title: Jack Ryan (character)

text: In his retirement, Ryan is living easy with a net worth of over $80 million. He is working on two versions of his memoirs, one for immediate release, and another detailing his CIA career to be published twenty years after his death. While he is at first publicly silent about his opinion on President Kealty's policies, he becomes increasingly frustrated with the direction in which he is taking the country. Ultimately, he announces that he will come out of retirement to run for a second full term as a Republican presidential candidate. Despite not being originally involved in the Campus's activities due to his high-profile status, he gradually becomes more directly linked to the Campus's operations, aiding them from behind the scenes on occasion. Here, Ryan learns his son, Jack Jr., is a field operative of the Campus, a fact which he reluctantly accepts.


title: Jack Ryan (character)

text: Ryan campaigns against Kealty, facing off against him in various televised debates. It becomes apparent that Ryan will win the election, as the majority of Americans had never entirely accepted Kealty. Despite the efforts of Paul Laska, a high-profile Czech billionaire and a devout enemy of Ryan, and key members of the Kealty administration who labelled Ryan's longtime friend John Clark a fugitive in an effort to expose the Campus (as well as tying Ryan to it by association), Ryan narrowly wins the election, overcoming all of Kealty's efforts to harm him.


title: Jack Ryan (character)

text: Soon after returning to the presidency, Ryan deals with a developing crisis in China, where President Wei Zhen Lin has declared his intentions to annex Hong Kong, Macau, and Taiwan and expand his country's territory into the South China Sea in a desperate attempt to recoup his country's economic losses. In reality, PLA Chairman Su Ke Qiang has been manipulating President Wei for his expansionist policies, secretly sanctioning cyber attacks on America's infrastructure that compromises the nation's national security apparatus. President Ryan decides to take action by supporting Taiwan, along with India, Vietnam, Indonesia, and the Philippines, which would also be affected by an expansion of China's territory.


title: Jack Ryan (character)

text: The Campus later tracks down the nerve center of China's cyberattacks on the U.S. to an office building in Guangzhou. President Ryan orders the destruction of the building, decapitating China's cyberwarfare abilities. He makes contact with Wei and warns him that the cyber attacks are considered an act of war on China's part. After realizing that he has been used by Su for his own gain, Wei intentionally divulges information on Chairman Su's whereabouts, which Ryan interprets as a request from the Chinese president to assassinate the military leader. The Campus, with aid from a local rebel force and the FSB, later carry out a false flag attack on Chairman Su's motorcade outside Beijing. Ryan announces a blockade of China's oil supplies until the war effort is abandoned, calling upon Wei and the Politburo to accept defeat. A cornered Wei later commits suicide, eventually ending the conflict between the United States and China.


title: Jack Ryan (character)

text: The Ryan administration then contends with newly-elected Russian president Valeri Volodin, who is a dedicated communist seeking to restore Russia to its former glory. Volodin had merged the SVR and the FSB into one entity to be led by enigmatic FSB head Roman Talanov, and later decides to invade Ukraine all the way to the capital of Kyiv. President Ryan sends American military forces to counter Russia's advance into Kyiv.


title: Jack Ryan (character)

text: Ryan later finds out that Talanov is Zenith, a KGB assassin from the Cold War. Volodin had been his control officer, and together they had been employed by rogue elements within the KGB, who had an exit strategy in mind with the imminent fall of communism in the late 1980s by siphoning off billions of dollars from Soviet programs. Volodin then double-crossed his co-conspirators by ordering Talanov as Zenith to kill them all, as well as the bankers involved in order to prevent exposure to the rest of the KGB. In addition, Talanov was planted by his boss into Russian crime organization Seven Strong Men, rising in ranks to become its eventual leader and turning it into a tool for Volodin's policies. Ryan uses this information to blackmail the Russian president into stopping the Russian Army's advance into Kyiv. Talanov resigns and is later murdered.


title: Jack Ryan (character)

text: President Ryan deals with North Korean dictator Choi Ji-hoon, who attempts to start production at a rare earth mineral deposit found in their territory and then use the resulting billions of dollars in profit to purchase nuclear weapons technology. Choi decides to order the assassination of the American leader (with the aid of a Mexican drug cartel and an Arab bomb maker) in order to stop his persistent interference. During a state visit to Mexico City, Ryan barely survives the attempt on his life. The Campus later uncovers Choi's involvement in the incident, which leads to the dictator being deposed from power and later executed.


title: Jack Ryan (character)

text: Ryan squares off with Volodin once again, as he observes that a series of seemingly isolated attacks in Europe correspond with an increase in Russia's oil profit. He tries to convince NATO, but they dispute his theory, fearing the consequences of an all-out war. Nevertheless, he sends the United States Navy to dispatch its Russian counterpart in the Baltic Sea. Volodin is later assassinated by the siloviki after his gambit of a covert violent offensive in an effort to recoup Russia's economic losses fails.


title: Jack Ryan (character)

text: President Ryan faces a crisis where American military and intelligence personnel are being targeted by ISIS. The specificity of the target packages make it clear that a massive intelligence breach has occurred. President Ryan finds himself pressured by the media and some of his government advisers to send troops into the Middle East to fight the Islamic State terrorists, but he resists and gathers more intelligence. The culprit was later revealed to be a Romanian hacker, who had obtained an old copy of a database containing personal information on military and intelligence personnel. After footage of terrorist attacks released by ISIS inspires a wave of copycat attacks in the United States, President Ryan orders the bombing of the headquarters of Islamic State's propaganda wing.


title: Jack Ryan (character)

text: Ryan then appears in "Point of Contact" (2017) as he attends a funeral for his son Jack Junior's colleague in Hendley Associates, Paul Brown, who was revealed as a former CIA officer who had helped avert a North Korean plot to crash the Asian stock market.


title: Jack Ryan (character)

text: Ryan deals with the Chinese once again, as a series of seemingly unrelated attacks in Asia, Europe, and Africa show their involvement. The Campus later discovers that a secret cabal composed of hardliners within the Chinese government are plotting to depose current president Zhao Chengzhi for his moderate stance on several issues of importance. The cabal plans to make Zhao look reckless, provoking Ryan to invoke the Ryan Doctrine and have him killed. Jack Ryan Jr. later prevents an assassination attempt on his father and President Zhao in the G20 summit in Tokyo, and the conspirators are later arrested for treason.


title: Jack Ryan (character)

text: Ryan briefly appears in the next released novel "Line of Sight" (2018), where he orders the destruction of a building in Bosnia containing stolen thermobaric warheads to be launched by Serb extremists on a Serbian Orthodox Church event nearby as a false flag attack to provoke war between NATO and the Russians in the Balkans.


title: Jack Ryan (character)

text: President Ryan is faced with a multitude of crises. A flu epidemic as well as spring floods occur in the southeast United States, and Ryan has to deal with his political rival, senator Michelle Chadwick, who has been attacking him using bot-planted fake news stories. He sends the Secret Service to protect her from imminent assassination, and an attempt by Russian foreign intelligence was thwarted. President Ryan later delivers a presidential address showing the dangers of fake news. Overseas, Ryan has to deal with Russia plotting to invade Ukraine yet again disguised as a military exercise, as well as the siege of the United States embassy in Cameroon by the Cameroonian government eager on arresting its opposition leader.


title: Jack Ryan (character)

text: President Ryan expresses caution over a series of protests in Iran, favorably dubbed the Persian Spring. His suspicion was proven true when it was revealed that the leader of the dissidents, Reza Kazem, was a proxy made by the Iranian government on behalf of rogue elements in the Russian government, who have stolen nuclear weapons and are intent on launching them on American military bases in or near Iran. Kazem reneges on his deal and plots to launch the missiles into low Earth orbit, creating space junk that would destroy several satellites in its path. Ryan orders the destruction of the nuclear defense facility in Mashhad containing one of the missiles; the other is launched into space but fails to reach its destination at the last minute.


title: Jack Ryan (character)

text: Ryan then appears in the next Jack Ryan Jr. novel "Enemy Contact" (2019). He deals with U.S. senator Deborah Dixon's stonewalling of his proposed foreign policy initiative, which includes building a U.S. military base in Poland to counter Russian aggression to the east. When it was revealed that Senator Dixon's son has unsavory connections to the Chinese, President Ryan blackmails her into passing an anticorruption bill.


title: Jack Ryan (character)

text: President Ryan receives a cryptic text message from his friend and former CIA colleague Father Pat West. He warns him of a next-generation AI program named Calliope, which could be used by the Chinese military to start a conflict with the United States. The Jesuit priest had been imprisoned by Indonesian police for trumped-up charges of blasphemy against Islam, when in fact he had earlier witnessed the murder of an American software engineer who first told him about Calliope.


title: Jack Ryan (character)

text: The chief executive discreetly orders the Campus to investigate Father West's text. Then he calls on the Indonesian president to release his friend, to no avail. Undeterred, he makes a state visit to Indonesia, eventually informing the Indonesian president of China's sinister plans. Father West is eventually released from prison.


title: Jack Ryan (character)

text: Ryan appears in the next Jack Ryan, Jr. novel "Firing Point" (2020). A series container ships mysteriously disappear across the Pacific Ocean, and President Ryan tries to pinpoint whoever is responsible.


title: Jack Ryan (character)

text: Jack Ryan has been featured in 21 novels which have been written by Tom Clancy, Mark Greaney, Mike Maden, and Marc Cameron. Clancy solely wrote most of the novels up to 2010, from which his next novels were co-written with Greaney and Grant Blackwood. After Clancy's death in 2013, Greaney and Cameron took over the character in their own respective contributions to the franchise; Maden briefly featured Ryan in his own entries in the spin-off Jack Ryan, Jr. series.


