed or mirrored from their normal positions. On the birthday of her father, John, Gina, along with her boyfriend Stefan Moreau, her brother Daniel and his girlfriend Kate Coleman surprise John in his home. In the middle of the dinner party, a mirror previously knocked askew when John entered the room falls and shatters. Kate and Gina proceed to clean the shards and discuss that breaking mirrors is a sign of bad luck. At work the next day, Gina is baffled by her assistant Anthony when he tells her that he just saw her walking out of the building. Gina explains that she has been inside the whole time. On her way home however, she sees a woman who looks exactly like her driving a car identical to hers, so Gina follows the woman to her flat and sees a picture of her and her dad inside the woman's room. A frightened Gina runs out of the building and drives her car seemingly disturbed at what she saw, and ends up colliding head on with another car in the middle of the road. Gina awakens in a hospital with no memory of the accident. She is introduced to a therapist Dr. Robert Zachman who leaves his business card. Gina is released and Stefan takes her home.

Back at Stefan's flat, Gina notices his mirror is missing and he explains he broke it by accident. Stephan goes to take the dog out and it snaps at him, which is peculiar. Gina runs a bath and while relaxing in the tub, she notices a leak in the ceiling and goes to check on it in the attic but is stopped by Stefan who appears to be cold and less emotional than earlier appearances in the film. Gina sleeps fitfully that evening and has flashbacks of her father's birthday party, the accident as well as unearthly scenes and a frightening sexual encounter with a seemingly Stefan. Frightened by these developments, Gina contacts Dr. Zachman about her concerns that the man known as Stefan is not really her boyfriend at all. Dr. Zachman suggests this may be a form of Capgras delusion, a rare psychological condition also known as impostor syndrome, brought on by brain damage and/or memory loss sustained in the car crash. He advises more tests to be performed and recommends Gina visit her wrecked car in hopes that it will help her remember the events surrounding the accident.

Meanwhile, Daniel and Kate arrive home to see their neighbor in the stairwell. The neighbor is clearly disturbed and appears to be about to say something. However, his wife watches the man expressionlessly through a crack in the door. The neighbor does not finish what he has to say, and nervously goes into the apartment with his wife.

Gina goes to the auto shop to examine her car, and finds the picture she found of her and John from the woman's flat. While investigating her car, Gina hears the sound of breaking glass and turns to see two identical dogs fighting each other next to a broken mirror. She visits John in his office at the American Embassy and shows him the picture. He begins to worry about what has gotten into his daughter's mind. Later, John's secretary mentions seeing him on the street during lunch, but he tells her he hadn't left the office all day. He goes into the Embassy's men's room where he finds the mirror broken on the floor.

Kate arrives at her home to find that Daniel is not there. As Kate peers into the hallway mirror, a being in what appears to be a dark, shadowy version of her house looks back at her. Unaware of her observer, Kate takes a shower, but is disturbed by the sound of a mirror breaking. Suddenly, a woman who looks exactly like her enters the bathroom and murders Kate.

Back to Gina who is at the subway station, picture in hand, when someone bumps into her, making her drop the photo which flies onto the subway rail. Gina gets on the ground to reach down for it when she hears a train coming just around the bend. She finally stretches far enough and narrowly escapes being hit by the train, but successfully grabs the picture. Gina visits her father at home where he tells her the doctor called him and voiced his concerns regarding Gina's opinion that Stefan has changed. She then relays the events that unfolded that day and shows John the picture, to which he replies, "Maybe it's not me." Gina phones Stefan to check on him but he does not answer. She goes back to Stefan's flat to find it deserted. Gina hears the water leaking once more and goes to the attic to investigate where she finds Stefan, dead, with his head smashed onto a pipe. Panicking, Gina calls John for help but when a man who looks like John appears out of the shadows from behind him, they are disconnected.