title: Jack Ryan (character)

text: Five films based on Clancy novels featuring Jack Ryan have been produced. The movie portraying the earliest incarnation of Ryan (fifth film chronologically) is titled "" and stars Chris Pine. Released on January 17, 2014, it follows Ryan's move from his accident in the Marines into his CIA career. Jack Ryan is also portrayed by Alec Baldwin in the 1990 film "The Hunt for Red October", Harrison Ford in "Patriot Games" (1992) and "Clear and Present Danger" (1994), and Ben Affleck in the 2002 film "The Sum of All Fears".


title: Jack Ryan (character)

text: In the novels, "Patriot Games" occurs before "The Hunt for Red October", though the order was reversed in the film versions. Additionally, "The Sum of All Fears" is not part of Baldwin/Ford series, but rather an intended reboot of the franchise which departs significantly from the chronology of the novels. It takes place in 2002, whereas the novel takes place in 1991/1992. "Jack Ryan: Shadow Recruit" is a second reboot of the franchise and departs from all previous films.


title: Jack Ryan (character)

text: It was announced by Deadline that Carlton Cuse and Graham Roland would be working with Michael Bay and his production company Platinum Dunes and Paramount Television on a "Jack Ryan" TV series for Amazon. On April 29, 2016, Deadline announced that John Krasinski would star as Jack Ryan in the series. On August 16, 2016, Amazon Studios announced they had given a series order for a 10-episode first season of "Jack Ryan". On November 4, 2016, Abbie Cornish was cast as Cathy Muller in the series. On January 6, 2017, it was reported that Morten Tyldum would direct the pilot. In February 2017, it was announced that "The Americans" director Daniel Sackheim would direct multiple episodes and produce the series. The series premiered on August 31, 2018, and was said to be inspired by the Harrison Ford Jack Ryan films. Four months before its premiere, the series was renewed for a second season. On February 13, 2019, the series was renewed for a third season. A fourth (and final) season was announced on October 14, 2021.


title: Jack Ryan (character)

text: Many video games based on the series have been made, some based on the novels, others on the films and spin-offs.


title: Kids Diana Show

text: Eva Diana Kidisyuk (born 31 March 2014), known online as ✿ Kids Diana Show, is a Ukrainian YouTuber. Together with her brother Roma (born October 22, 2012) and parents Volodymyr and Olena, she hosts several YouTube channels producing roleplay-oriented children's content. Her main channel is the 6th most-viewed and 6th most-subscribed in the world.


title: Kids Diana Show

text: Diana's content includes children's songs, unboxings, vlogging, educational entertainment, and roleplays. Her older brother, Roma Kidisyuk, runs a YouTube channel entitled ★ Kids Roma Show. She also has a younger brother, Oliver Kidisyuk (born December 12, 2020). Her family's channels are dubbed into many languages, including Hindi, Japanese, Indonesian, Russian, Spanish, German, Portuguese, and Arabic.


title: Kids Diana Show

text: Diana was nominated for the 2020 tenth annual Streamy Awards in the Kids and Family category and the 2021 Short Awards in the Parenting, Family and Kids category.


title: Kids Diana Show

text: Olena and Volodymyr Kidisyuk started making YouTube videos as a hobby when Diana's brother, Roma, was born. Born in Kyiv, Ukraine, Diana first appeared in a video in 2015 when Olena launched a YouTube channel to share videos of Diana with friends and family. The channel quickly grew, hitting 1M subscribers in just over a year. In 2017, both parents left their jobs to focus full-time on their YouTube channel and later relocated to Miami, Florida.


title: Kids Diana Show

text: In May 2020, Diana's parents signed a deal with Pocket.Watch, a startup children's media company founded in 2016 by Chris Williams and Albie Hecht. It has spearheaded "Love, Diana — The Princess Of Play", a franchise based around their brand including an animated series, mobile game, and merchandise based on their channel's brands.


title: Kids Diana Show

text: "Love, Diana" is a live-action animated series consisting of short stories set in the fictional "Land of Play" that follows Diana and Roma as they protect friends and family from characters symbolizing demonized boredom. The show is distributed on YouTube and OTT services like Amazon Prime Video, The Roku Channel, and Samsung TV+.


title: Afroasiatic languages

text: The Afroasiatic languages (or Afro-Asiatic), also known as Hamito-Semitic, or Semito-Hamitic, and sometimes also as Afrasian, Erythraean or Lisramic, are a language family of about 300 languages that are spoken predominantly in the geographic subregions of Western Asia, North Africa, the Horn of Africa, and parts of the Sahara/Sahel. With the exception of its Semitic branch, all branches of the Afroasiatic family are exclusively native to the African continent.


title: Afroasiatic languages

text: Afroasiatic languages have over 500 million native speakers, which is the fourth-largest number of native speakers of any language family (after Indo-European, Sino-Tibetan, and Niger–Congo). The phylum has six branches: Berber, Chadic, Cushitic, Egyptian, Semitic, and Omotic. The most widely spoken modern Afroasiatic language or dialect continuum by far is Arabic, a "de facto" group of distinct language varieties within the Semitic branch. The languages that evolved from Proto-Arabic have around 313 million native speakers, concentrated primarily in the Middle East and North Africa.


title: Afroasiatic languages

text: In addition to the languages spoken today, Afroasiatic includes many ancient languages, such as Egyptian, which forms a distinct branch of the family; and within the Semitic family, Akkadian, Hebrew, Phoenician, other Canaanite languages, Amorite, Ugaritic and Aramaic. While there is no consensus among historical linguists concerning the original homeland of the Afroasiatic family or the period when the parent language (i.e. Proto-Afroasiatic) was spoken, most agree that it was located within a region of Northeast Africa. Proposed specific locations include the Horn of Africa, Egypt, the eastern Sahara, and the Levant.


title: Afroasiatic languages

text: In the early 19th century, linguists grouped the Berber, Cushitic and Egyptian languages within a "Hamitic" phylum, in acknowledgement of these languages' genetic relation with each other and with those in the Semitic phylum. The terms "Hamitic" and "Semitic" were etymologically derived from the Book of Genesis, which describes various Biblical tribes descended from Ham and Shem, two sons of Noah. By the 1860s, the main constituent elements within the broader Afroasiatic family had been worked out.


title: Afroasiatic languages

text: Friedrich Müller introduced the name "Hamito-Semitic" for the entire language family in his "Grundriss der Sprachwissenschaft" (1876). Maurice Delafosse (1914) later coined the term "Afroasiatic" (often now spelled "Afro-Asiatic"). However, it did not come into general use until Joseph Greenberg (1950) formally proposed its adoption. In doing so, Greenberg sought to emphasize the fact that 'Hamitic' was not a valid group and that language cladistics did not reflect race. In current scholarly usage, the most commonly used names are "Afroasiatic", "Hamito-Semitic", and "Semito-Hamitic".


title: Afroasiatic languages

text: Individual scholars have also called the family "Erythraean" (Tucker 1966) and "Lisramic" (Hodge 1972). In lieu of "Hamito-Semitic", the Russian linguist Igor Diakonoff later suggested the term "Afrasian", meaning "half African, half Asiatic", in reference to the geographic distribution of the family's constituent languages.


title: Afroasiatic languages

text: Scholars generally treat the Afroasiatic language family as including at least the following five branches:


title: Afroasiatic languages

text: Although there is general agreement on these six families, linguists who study Afroasiatic raise some points of disagreement, in particular:


title: Afroasiatic languages

text: In the 9th century the Hebrew grammarian Judah ibn Quraysh of Tiaret in Algeria became the first to link two branches of Afroasiatic together; he perceived a relationship between Berber and Semitic. He knew of Semitic through his study of Arabic, Hebrew, and Aramaic. In the course of the 19th century, Europeans also began suggesting such relationships. In 1844, Theodor Benfey proposed a language family consisting of Semitic, Berber, and Cushitic (he called the latter "Ethiopic"). In the same year T.N. Newman suggested a relationship between Semitic and Hausa, but this would long remain a topic of dispute and uncertainty.


title: Afroasiatic languages

text: Friedrich Müller named the traditional Hamito-Semitic family in 1876 in his "Grundriss der Sprachwissenschaft" ("Outline of Linguistics"), and defined it as consisting of a Semitic group plus a "Hamitic" group containing Egyptian, Berber, and Cushitic; he excluded the Chadic group. It was the Egyptologist Karl Richard Lepsius (1810–1884) who restricted Hamitic to the non-Semitic languages in Africa, which are characterized by a grammatical gender system. This "Hamitic language group" was proposed to unite various, mainly North-African, languages, including the Ancient Egyptian language, the Berber languages, the Cushitic languages, the Beja language, and the Chadic languages. Unlike Müller, Lepsius saw Hausa and Nama as part of the Hamitic group. These classifications relied in part on non-linguistic anthropological and racial arguments. Both authors used the skin-color, mode of subsistence, and other characteristics of native speakers as part of their arguments for grouping particular languages together.


title: Afroasiatic languages

text: In 1912, Carl Meinhof published "Die Sprachen der Hamiten" ("The Languages of the Hamites"), in which he expanded Lepsius's model, adding the Fula, Maasai, Bari, Nandi, Sandawe and Hadza languages to the Hamitic group. Meinhof's model was widely supported in the 1940s. Meinhof's system of classification of the Hamitic languages was based on a belief that "speakers of Hamitic became largely coterminous with cattle herding peoples with essentially Caucasian origins, intrinsically different from and superior to the 'Negroes of Africa'." However, in the case of the so-called Nilo-Hamitic languages (a concept he introduced), it was based on the typological feature of gender and a "fallacious theory of language mixture". Meinhof did this although earlier work by scholars such as Lepsius and Johnston had substantiated that the languages which he would later dub "Nilo-Hamitic" were in fact Nilotic languages, with numerous similarities in vocabulary to other Nilotic languages.


title: Afroasiatic languages

text: Leo Reinisch (1909) had already proposed linking Cushitic and Chadic while urging their more distant affinity with Egyptian and Semitic. However, his suggestion found little acceptance. Marcel Cohen (1924) rejected the idea of a distinct "Hamitic" subgroup and included Hausa (a Chadic language) in his comparative Hamito-Semitic vocabulary. Finally, Joseph Greenberg's 1950 work led to the widespread rejection of "Hamitic" as a language category by linguists. Greenberg refuted Meinhof's linguistic theories and rejected the use of racial and social evidence. In dismissing the notion of a separate "Nilo-Hamitic" language category, in particular, Greenberg was "returning to a view widely held a half-century earlier". He consequently rejoined Meinhof's so-called Nilo-Hamitic languages with their appropriate Nilotic siblings. He also added (and sub-classified) the Chadic languages, and proposed a new name, "Afroasiatic", for the family. Almost all scholars have accepted this classification as the new and continued consensus.


title: Afroasiatic languages

text: Greenberg developed his model fully in his book "The Languages of Africa" (1963), in which he reassigned most of Meinhof's additions to Hamitic to other language families, notably Nilo-Saharan. Following Isaac Schapera and rejecting Meinhof, he classified the Khoekhoe language as a member of the Khoisan languages, a grouping that has since proven inaccurate and excessively motivated on the presence of click sounds. To Khoisan he also added the Tanzanian Hadza and Sandawe, though this view has been discredited as linguists working on these languages regard them as linguistic isolates. Despite this, Greenberg's classification remains a starting point for modern work on many languages spoken in Africa, and the Hamitic category (and its extension to Nilo-Hamitic) has no part in this.


title: Afroasiatic languages

text: Since the three traditional branches of the Hamitic languages (Berber, Cushitic and Egyptian) have not been shown to form an exclusive (monophyletic) phylogenetic unit of their own, separate from other Afroasiatic languages, linguists no longer use the term in this sense. Each of these branches is instead now regarded as an independent subgroup of the larger Afroasiatic family.


title: Afroasiatic languages

text: In 1969, Harold Fleming proposed that what had previously been known as Western Cushitic is an independent branch of Afroasiatic, suggesting for it the new name "Omotic". This proposal and name have met with widespread acceptance.


title: Afroasiatic languages

text: Based on typological differences with the other Cushitic languages, Robert Hetzron proposed that Beja has to be removed from Cushitic, thus forming an independent branch of Afroasiatic. Most scholars, however, reject this proposal, and continue to group Beja as the sole member of a Northern branch within Cushitic.


title: Afroasiatic languages

text: "Glottolog" does not accept that the inclusion or even unity of Omotic has been established, nor that of Ongota or the unclassified Kujarge. It therefore splits off the following groups as small families: South Omotic, Mao, Dizoid, Gonga–Gimojan (North Omotic apart from the preceding), Ongota, and Kujarge.


title: Afroasiatic languages

text: Little agreement exists on the subgrouping of the five or six branches of Afroasiatic: Semitic, Egyptian, Berber, Chadic, Cushitic, and Omotic. However, Christopher Ehret (1979), Harold Fleming (1981), and Joseph Greenberg (1981) all agree that the Omotic branch split from the rest first.


title: Afroasiatic languages

text: The earliest written evidence of an Afroasiatic language is an Ancient Egyptian inscription dated to c. 3400 BC (5,400 years ago). Symbols on Gerzean (Naqada II) pottery resembling Egyptian hieroglyphs date back to c. 4000 BC, suggesting an earlier possible dating. This gives us a minimum date for the age of Afroasiatic. However, Ancient Egyptian is highly divergent from Proto-Afroasiatic, and considerable time must have elapsed in between them. Estimates of the date at which the Proto-Afroasiatic language was spoken vary widely. They fall within a range between approximately 7500 BC (9,500 years ago), and approximately 16,000 BC (18,000 years ago). According to Igor M. Diakonoff (1988: 33n), Proto-Afroasiatic was spoken c. 10,000 BC. Christopher Ehret (2002: 35–36) asserts that Proto-Afroasiatic was spoken c. 11,000 BC at the latest, and possibly as early as c. 16,000 BC. These dates are older than those associated with other proto-languages.


title: Afroasiatic languages

text: The Afroasiatic "urheimat", the hypothetical place where Proto-Afroasiatic language speakers lived in a single linguistic community, or complex of communities, before the original language dispersed geographically and divided into distinct languages, is unknown. Afroasiatic languages are today primarily spoken in West Asia, North Africa, the Horn of Africa, and parts of the Sahel. Their distribution seems to have been influenced by the Sahara pump operating over the last 10,000 years.


title: Afroasiatic languages

text: There is no definitive agreement on when or where the original homeland of the language family existed, but some link the first speakers to the first farmers in the Levant who would later spread to North and East Africa. Others argue the first speakers were pre-agricultural and based in Northeast Africa.


title: Afroasiatic languages

text: Shared features with Indo-European languages in West Asia related to food production are suggested by some scholars to support a Levantine origin for Afroasiatic languages. The Levantine hypothesis does not account for the domestication of plants endemic to the Horn of Africa such as teff, ensete, and niger seed or for the lack of evidence for intrusive agricultural populations or the cultivation of wheat, barley, or sorghum there prior to 3000 BC. A Northeast African origin is supported by the majority of scholars today. The region includes the majority of the diversity of the Afroasiatic language family and has very diverse groups in close geographic proximity, which is sometimes considered a telltale sign for a linguistic geographic origin. Igor M. Diakonoff placed the origin of the Afro-Asiatic languages in northeast Africa, with older strands south of Egypt, and newer elements straddling the Nile Delta and Sinai. Christopher Ehret argues that Proto-Afroasiatic speakers in Northeast Africa developed subsistence patterns of intensive plant collection and pastoralism, which gave the population an economic advantage that impelled the expansion of the Afroasiatic languages. Ehret suggests that a Proto-Semitic- or Proto-Semito-Berber-speaking population migrated from Northeast Africa to the Levant during the late Paleolithic and eventually gave rise to the Natufian culture. The linguist Roger Blench proposed southwestern Ethiopia as the most likely homeland of Afroasiatic, in part because of the high internal diversification of the Omotic branch spoken in that region.


title: Afroasiatic languages

text: Various scholars have hypothesized on the origins of Afroasiatic based on genetic evidence. Y Haplogroup E-M215 is common among modern Afroasiatic-speaking groups and has been associated with an ancestral Afroasiatic population in Northeast Africa. In a 2014 autosomal DNA study, Hodgson et al. postulate that the Afroasiatic languages may have been spread by an ancestral population(s) carrying a newly-identified non-African genetic component, which the researchers dub the "Ethio-Somali". The genetic component is prevalent among modern Afroasiatic-speaking populations and is found at its highest levels among those in the Horn of Africa. The researchers suggest that the original Ethio-Somali carrying population(s) probably migrated from the Near East to Northeast Africa in the pre-agricultural period (~12–23 ka) and that a descendant population migrated back to the Levant prior to 4000 BC and developed the Semitic branch of Afroasiatic.


title: Afroasiatic languages

text: One of the most remarkable shared features among the Afroasiatic languages is the prefixing verb conjugation (see the table at right), with a distinctive pattern of prefixes beginning with /ʔ t n j/, and in particular a pattern whereby third-singular masculine /j-/ is opposed to third-singular feminine and second-singular /t-/.


title: Afroasiatic languages

text: According to Ehret (1996), tonal languages appear in the Omotic and Chadic branches of Afroasiatic, as well as in certain Cushitic languages. The Semitic, Berber and Egyptian branches generally do not use tones phonemically.


title: Afroasiatic languages

text: The Berber and Semitic branches share certain grammatical features (e.g. alternative feminine endings *-ay/*-āy; corresponding vowel templates for verbal conjugations) which can be reconstructed for a higher-order proto-language (provisionally called "Proto-Berbero-Semitic" by Kossmann & Suchard (2018) and Van Putten (2018)). Whether this proto-language is ancestral to Berber and Semitic only, or also to other branches of Afroasiatic, still remains to be established.


title: Afroasiatic languages

text: The following are some examples of Afroasiatic cognates, including ten pronouns, three nouns, and three verbs.


title: Afroasiatic languages

text: There are two etymological dictionaries of Afroasiatic, one by Christopher Ehret, and one by Vladimir Orel and Olga Stolbova. The two dictionaries disagree on almost everything. The following table contains the thirty roots or so (out of thousands) that represent a fragile consensus of present research:


title: Gordon Ryan

text: Gordon Ryan (born July 8, 1995) is an American submission grappler and Brazilian jiu-jitsu 1st degree black belt, considered to be the greatest no–gi grappler of all time due to his accomplishments and dominance.


title: Gordon Ryan

text: Ryan is a Five–time ADCC World champion, two-time IBJJF No-Gi World champion and a four-time Eddie Bravo Invitational champion.


title: Gordon Ryan

text: Gordon F Ryan III was born on July 8, 1995 in Monroe, New Jersey, USA. He began grappling at the age of 15 under Miguel Benitez before switching to train under John Danaher, Tom DeBlass and Garry Tonon. He began competing and won the IBJJF World No-Gi Brazilian Jiu-Jitsu Championship as a brown belt. Ryan reported suffering with an undiagnosed stomach condition for several years until April 2019, when he was finally diagnosed with Helicobacter pylori.