Scared, Gina runs into the bathroom and locks the door. Someone jiggles the door knob from outside and pounds on the door trying to break it open, but Gina gets out through the bathroom window. Suddenly, the door breaks open and a man looking exactly like Stefan walks into the room. We then see Gina running down the street and into a phone booth where she relives parts of her day and picks up the phone receiver and calls her brother, Daniel. Gina explains everything to Daniel about the woman she saw who looks like her and that she followed the woman to her flat. Daniel realizes that Gina is talking about her own home and tells Gina that's where she lives. Gina ends the call. Daniel hangs the phone up, turns and sees broken mirror pieces on the floor. Puzzled, he walks further into the apartment when he begins to hear scrubbing noises and follows the sound to the bathroom where he sees Kate scrubbing the blood stained floor. Daniel calls to Kate who stands up and they look at each other with no emotion.

Gina arrives at her flat and is let in the building by the night watchman. Gina gets a spare key to her apartment from him and he asks if he should make her another key to which she replies no, she has another set somewhere. Gina continues to her flat and quietly walks in. When she goes into the bathroom, Gina finds a dead body of herself with a plastic bag over her head. Gina pulls the bag off the duplicate's head, which causes previously suppressed memories she had been struggling to remember to come flooding back to her. Gina backs up, crying, looks up and suddenly remembers coming home, seeing something that frightened her. She drops her wallet, glass breaks and she sees herself putting the plastic bag over her head and murdering the real Gina. More memories flit by as Gina processes everything, then she goes to the living room window which she looks out and down at her father, John, who is standing on the sidewalk looking up at her.

The film concludes as Mirror Gina is examining x-rays of herself showing that she too now has Situs Inversus, implying that the patient from the beginning of the film along with others are also being replaced by doppelgangers from the other side of the mirror. Daniel comes to see Gina at the hospital, but realizes that she has been replaced similar to how Gina earlier realized that Stefan was not Stefan anymore. Daniel runs away as Mirror Gina stares at him and smiles. Mirror Gina is then seen driving her car to destinations unknown while smiling eerily.

Cast
Lena Headey as Gina McVey, a "young and beautiful radiologist", who is the protagonist of the story.
Richard Jenkins as John McVey
Asier Newman as Daniel McVey
Michelle Duncan as Kate Coleman
Melvil Poupaud as Stephan Moreau
Howard Ward as Jim
Andrew Havill as Dr. Myers
Damian O'Hare as Anthony
Lobo Chan as Harry Lee

Release
The film premiered on 18 January 2008 as part of the 2008 Sundance Film Festival. It also was the first choice in Horrorfest 2009 and was part of Sitges Film Festival 2008, where Angus Hudson won the award for Best Cinematography.

References

External links

2008 horror films
2008 films
French independent films
Films shot in England
2000s English-language films
2008 psychological thriller films
2000s psychological horror films
French supernatural horror films
British independent films
British supernatural horror films
2000s British films
2000s French films

The Broken (film)


In mosaic evolution some characters in a transitional form are basal, while others are remarkably advanced.

Apparently, evolutionary change takes place rapidly in some body parts or systems without simultaneous changes in other parts. Another definition is the "evolution of characters at various rates both within and between species".408 Its place in evolutionary theory comes under long-term trends or macroevolution.

Evolution from a basal (early) form to a derived (later) form takes place in stages. Modules (groups of characters) change semi-independently of each other. They change at different times, so producing a mosaic of primitive and derived traits.

These changes play a leading role in major evolutionary transitions. It may involve speciations producing a series of species, only a few of which would be found as fossils.

By its very nature, the evidence for this idea comes mainly from palaeontology. It is not claimed that this pattern is universal, but it is common. There are now a wide range of examples from many different taxa.

Examples
 Human evolution. The early evolution of bipedalism in Australopithecines, and its modification of the pelvic girdle took place long before there was any significant change in the skull, or brain size.
 Evolution of the brain. The different parts of the mammalian brain evolved at different rates.
 Archaeopteryx. Nearly 150 years ago Thomas Henry Huxley compared Archaeopteryx with a small theropod dinosaur, Compsognathus. These two fossils came from the Solnhofen limestone in Bavaria. He showed that the two were very similar, except for the front limbs and feathers of Archaeopteryx. Huxley's interest was in the basic affinity of birds and reptiles, which he united as the Sauropsida. The interest here is that the rest of the skeleton had not changed.
 Meadow voles during the last 500,000 years.
 The pterosaur Darwinopterus. The type species, D. modularis was the first known pterosaur to display features of both long-tailed (rhamphorhynchoid) and short-tailed (pterodactyloid) pterosaurs.
 Evolution of the horse. The major changes took place at different times, not all simultaneously.
 Mammalian evolution during the Mesozoic is another good example.

A famous case re-examined
Huxley had pointed out that Archaeopteryx was a mixture of reptile and bird features. Without the feathers and arms, its skeleton looked just like that of Compsognathus. We now know its bone growth physiology was much slower than modern birds, and more like that of its dinosaur ancestors. This means it would take longer after hatching before it could fly. A modern precocial bird takes for 3–6 weeks from hatching to flying. In Archaeopteryx this milestone might have taken about 18 weeks. It might have taken two to three years to reach its final adult size. The evolution of the physiology of modern forms occurred later in the group's history. They have had over 140 million years to evolve since Archaeopteryx.

Background
It has long been known that changes in the genes which control development cause changes in the final adult animal.

Recent work shows how master control systems in development ('homeoboxes') can organise selective changes in different parts of an organism. This is what underlies mosaic evolution.

Related pages
 Gene regulation
 Heterochrony
 Neoteny
 Evo-devo
 Parallel evolution
 Convergent evolution
 Macroevolution
 Transitional fossil

References

Evolutionary biology

Mosaic evolution


Soundless Wind Chime  () is a 2009 independent film directed by Hung Wing Kit (), starring Lu Yu Lai and Bernhard Bulling. It was a 2009 Nominee for the Berlin International Film Festival's Teddy Award.

Plot
Soundless Wind Chime centers around a new immigrant to Hong Kong from China, Ricky (Lu Yu Lai), who works as a delivery boy while living with his prostitute aunt (Wella Zhang). He is pickpocketed by a Swiss thief, Pascal (Bernhard Bulling) who is in an abusive relationship with his con artist boyfriend (Hannes Lindenblatt). Deciding to leave him, Pascal has a chance encounter with Ricky and the two begin a romantic relationship. The couple struggles through good times and bad, forcing them to determine if their relationship is based on love or dependence on one another. Several years later, Ricky searches Switzerland for signs of Pascal, eventually encountering Ueli (also played by Bulling), a timid antique store owner who looks the same as Pascal, but who has a vastly different personality. As Ricky and Ueli's relationship deepens, the truth of Pascal and Ricky's relationship is unraveled as the film progresses through glimpses of the present and the past.

Cast
 Lu Yu Lai - Ricky
 Bernhard Bulling - Pascal/Ueli
 Marie Omlin - Sister
 Gilles Tschudi - Father
 Ruth Schwegler - Mother
 Wella Zhang - Auntie
 Li Wai Foon - Restaurant Owner
 Wong Siu Yin - Popo
 Hannes Lindenblatt - Marcus
 Jackie Leung - Singing Angel

Accolades
In the Turin GLBT international Film Festival, Italy, the film has won the Audience Award, Nuovi sguardi (Best New Director), and a Special Jury Mention for Best Feature Film in Competition.

The film has also won the Best Direction, and Best Actor (Lu Yulai) awards in the - Madrid International Gay & Lesbian Film Festival 2009.

In Canada, Soundless Wind Chime has won the best international feature in the Vancouver Queer Film Festival, and the Jury Award For Best Feature Film in the Image+Nation Festival Cinema LGBT Montreal.

The film was featured in the 59th Annual Berlin International Film Festival and was an official nominee for the 2009 "Teddy Award."

Music
The film features an original score produced by Claudio Puntin and Insa Rudolph performed by Sepiasonic and also contains music by artist Justin McGrath as well as the song "Achoo Cha Cha" by classic Chinese singer and actress Grace Chang.