title: Gordon Ryan

text: After a 6-month brown belt run, where Ryan won notable tournaments such as the Newaza Challenge and the World Championship, Ryan was awarded his black belt by Garry Tonon in February 2016 in a ceremony supported by the presence of Tom deBlass, Ricardo Almeida and John Danaher – who shared the responsibility of the new belt rank.


title: Gordon Ryan

text: On April 24, 2016, Ryan won the Eddie Bravo Invitational Championship, defeating world champion Yuri Simões and noted grappler Rustam Chsiev on the way. Ryan next faced top USA grappler Keenan Cornelius in a no time limit, submission only match where Ryan was able to upset Cornelius and submit him with a heel hook.


title: Gordon Ryan

text: In September 2017 Ryan competed at the ADCC World Championship. He took gold in the -88 kg weight category, defeating Dillon Danis, Romulo Barral, Xande Ribeiro and Keenan Cornelius. He also took 2nd place in the absolute division, submitting all his opponents on his way to losing to Felipe Pena in the final.


title: Gordon Ryan

text: He would go on to win another EBI title and defeat Yuri Simões in a superfight at Kasai Pro to wrap up 2017.


title: Gordon Ryan

text: In September 2018, Ryan competed at the IBJJF Pan No-gi, winning both his weight class and the absolute division all by submission. Ryan led Team Alpha Male's victory in Quintet's 2018 Tournament, Quintet 3. Ryan's submission victories against Josh Barnett and Marcos Souza saw Team Alpha Male advance to the Finals. His submission victories against Craig Jones and Vítor Ribeiro earned his team's ultimate victory in the tournament. He also competed at the IBJJF Nogi Worlds in California, again taking gold in both his weight class and the absolute division.


title: Gordon Ryan

text: In 2019 Gordon Ryan competed in a superfight against Joao Gabriel Rocha at KASAI Super Series in Dallas, Texas. Gordon ultimately won the match, but during an exchange there was an entanglement where Gordon was attempting an entry for a heel hook and his knee popped multiple times and tore his LCL. This injury was expected to keep him out of competition for about 6 months.


title: Gordon Ryan

text: in a freak accident with one of his motorized bikes. The tire became flat and he decided to carry the bike on his shoulders. When he went to hoist the bike on his shoulders the throttle stuck and sucked his hand in between the tire and fender leaving him competing at ADCC with one hand heavily bandaged and injured. Despite the injury he went on to win the -99 kg division. He beat Ben Hodgkinson, Tim Spriggs, Lucas Barbosa and Vinicius Ferreira. He would then move on the absolute division where he would claim gold following victories over Pedro Marinho, Garry Tonon, Lachlan Giles and Marcus Buchecha Almeida.


title: Gordon Ryan

text: Ryan was forced to withdraw from a superfight set for July 31, 2020 after contracting COVID-19. On October 2, 2020, Ryan faced fellow ADCC 2019 World Champion Matheus Diniz and defeated him via Heelhook approximately halfway through a thirty-minute submission-only match.


title: Gordon Ryan

text: In September 2022, Gordon competed at ADCC both in the +99kg division and in the superfight against André Galvão. It was the first time in the history of ADCC that a competitor that was scheduled to do the superfight also fought at a weight division. Gordon proceeded to clear his weight class with victories over Heikki Jussila, Victor Hugo, Roosevelt Sousa and Nick Rodriguez to win gold. He also had the fastest submission in the history of ADCC against Roosevelt Sousa, where he submitted Sousa via outside heel hook in 11 seconds. Later that weekend, Ryan faced Galvão in a highly anticipated match in grappling history and won via rear naked choke. Gordon became the first grappler in ADCC history to become champion in three different weight classes and he defeated André Galvão, who had not lost a match since 2017.


title: Gordon Ryan

text: Ryan decided late in 2020 that he would leave the New Jersey area and move to Puerto Rico with his coach, John Danaher, and several members of his team to open up their own gym. He revealed in December 2020, that the new gym had a tentative opening date of March 2021. However, in July 2021 it was announced that Danaher Death Squad had split up and Ryan will be opening his own academy in Austin, Texas.


title: Gordon Ryan

text: On March 22, 2021, ONE Championship Chairman and CEO Chatri Sityodtong confirmed that Ryan had signed a contract with the promotion to compete in grappling, as well as mixed martial arts if he wished to. He was scheduled to make his promotional debut in a grappling match against multiple–times ONE Lightweight World Champion (MMA) Shinya Aoki on August 27, 2021. Ryan announced on May 21 that he was at least momentarily retiring from competitive grappling due to his long–time Gastroparesis condition, as it had worsened throughout the years, and looks forward to taking care of his health. As confirmed from sources. Gordon Ryan is no longer under One Championship contract.


title: Gordon Ryan

text: Ryan has engaged in numerous public spats with other competitive grapplers, including an incident on October 13, 2020, when he revealed private conversations between himself and Felipe Pena regarding a potential third match between the pair. Shortly after this, on November 29, 2020, he also accused fellow ADCC 2019 medalist Lachlan Giles of using PEDs after the latter shared his opinion that those who have won medals while using PEDs should relinquish those titles. In January, 2021, Ryan also clashed with several key members of ATOS on social media, including founder and head coach Andre Galvao, ahead of their potential match at ADCC 2022.


title: Gordon Ryan

text: After his teammate Craig Jones defeated ATOS representative Ronaldo Junior at Who's Number One on February 26, 2021, Ryan attempted to shake hands with Andre Galvao but was sworn at and given the middle finger in return by Galvao. Galvao then confronted Ryan backstage and footage emerged of the two exchanging heated words. Galvao shoved Ryan back, Ryan slapped Galvao twice and several of the event's competitors and staff intervened to calm the situation down. The public statement issued by Ryan after the incident expressed no remorse for it and instead, he chose to use the opportunity to direct further criticism towards both Andre Galvao and several members of the ATOS team.


title: Gordon Ryan

text: Another incident involved him making what appeared to be sexual comments towards the young daughter of Erbeth Santos.


title: Gordon Ryan

text: Ryan is well known for claiming that other elite grapplers are unwilling to face him and at least one of them, Felipe Pena, has publicly claimed that this is a lie and in fact it is Ryan who refuses to compete against them instead.


title: Gordon Ryan

text: Gordon Ryan has generated controversy for his social media activity which included potentially insensitive commentary on homeless individuals and garnered allegations of racism and xenophobia.


title: Joseph Haydn

text: Franz Joseph Haydn ( , ; 31 March 173231 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. His contributions to musical form have led him to be called "Father of the Symphony" and "Father of the String Quartet".


title: Joseph Haydn

text: Haydn spent much of his career as a court musician for the wealthy Esterházy family at their Eszterháza Castle. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe.


title: Joseph Haydn

text: He was a friend and mentor of Mozart, a tutor of Beethoven, and the elder brother of composer Michael Haydn.


title: Joseph Haydn

text: Joseph Haydn was born in Rohrau, Austria, a village that at that time stood on the border with Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother Maria, Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music; however, Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbours.


title: Joseph Haydn

text: Haydn's parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain serious musical training. It was for this reason that, around the time Haydn turned six, they accepted a proposal from their relative Johann Matthias Frankh, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Frankh in his home to train as a musician. Haydn therefore went off with Frankh to Hainburg and he never again lived with his parents.


title: Joseph Haydn

text: Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry and humiliated by the filthy state of his clothing. He began his musical training there, and could soon play both harpsichord and violin. The people of Hainburg heard him sing treble parts in the church choir.


title: Joseph Haydn

text: There is reason to think that Haydn's singing impressed those who heard him, because in 1739 he was brought to the attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who happened to be visiting Hainburg and was looking for new choirboys. Haydn passed his audition with Reutter, and after several months of further training moved to Vienna (1740), where he worked for the next nine years as a chorister. It is also popularly believed that Haydn sang at the funeral of Antonio Vivaldi in 1741.


title: Joseph Haydn

text: Haydn lived in the Kapellhaus next to the cathedral, along with Reutter, Reutter's family, and the other four choirboys, which after 1745 included his younger brother Michael. The choirboys were instructed in Latin and other school subjects as well as voice, violin, and keyboard. Reutter was of little help to Haydn in the areas of music theory and composition, giving him only two lessons in his entire time as chorister. However, since St. Stephen's was one of the leading musical centres in Europe, Haydn learned a great deal simply by serving as a professional musician there.


title: Joseph Haydn

text: Like Frankh before him, Reutter did not always bother to make sure Haydn was properly fed. As he later told his biographer Albert Christoph Dies, Haydn was motivated to sing well, in hopes of gaining more invitations to perform before aristocratic audiences, where the singers were usually served refreshments.


title: Joseph Haydn

text: By 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. Empress Maria Theresa herself complained to Reutter about his singing, calling it "crowing". One day, Haydn carried out a prank, snipping off the pigtail of a fellow chorister. This was enough for Reutter: Haydn was first caned, then summarily dismissed and sent into the streets. He had the good fortune to be taken in by a friend, Johann Michael Spangler, who shared his family's crowded garret room with Haydn for a few months. Haydn immediately began his pursuit of a career as a freelance musician.


title: Joseph Haydn

text: Haydn struggled at first, working at many different jobs: as a music teacher, as a street serenader, and eventually, in 1752, as valet–accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition". He was also briefly in Count Friedrich Wilhelm von Haugwitz's employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz.


title: Joseph Haydn

text: While a chorister, Haydn had not received any systematic training in music theory and composition. As a remedy, he worked his way through the counterpoint exercises in the text "Gradus ad Parnassum" by Johann Joseph Fux and carefully studied the work of Carl Philipp Emanuel Bach, whom he later acknowledged as an important influence. He said of CPE Bach's first six keyboard sonatas, "I did not leave my clavier till I played them through, and whoever knows me thoroughly must discover that I owe a great deal to Emanuel Bach, that I understood him and have studied him with diligence." According to Griesinger and Dies, in the 1750s Haydn studied an encyclopedic treatise by Johann Mattheson, a German composer.


title: Joseph Haydn

text: As his skills increased, Haydn began to acquire a public reputation, first as the composer of an opera, "Der krumme Teufel", "The Limping Devil", written for the comic actor , whose stage name was "Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors due to "offensive remarks". Haydn also noticed, apparently without annoyance, that works he had simply given away were being published and sold in local music shops. Between 1754 and 1756 Haydn also worked freelance for the court in Vienna. He was among several musicians who were paid for services as supplementary musicians at balls given for the imperial children during carnival season, and as supplementary singers in the imperial chapel (the "Hofkapelle") in Lent and Holy Week.


title: Joseph Haydn

text: With the increase in his reputation, Haydn eventually obtained aristocratic patronage, crucial for the career of a composer in his day. Countess Thun, having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher. In 1756, Baron Carl Josef Fürnberg employed Haydn at his country estate, Weinzierl, where the composer wrote his first string quartets. Of them, Philip G. Downs said "they abound in novel effects and instrumental combinations that can only be the result of humorous intent". Their enthusiastic reception encouraged Haydn to write more. It was a turning point in his career. As a result of the performances, he became in great demand both as a performer and a teacher. Fürnberg later recommended Haydn to Count Morzin, who, in 1757, became his first full-time employer. His salary was a respectable 200 florins a year, plus free board and lodging.


title: Joseph Haydn

text: Haydn's job title under Count Morzin was "Kapellmeister", that is, music director. He led the count's small orchestra in Unterlukawitz and wrote his first symphonies for this ensemble – perhaps numbering in the double figures. Philip Downs comments of these first symphonies: "the seeds of the future are there, his works already exhibit a richness and profusion of material, and a disciplined yet varied expression." In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Theresia Keller (1729–1800), the sister of Therese (b. 1733), with whom Haydn had previously been in love. Haydn and his wife had a completely unhappy marriage, from which time permitted no escape. They produced no children, and both took lovers.


title: Joseph Haydn

text: Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) by Prince Paul Anton, head of the immensely wealthy Esterházy family. Haydn's job title was only Vice-Kapellmeister, but he was immediately placed in charge of most of the Esterházy musical establishment, with the old Kapellmeister Gregor Werner retaining authority only for church music. When Werner died in 1766, Haydn was elevated to full Kapellmeister.


title: Joseph Haydn

text: As a "house officer" in the Esterházy establishment, Haydn wore livery and followed the family as they moved among their various palaces, most importantly the family's ancestral seat Schloss Esterházy in Eisenstadt and later on Esterháza, a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing chamber music for and with his patrons, and eventually the mounting of operatic productions. Despite this backbreaking workload, the job was in artistic terms a superb opportunity for Haydn. The Esterházy princes (Paul Anton, then from 1762 to 1790 Nikolaus I) were musical connoisseurs who appreciated his work and gave him daily access to his own small orchestra. During the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his musical style continued to develop.


title: Joseph Haydn

text: Much of Haydn's activity at the time followed the musical taste of his patron Prince Nikolaus. In about 1765, the prince obtained and began to learn to play the baryton, an uncommon musical instrument similar to the bass viol, but with a set of plucked sympathetic strings. Haydn was commanded to provide music for the prince to play, and over the next ten years produced about 200 works for this instrument in various ensembles, the most notable of which are the 126 baryton trios. Around 1775, the prince abandoned the baryton and took up a new hobby: opera productions, previously a sporadic event for special occasions, became the focus of musical life at court, and the opera theater the prince had built at Esterháza came to host a major season, with multiple productions each year. Haydn served as company director, recruiting and training the singers and preparing and leading the performances. He wrote several of the operas performed and wrote substitution arias to insert into the operas of other composers.


title: Joseph Haydn

text: 1779 was a watershed year for Haydn, as his contract was renegotiated: whereas previously all his compositions were the property of the Esterházy family, he now was permitted to write for others and sell his work to publishers. Haydn soon shifted his emphasis in composition to reflect this (fewer operas, and more quartets and symphonies) and he negotiated with multiple publishers, both Austrian and foreign. His new employment contract "acted as a catalyst in the next stage in Haydn's career, the achievement of international popularity. By 1790 Haydn was in the paradoxical position ... of being Europe's leading composer, but someone who spent his time as a duty-bound Kapellmeister in a remote palace in the Hungarian countryside." The new publication campaign resulted in the composition of a great number of new string quartets (the six-quartet sets of Op. 33, 50, 54/55, and 64). Haydn also composed in response to commissions from abroad: the Paris symphonies (1785–1786) and the original orchestral version of "The Seven Last Words of Christ" (1786), a commission from Cádiz, Spain.


title: Joseph Haydn

text: The remoteness of Eszterháza, which was farther from Vienna than Eisenstadt, led Haydn gradually to feel more isolated and lonely. He longed to visit Vienna because of his friendships there. Of these, a particularly important one was with Maria Anna von Genzinger (1754–1793), the wife of Prince Nikolaus's personal physician in Vienna, who began a close, platonic relationship with the composer in 1789. Haydn wrote to Mrs. Genzinger often, expressing his loneliness at Esterháza and his happiness for the few occasions on which he was able to visit her in Vienna. Later on, Haydn wrote to her frequently from London. Her premature death in 1793 was a blow to Haydn, and his F minor variations for piano, Hob. XVII:6, may have been written in response to her death.


title: Joseph Haydn

text: Another friend in Vienna was Wolfgang Amadeus Mozart, whom Haydn had met sometime around 1784. According to later testimony by Michael Kelly and others, the two composers occasionally played in string quartets together. Haydn was hugely impressed with Mozart's work and praised it unstintingly to others. Mozart evidently returned the esteem, as seen in his dedication of a set of six quartets, now called the "Haydn" quartets, to his friend. In 1785 Haydn was admitted to the same Masonic lodge as Mozart, the "" in Vienna.


title: Joseph Haydn

text: In 1790, Prince Nikolaus died and was succeeded as prince by his son Anton. Following a trend of the time, Anton sought to economize by dismissing most of the court musicians. Haydn retained a nominal appointment with Anton, at a reduced salary of 400 florins, as well as a 1000-florin pension from Nikolaus. Since Anton had little need of Haydn's services, he was willing to let him travel, and the composer accepted a lucrative offer from Johann Peter Salomon, a German violinist and impresario, to visit England and conduct new symphonies with a large orchestra.


title: Joseph Haydn

text: The choice was a sensible one because Haydn was already a very popular composer there. Since the death of Johann Christian Bach in 1782, Haydn's music had dominated the concert scene in London; "hardly a concert did not feature a work by him". Haydn's work was widely distributed by publishers in London, including Forster (who had their own contract with Haydn) and Longman & Broderip (who served as agent in England for Haydn's Vienna publisher Artaria). Efforts to bring Haydn to London had been made since 1782, though Haydn's loyalty to Prince Nikolaus had prevented him from accepting.


title: Joseph Haydn

text: After fond farewells from Mozart and other friends, Haydn departed from Vienna with Salomon on 15 December 1790, arriving in Calais in time to cross the English Channel on New Year's Day of 1791. It was the first time that the 58-year-old composer had seen the sea. Arriving in London, Haydn stayed with Salomon in Great Pulteney Street (London, near Piccadilly Circus) working in a borrowed studio at the Broadwood piano firm nearby.


title: Joseph Haydn

text: It was the start of a very auspicious period for Haydn: both the 1791–1792 journey, along with a repeat visit in 1794–1795, were greatly successful. Audiences flocked to Haydn's concerts; he augmented his fame and made large profits, thus becoming financially secure. Charles Burney reviewed the first concert thus: "Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England." Haydn made many new friends and, for a time, was involved in a romantic relationship with Rebecca Schroeter.


title: Joseph Haydn

text: Musically, Haydn's visits to England generated some of his best-known work, including the "Surprise", "Military", "Drumroll" and "London" symphonies; the "Rider" quartet; and the "Gypsy Rondo" piano trio. The great success of the overall enterprise does not mean that the journeys were free of trouble. Notably, his very first project, the commissioned opera "L'anima del filosofo" was duly written during the early stages of the trip, but the opera's impresario John Gallini was unable to obtain a license to permit opera performances in the theatre he directed, the King's Theatre. Haydn was well paid for the opera (£300) but much time was wasted. Thus only two new symphonies, no. 95 and no. 96 "Miracle", could be premiered in the 12 concerts of Salomon's spring concert series in 1791. Another problem arose from the jealously competitive efforts of a senior, rival orchestra, the Professional Concerts, who recruited Haydn's old pupil Ignaz Pleyel as a rival visiting composer; the two composers, refusing to play along with the concocted rivalry, dined together and put each other's symphonies on their concert programs.


title: Joseph Haydn

text: The end of Salomon's series in June gave Haydn a rare period of relative leisure. He spent some of the time in the country (Hertingfordbury), but also had time to travel, notably to Oxford, where he was awarded an honorary doctorate by the university. The symphony performed for the occasion, no. 92 has since come to be known as the "Oxford Symphony", although it had been written in 1789. Four further new symphonies (Nos. 93, 94, 97 and 98) were performed in early 1792.