See also
 Speechless, a 2012 gay-themed film with a similar atmosphere, and which also features, as its main theme, an affair between two young men, one Chinese and the other, Western. Unlike Soundless Wind Chime, the film's dialogue is mostly in Mandarin (Putonghua), the national language of China.
 List of Chinese films of 2009
 List of lesbian, gay, bisexual or transgender-related films
 List of lesbian, gay, bisexual, or transgender-related films by storyline

References

External links

Sepiasonic

2009 drama films
2009 films
Gay-related films
2000s Cantonese-language films
Chinese independent films
English-language Hong Kong films
English-language Swiss films
2000s German-language films
Chinese LGBT-related films
English-language Chinese films
Hong Kong LGBT-related films
2000s Mandarin-language films
Films about race and ethnicity
Hong Kong independent films
Swiss LGBT-related films
2000s English-language films
2009 multilingual films
Chinese multilingual films
Hong Kong multilingual films
Swiss multilingual films
2000s Hong Kong films

Soundless Wind Chime


Terry Plumming was a Chicago based recording label with a focus on experimental and nonsense music. Since 2003, it has released over 30 CD-Rs and two records, showcasing avant-garde music mostly by Chicago artists, including Soft Serve, Bubblegum Shitface, Jonathan Chen, Koutaro Fukui, Rotten Milk, Dan Layne and Death Factory. Terry Plumming also publishes an eponymous magazine that has had a run of several issues beginning in 2003. Each issue comes with a CD-R compilation of locally produced avant-garde music. The creators of the magazine have also produced assorted performance art, "happenings" and installation projects in Chicago.

References

External links
Terry Plumming webpage

See also
Lumpen (magazine)
Versionfest
Select Media Festival

Defunct companies based in Chicago
Defunct record labels of the United States

Terry Plumming


Baroness Stefanie Anna Hildegard von Schnurbein (born 24 June 1961 in Augsburg) is a German literary scholar, and Professor of Modern Scandinavian Literature at the Humboldt University of Berlin.

Biography
She belongs to the Schnurbein family, originally from South Tyrol (now in northern Italy). In the late 16th century the Schnurbein family settled in Augsburg, where they became wealthy silk merchants and members of the free imperial city's hereditary ruling class, the patriciate. The family was ennobled by the Holy Roman Emperor in 1697 and raised to Baronial rank in 1741.

She completed her doctorate Religion als Kulturkritik. Neugermanisches Heidentum im 20. Jahrhundert at the Johann Wolfgang Goethe-Universität Frankfurt in 1992. She obtained her Habilitation at the University of Göttingen in 1999 with the dissertation Krisen der Männlichkeit. Schreiben und Geschlechterdiskurs in skandinavischen Romanen seit 1890 ("Crises of Masculinity: Writing and Gender Discourse in Scandinavian Novels since 1890").

She worked as an instructor in Norwegian at the University of Göttingen 1990–1991 and as a research assistant in Scandinavian languages at the same university 1991–1995. She was a visiting scholar at the Department of Scandinavian at the University of California, Berkeley 1995–1997 and a Visiting Associate Professor and from 1999 an Associate Professor in Norwegian at the Department of Germanic Studies at the University of Chicago 1997–2000. In 2000 she was appointed Professor in Modern Scandinavian Literature at the Department of Northern European Studies at the Humboldt University of Berlin. In 2006 and 2008 she served as Wigeland Visiting Professor in the Department of Germanic Studies at the University of Chicago.

In 2006 she received an honorary doctorate from Örebro University in Sweden.

Selected publications
 Religion als Kulturkritik. Neugermanisches Heidentum im 20. Jahrhundert, Heidelberg 1992
 Göttertrost in Wendezeiten. Neugermanisches Heidentum zwischen New Age und Rechtsradikalismus, Munich 1993
 Krisen der Männlichkeit. Schreiben und Geschlechterdiskurs in skandinavischen Romanen seit 1890, Göttingen 2001
 Norse Revival: Transformations of Germanic Neopaganism, Leiden 2016
 Ökonomien des Hungers. Essen und Körper in der skandinavischen Literatur, Berlin 2018

References

External links
Department for Northern European Studies entry

German women academics
Living people
German women writers
Women religious writers
1961 births
Pagan studies scholars

Stefanie von Schnurbein