title: Joseph Haydn

text: While traveling to London in 1790, Haydn had met the young Ludwig van Beethoven in his native city of Bonn. On Haydn's return, Beethoven came to Vienna and was Haydn's pupil up until the second London journey. Haydn took Beethoven with him to Eisenstadt for the summer, where Haydn had little to do, and taught Beethoven some counterpoint. While in Vienna, Haydn purchased a house for himself and his wife in the suburbs and started remodeling it. He also arranged for the performance of some of his London symphonies in local concerts.


title: Joseph Haydn

text: By the time he arrived on his second journey to England (1794–1795), Haydn had become a familiar figure on the London concert scene. The 1794 season was dominated by Salomon's ensemble, as the Professional Concerts had abandoned their efforts. The concerts included the premieres of the 99th, 100th, and 101st symphonies. For 1795, Salomon had abandoned his own series, citing difficulty in obtaining "vocal performers of the first rank from abroad", and Haydn joined forces with the Opera Concerts, headed by the violinist Giovanni Battista Viotti. These were the venue of the last three symphonies, 102, 103, and 104. The final benefit concert for Haydn ("Dr. Haydn's night") at the end of the 1795 season was a great success and was perhaps the peak of his English career. Haydn's biographer Griesinger wrote that Haydn "considered the days spent in England the happiest of his life. He was everywhere appreciated there; it opened a new world to him".


title: Joseph Haydn

text: Haydn returned to Vienna in 1795. Prince Anton had died, and his successor Nikolaus II proposed that the Esterházy musical establishment be revived with Haydn serving again as Kapellmeister. Haydn took up the position on a part-time basis. He spent his summers with the Esterházys in Eisenstadt, and over the course of several years wrote six masses for them including the Lord Nelson mass in 1798.


title: Joseph Haydn

text: By this time Haydn had become a public figure in Vienna. He spent most of his time in his home, a large house in the suburb of Windmühle, and wrote works for public performance. In collaboration with his librettist and mentor Gottfried van Swieten, and with funding from van Swieten's Gesellschaft der Associierten, he composed his two great oratorios, "The Creation" (1798) and "The Seasons" (1801). Both were enthusiastically received. Haydn frequently appeared before the public, often leading performances of "The Creation" and "The Seasons" for charity benefits, including Tonkünstler-Societät programs with massed musical forces. He also composed instrumental music: the popular "Trumpet Concerto", and the last nine in his long series of string quartets, including the "Fifths", "Emperor", and "Sunrise". Directly inspired by hearing audiences sing God Save the King in London, in 1797 Haydn wrote a patriotic "Emperor's Hymn" Gott erhalte Franz den Kaiser, ("God Save Emperor Francis"). This achieved great success and became "the enduring emblem of Austrian identity right up to the First World War" (Jones). The melody was used for von Fallersleben's "Deutschlandlied" (1841), which was written as part of the German unification movement and whose third stanza is today the national anthem of the Federal Republic of Germany. (Modern Austria uses a different anthem.)


title: Joseph Haydn

text: During the later years of this successful period, Haydn faced incipient old age and fluctuating health, and he had to struggle to complete his final works. His last major work, from 1802, was the sixth mass for the Esterházys, the "Harmoniemesse".


title: Joseph Haydn

text: By the end of 1803, Haydn's condition had declined to the point that he became physically unable to compose. He suffered from weakness, dizziness, inability to concentrate and painfully swollen legs. Since diagnosis was uncertain in Haydn's time, it is unlikely that the precise illness can ever be identified, though Jones suggests arteriosclerosis. The illness was especially hard for Haydn because the flow of fresh musical ideas continued unabated, although he could no longer work them out as compositions. His biographer Dies reported Haydn saying in 1806:


title: Joseph Haydn

text: "I must have something to do—usually musical ideas are pursuing me, to the point of torture, I cannot escape them, they stand like walls before me. If it's an allegro that pursues me, my pulse keeps beating faster, I can get no sleep. If it's an adagio, then I notice my pulse beating slowly. My imagination plays on me as if I were a clavier." Haydn smiled, the blood rushed to his face, and he said "I am really just a living clavier."


title: Joseph Haydn

text: The winding down of Haydn's career was gradual. The Esterházy family kept him on as Kapellmeister to the very end (much as they had with his predecessor Werner long before), but they appointed new staff to lead their musical establishment: Johann Michael Fuchs in 1802 as Vice-Kapellmeister and Johann Nepomuk Hummel as Konzertmeister in 1804. Haydn's last summer in Eisenstadt was in 1803, and his last appearance before the public as a conductor was a charity performance of "The Seven Last Words" on 26 December 1803. As debility set in, he made largely futile efforts at composition, attempting to revise a rediscovered "Missa brevis" from his teenage years and complete his final string quartet. The former project was abandoned for good in 1805, and the quartet was published with just two movements.


title: Joseph Haydn

text: Haydn was well cared for by his servants, and he received many visitors and public honors during his last years, but they could not have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing his "Emperor's Hymn". A final triumph occurred on 27 March 1808 when a performance of "The Creation" was organized in his honour. The very frail composer was brought into the hall on an armchair to the sound of trumpets and drums and was greeted by Beethoven, Salieri (who led the performance) and by other musicians and members of the aristocracy. Haydn was both moved and exhausted by the experience and had to depart at intermission.


title: Joseph Haydn

text: Haydn lived on for 14 more months. His final days were hardly serene, as in May 1809 the French army under Napoleon launched an attack on Vienna and on 10 May bombarded his neighborhood. According to Griesinger, "Four case shots fell, rattling the windows and doors of his house. He called out in a loud voice to his alarmed and frightened people, 'Don't be afraid, children, where Haydn is, no harm can reach you!'. But the spirit was stronger than the flesh, for he had hardly uttered the brave words when his whole body began to tremble." More bombardments followed until the city fell to the French on 13 May. Haydn, was, however, deeply moved and appreciative when on 17 May a French cavalry officer named Sulémy came to pay his respects and sang, skillfully, an aria from "The Creation".


title: Joseph Haydn

text: On 26 May Haydn played his "Emperor's Hymn" with unusual gusto three times; the same evening he collapsed and was taken to what proved to be to his deathbed. He died peacefully in his own home at 12:40 a.m. on 31 May 1809, aged 77. On 15 June, a memorial service was held in the Schottenkirche at which Mozart's Requiem was performed. Haydn's remains were interred in the local Hundsturm cemetery until 1820, when they were moved to Eisenstadt by Prince Nikolaus. His head took a different journey; it was stolen by phrenologists shortly after burial, and the skull was reunited with the other remains only in 1954, now interred in a tomb in the north tower of the Bergkirche.


title: Joseph Haydn

text: James Webster writes of Haydn's public character thus: "Haydn's public life exemplified the Enlightenment ideal of the "honnête homme" ("honest man"): the man whose good character and worldly success enable and justify each other. His modesty and probity were everywhere acknowledged. These traits were not only prerequisites to his success as Kapellmeister, entrepreneur and public figure, but also aided the favorable reception of his music." Haydn was especially respected by the Esterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn and the tale of the "Farewell" Symphony. Haydn had a robust sense of humor, evident in his love of practical jokes and often apparent in his music, and he had many friends. For much of his life he benefited from a "happy and naturally cheerful temperament", but in his later life, there is evidence for periods of depression, notably in the correspondence with Mrs. Genzinger and in Dies's biography, based on visits made in Haydn's old age.


title: Joseph Haydn

text: Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective. He normally began the manuscript of each composition with "in nomine Domini" ("in the name of the Lord") and ended with "Laus Deo" ("praise be to God").


title: Joseph Haydn

text: Haydn's early years of poverty and awareness of the financial precariousness of musical life made him astute and even sharp in his business dealings. Some contemporaries (usually, it has to be said, wealthy ones) were surprised and even shocked at this. Webster writes: "As regards money, Haydn…always attempted to maximize his income, whether by negotiating the right to sell his music outside the Esterházy court, driving hard bargains with publishers or selling his works three and four times over [to publishers in different countries]; he regularly engaged in 'sharp practice'” which nowadays might be regarded as plain fraud. But those were days when copyright was in its infancy, and the pirating of musical works was common. Publishers had few qualms about attaching Haydn's name to popular works by lesser composers, an arrangement that effectively robbed the lesser musician of livelihood. Webster notes that Haydn's ruthlessness in business might be viewed more sympathetically in light of his struggles with poverty during his years as a freelancer—and that outside of the world of business, in his dealings, for example, with relatives, musicians and servants, and in volunteering his services for charitable concerts, Haydn was a generous man – offering to teach the two infant sons of Mozart for free after their father's death. When Haydn died he was certainly comfortably off, but by middle class rather than aristocratic standards.


title: Joseph Haydn

text: Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. He was not handsome, and like many in his day he was a survivor of smallpox; his face was pitted with the scars of this disease. His biographer Dies wrote: "he couldn't understand how it happened that in his life he had been loved by many a pretty woman. 'They couldn't have been led to it by my beauty.


title: Joseph Haydn

text: His nose, large and aquiline, was disfigured by the polyps he suffered during much of his adult life, an agonizing and debilitating disease that at times prevented him from writing music.


title: Joseph Haydn

text: James Webster summarizes Haydn's role in the history of classical music as follows: "He excelled in every musical genre. ... He is familiarly known as the 'father of the symphony' because he composed 107 symphonies, and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres."


title: Joseph Haydn

text: A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.


title: Joseph Haydn

text: Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called monothematic exposition, in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.


title: Joseph Haydn

text: Haydn's formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of the double variation form—variations on two alternating themes, which are often major- and minor-mode versions of each other.


title: Joseph Haydn

text: Perhaps more than any other composer's, Haydn's music is known for its humor. The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.


title: Joseph Haydn

text: Much of the music was written to please and delight a prince, and its emotional tone is correspondingly upbeat. This tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general rule. Haydn's fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. Some characteristic examples of Haydn's "rollicking" finale type are found in the "London" Symphony No. 104, the String Quartet Op. 50 No. 1, and the Piano Trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo, relaxed, and reflective. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, the Symphonies No. 98 and 102, and the Piano Trio Hob XV: 23. The minuets tend to have a strong downbeat and a clearly popular character. Over time, Haydn turned some of his minuets into "scherzi" which are much faster, at one beat to the bar.


title: Joseph Haydn

text: One of the most apt tributes to Haydn was spoken by the poet John Keats. Keats, dying of tuberculosis, was brought to Rome by his friends in November 1820, in the hope that the climate might help to mitigate his suffering. (The poet died a few weeks later on 23 February 1821, at the age of 25.) According to his friend Joseph Severn: "About this time he expressed a strong desire that we had a pianoforte, so that I might play to him, for not only was he passionately fond of music, but found that his constant pain and o'erfretted nerves were much soothed by it. This I managed to obtain on loan, and Dr. Clark procured me many volumes and pieces of music, and Keats had thus a welcome solace in the dreary hours he had to pass. Among the volumes was one of Haydn's Symphonies, and these were his delight, and he would exclaim enthusiastically, 'This Haydn is like a child, for there is no knowing what he will do next.' "


title: Joseph Haydn

text: Haydn's early work dates from a period in which the compositional style of the High Baroque (seen in J. S. Bach and Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time. An older contemporary whose work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach.


title: Joseph Haydn

text: Tracing Haydn's work over the six decades in which it was produced (roughly from 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn's musical style.


title: Joseph Haydn

text: In the late 1760s and early 1770s, Haydn entered a stylistic period known as "Sturm und Drang" ("storm and stress"). This term is taken from a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years. The musical language of this period is similar to what went before, but it is deployed in work that is more intensely expressive, especially in the works in minor keys. James Webster describes the works of this period as "longer, more passionate, and more daring". Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the six "Sun" Quartets Op. 20, all from c. 1771–72. It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with a fugue.


title: Joseph Haydn

text: Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes trumpets and timpani. These changes are often related to a major shift in Haydn's professional duties, which moved him away from "pure" music and toward the production of comic operas. Several of the operas were Haydn's own work (see List of operas by Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works, which helped him continue his career as a symphonist during this hectic decade.


title: Joseph Haydn

text: In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of "pure" music. The change made itself felt most dramatically in 1781, when Haydn published the six Op. 33 String Quartets, announcing (in a letter to potential purchasers) that they were written in "a new and completely special way". Charles Rosen has argued that this assertion on Haydn's part was not just sales talk but meant quite seriously, and he points out a number of important advances in Haydn's compositional technique that appear in these quartets, advances that mark the advent of the Classical style in full flower. These include a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice of letting accompanying material evolve into melodic material, and a kind of "Classical counterpoint" in which each instrumental part maintains its own integrity. These traits continue in the many quartets that Haydn wrote after Op. 33.


title: Joseph Haydn

text: In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a method of composition that, with unprecedented success, created music having great popular appeal but retaining a learned and rigorous musical structure. An important element of the popular style was the frequent use of folk or folk-like material (see Haydn and folk music). Haydn took care to deploy this material in appropriate locations, such as the endings of sonata expositions or the opening themes of finales. In such locations, the folk material serves as an element of stability, helping to anchor the larger structure. Haydn's popular style can be heard in virtually all of his later work, including the twelve "London" symphonies, the late quartets and piano trios, and the two late oratorios.


title: Joseph Haydn

text: The return to Vienna in 1795 marked the last turning point in Haydn's career. Although his musical style evolved little, his intentions as a composer changed. While he had been a servant, and later a busy entrepreneur, Haydn wrote his works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt that he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of "The Creation" (1798) and "The Seasons" (1801), which address such weighty topics as the meaning of life and the purpose of humankind and represent an attempt to render the sublime in music. Haydn's new intentions also meant that he was willing to spend much time on a single work: both oratorios took him over a year to complete. Haydn once remarked that he had worked on "The Creation" so long because he wanted it to last.


title: Joseph Haydn

text: The change in Haydn's approach was important in the history of classical music, as other composers were soon following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high.


title: Joseph Haydn

text: Anthony van Hoboken prepared a comprehensive catalogue of Haydn's works. The Hoboken catalogue assigns a catalog number to each work, called its Hoboken number (abbreviated H. or Hob.). These Hoboken numbers are often used in identifying Haydn's compositions.


title: Joseph Haydn

text: Haydn's string quartets also have Hoboken numbers, but they are usually identified instead by their opus numbers, which have the advantage of indicating the groups of six quartets that Haydn published together. For example, the string quartet Opus 76, No. 3 is the third of the six quartets published in 1799 as Opus 76.


title: Joseph Haydn

text: An "Anton Walter in Wien" fortepiano used by the composer is now on display in . In Vienna in 1788 Haydn bought himself a fortepiano made by Wenzel Schantz. When the composer was visiting London for the first time, an English piano builder, John Broadwood, supplied him with a concert grand.


title: Steve Jobs (film)

text: Steve Jobs is a 2015 biographical drama film directed by Danny Boyle and written by Aaron Sorkin. A British-American co-production, it was adapted from the 2011 biography by Walter Isaacson and interviews conducted by Sorkin, and covers 14 years (1984–1998) in the life of Apple Inc. co-founder Steve Jobs. Jobs is portrayed by Michael Fassbender, with Kate Winslet as Joanna Hoffman and Seth Rogen, Katherine Waterston, Michael Stuhlbarg, and Jeff Daniels in supporting roles.


title: Steve Jobs (film)

text: Development began in 2011 after the rights to Isaacson's book were acquired. Filming began in January 2015. A variety of actors were considered and cast before Fassbender eventually took the role. Editing was extensive on the project, with editor Elliot Graham starting while the film was still shooting. Daniel Pemberton served as composer, with a focus on dividing the score into three distinguishable sections.


title: Steve Jobs (film)

text: "Steve Jobs" premiered at the 2015 Telluride Film Festival on September 5, 2015, and began a limited release in New York City and Los Angeles on October 9, 2015. It opened nationwide in the U.S. on October 23, 2015 to critical acclaim, with Boyle's direction, visual style, Sorkin's screenplay and the acting of Fassbender and Winslet garnering praise. However, it was a financial disappointment, grossing $34 million worldwide against a budget of $30 million. People close to Jobs such as Steve Wozniak and John Sculley praised the performances, but the film also received criticism for historical inaccuracy. Winslet won a Golden Globe and a BAFTA Award for Best Supporting Actress and Sorkin won the Golden Globe Award for Best Screenplay at the 73rd Golden Globes, while Fassbender and Winslet received nominations for Best Actor and Best Supporting Actress, respectively, at the 88th Academy Awards.


title: Steve Jobs (film)

text: In 1984, the Apple Macintosh 128K's voice demo fails less than an hour before its unveiling at Flint Center. Apple co-founder Steve Jobs demands engineer Andy Hertzfeld fix it, threatening to publicly implicate him in the presentation's credits if he does not. Hertzfeld finally suggests faking the demo using the prototype Macintosh 512K computer.


title: Steve Jobs (film)

text: Jobs rants to marketing executive Joanna Hoffman about a "Time" magazine article exposing his paternity dispute with ex-girlfriend Chrisann Brennan – he denies he is the father of Brennan's five-year-old daughter, Lisa. Brennan arrives with Lisa to confront him – she is bitter over his denials and his refusal to support her despite his wealth. Jobs bonds with Lisa over her MacPaint art and agrees to provide more money and a house. Apple co-founder Steve Wozniak asks Jobs to acknowledge the Apple II team in his presentation, but Jobs feels that mentioning the computer (which he considers obsolete) is unwise.


title: Steve Jobs (film)

text: By 1986, following the apparent failure of the Macintosh, Jobs has founded a new company, NeXT. Before the NeXT Computer launch at the War Memorial Opera House in 1988, he spends time with 9-year-old Lisa. However, his relationship with Brennan is still strained – he accuses her of irresponsible behavior and of using Lisa to get money from him. Wozniak arrives and predicts the NeXT will be another failure. Jobs confronts him about his public criticism of him, and Wozniak questions Jobs' contributions to computing history. Jobs defends his role as that of a conductor who directs "musicians" like Wozniak.


title: Steve Jobs (film)

text: Apple CEO John Sculley demands to know why the world believes he fired Jobs – Jobs was actually forced out by the Apple board, who were resolute on updating the Apple II following the Macintosh's lackluster sales. Despite Sculley's warnings, Jobs criticized the decision and dared them to cast a final vote on his tenure. After Hoffman and Jobs discuss NeXT's unclear direction, she realizes Jobs designed the computer to entice Apple to buy the company and reinstate him.


title: Steve Jobs (film)

text: By 1998, Apple has fired Sculley, purchased NeXT, and named Jobs CEO, and Jobs is about to unveil the iMac at Davies Symphony Hall. He is delighted by Hoffman's strong commercial forecasts but furious that Lisa has allowed her mother to sell the house Jobs bought for them. Hoffman reminds Jobs that he threatened to withhold Lisa's college tuition, and Hertzfeld admits that he paid Lisa's tuition and suggested she attend therapy. Wozniak again asks that Jobs credit the Apple II team during the presentation, and again he refuses.


title: Steve Jobs (film)

text: Sculley arrives in secret, and the two make amends. Jobs and Sculley discuss Jobs' life as an adopted child, and Jobs admits that his need for control stems from his feelings of powerlessness in being given up. At the behest of Hoffman, Jobs apologizes to Lisa for his mistakes and accepts that he is her father, admitting that he is "poorly made." He confesses to Lisa that "the Lisa" was actually named after her. He also promises Lisa on seeing her Walkman that he's going to put more music in her pocket. Lisa watches her father take the stage to introduce the iMac.


title: Steve Jobs (film)

text: Sony Pictures acquired the rights to Isaacson's book in October 2011, hiring Aaron Sorkin to adapt it. In November 2011, George Clooney and Noah Wyle (the latter of who had previously portrayed Jobs in the 1999 TV film "Pirates of Silicon Valley") were rumored to be considered for the title role. In May 2012, Sorkin officially confirmed that he was writing the script, and had enlisted the help of Steve Wozniak, co-founder of Apple, for historical accuracy. Sorkin later stated that his screenplay would consist of three 30-minute-long scenes covering 16 years of Jobs' life.


title: Steve Jobs (film)

text: Sorkin developed the screenplay around Jobs' relationship with a few key people: Apple co-founder Steve Wozniak, Jobs' "right-hand-woman" Joanna Hoffman, former Apple CEO John Sculley, original Mac team developer Andy Hertzfeld, and Jobs' first child, Lisa Brennan-Jobs, as well as her mother Chrisann Brennan. Sorkin had a chance to speak with all of them while developing the screenplay, including Lisa (who did not communicate with Isaacson while he was developing his book). However, Sorkin has stated that much of the dialogue is fiction.


title: Steve Jobs (film)

text: After Sorkin's completion of the script in January 2014, development on the project began to heat up when David Fincher entered negotiations to direct the film, with Fincher selecting Christian Bale as his choice for Jobs. However, in April 2014, Fincher exited the project due to contractual disputes. Danny Boyle was then hired to direct, with Leonardo DiCaprio in discussions for the role. In October, DiCaprio exited, with Bale, Matt Damon, Ben Affleck and Bradley Cooper being considered. Sorkin revealed in an interview that month that Bale was once again cast in the role, with Seth Rogen entering negotiations to play Wozniak, and Jessica Chastain being considered for a part. Ike Barinholtz revealed he had auditioned for the role of Wozniak. In November, Bale again left the project, with Michael Fassbender emerging as a frontrunner to replace him, and Scarlett Johansson reportedly being offered a role before Sony put the project in turnaround and Universal Pictures acquired it.


title: Steve Jobs (film)

text: Following the Sony Pictures Entertainment hack in December 2014, Sony emails were leaked which revealed casting demands as cause of delay in the film's production. Also revealed in the emails were the details that Tom Cruise, Matthew McConaughey and Charlize Theron were at one point met with to discuss potential roles in the film.


title: Steve Jobs (film)

text: Natalie Portman entered into negotiations for a role in November 2014, but withdrew from the film in December. Meanwhile, Jeff Daniels began negotiations for a role and Michael Stuhlbarg joined the cast as Andy Hertzfeld. In December, Kate Winslet entered negotiations to star in the film, with Fassbender and Rogen confirmed to star, and Katherine Waterston was cast as Chrisann Brennan. Winslet's participation in the film, playing Joanna Hoffman, was confirmed in January 2015. Daniels was also cast as John Sculley, and Perla Haney-Jardine was cast as Lisa Brennan-Jobs. In February 2015, John Ortiz joined the film to play "GQ" magazine journalist Joel Pforzheimer.


title: Steve Jobs (film)

text: Principal photography began on January 16, 2015, at Jobs's childhood home in Los Altos, California, with additional scenes shot throughout the San Francisco Bay Area. Production next moved to Berkeley on January 23–24, 2015 (at "La Méditerranée," a restaurant on College Avenue in the Elmwood district).


title: Steve Jobs (film)

text: On January 29, 2015, filming continued at Flint Center, De Anza college (the location of the original unveiling of the Macintosh in 1984). In late February, production moved to San Francisco and took place at the Opera House, Louise M. Davies Symphony Hall, and the Civic Center. Filming wrapped on April 10, 2015, after an overnight shoot in the San Francisco Bay Area.


title: Steve Jobs (film)

text: To distinguish each of the three product launches depicted in the movie, Danny Boyle and cinematographer Alwin Küchler implemented three different film formats: 16mm for 1984, 35mm for 1988, and digital for 1998. They also wanted each of the film's three time periods to visually reflect Jobs' own development at the time. For instance, Küchler explains that the filming at Flint Center, De Anza college for the first act combined the graininess of 16 mm film and setting to accentuate a provisional, spontaneous look – much in the vein of how Jobs is portrayed at that time. The third act, shot with an Arri Alexa at the Davies Symphony Hall, incorporated an aesthetic and color palette that were intended to be representative of Jobs' own design philosophies of the iMac and subsequent Apple hardware. Küchler describes his experience filming "Steve Jobs" as "brilliant and challenging at the same time", and that the goal was to "make sure that the visuals kept up with the words", in reference to the production's collaboration between Boyle and Sorkin.


title: Steve Jobs (film)

text: Costume designer Suttirat Anne Larlarb says the real Jobs never wore his trademark turtleneck sweater at any of the launches: "The turtleneck was the off book decision. In those 3 actual launches, in real life, he never wore that. In the 1998 portion of the film, in real life he was wearing a dark greyish/brownish suit. We made it for him as a back up idea in case we needed to adhere to it. As we got closer to the time of filming, I thought we'd set up rules for 1984, we'd set up rules for 1988 – there's so much of the film that's about design and he was about design." Fassbender also remarked that the historically inaccurate black turtleneck for the third act was intentional, believing that wearing the attire "felt like I had arrived at [Steve Jobs'] vision, that the person had arrived." Fassbender later added that he and Danny Boyle decided on this look during filming, and wanted to "give the audience kind of a payoff."


title: Steve Jobs (film)

text: London-based studio Union created the film's visual effects. According to editor Elliot Graham, extensive film editing took place even before principal photography was completed. During the one-week rehearsal that took place in between production for each of the three acts (shot in chronological order), Graham worked on the existing footage and received ongoing feedback from Boyle in the editing room. In an interview with "Variety", Graham said a particular challenge for him was balancing the shot frequency and providing enough "visual interventions" to control for Sorkin's dialogue-heavy screenplay. He described approaching each scene as "a series of fight sequences". Michael Fassbender provided multiple versions of his performance as Jobs, which Graham and Boyle then chose from during post-production. Graham also said: "Danny would be involved a lot but also take time away. He would say 'if I'm with you the whole time, we'll always have the same opinions because we're on the exact same journey.'"


title: Steve Jobs (film)

text: Daniel Pemberton composed the music for the film. Much like the film's visual approach, the score is divided into three distinguishable sections, each corresponding to the intended feel of the act in which the section is heard. "You have the first act which is analog," Pemberton explains, "you have the second act which is orchestral, and you have the third act which is digital." For the first act's composition, Pemberton primarily used analog synthesizers, in particular ones released no later than 1984 – the time the first act takes place – such as the Roland SH-1000 and Yamaha CS-80. The second act's score is more operatic in nature, matching the setting of the San Francisco Opera House. Finally, the third act featured a more introspective score produced entirely digitally to complement its backdrop of the 1998 iMac product launch, and Pemberton correspondingly used his own iMac to compose this section.


title: Steve Jobs (film)

text: The soundtrack also features songs by The Libertines, Bob Dylan and The Maccabees. The Maccabees' "Grew Up At Midnight", the song that played during the film's concluding scene, was reportedly chosen by Danny Boyle himself, who is a fan of the band. Other songs were considered for the final scene, even Pemberton's own score before the song was chosen. The soundtrack was released digitally on October 9, 2015, and in physical format on October 23, 2015.


title: Steve Jobs (film)

text: "Steve Jobs" premiered at the 2015 Telluride Film Festival on September 5, 2015, and began a limited release in New York City and Los Angeles on October 9, 2015. It opened nationwide in the U.S. on October 23, 2015. The movie also served as the closing film for the 2015 BFI London Film Festival, approximately one month before its release in the United Kingdom on November 13, 2015.


title: Steve Jobs (film)

text: "Steve Jobs" was released digitally on February 2, 2016, and was released on Blu-ray and DVD on February 16, 2016, and includes feature commentary from Boyle, Sorkin, and Elliot Graham. The physical releases contain a 44-minute making-of documentary, "Inside Jobs: The Making of Steve Jobs", chronicling the production of the film.


title: Steve Jobs (film)

text: "Steve Jobs" grossed $17.8 million in the United States and Canada, and $16.7 million in other territories, for a worldwide total of $34.4 million, against a budget of $30 million. The film needed to gross an estimated $120 million in order to break-even.


title: Steve Jobs (film)

text: In its opening weekend in limited release, the film grossed $521,000 from four theaters, for a per theater average of $130,250, beating out "Sicario" ($67,000) for the best average theater gross of 2015. The film began its wide release on October 23, 2015, alongside "The Last Witch Hunter", "", "Rock the Kasbah", and "Jem and the Holograms". Over the weekend, the film was originally projected to gross $11–12 million from 2,491 theaters. However, after grossing just $2.5 million on its first day, it was revised to $7.4 million. It ended up grossing $7.1 million, finishing seventh at the box office.


title: Steve Jobs (film)

text: On November 10, 2015, just over two weeks after its wide release, the film was pulled from 2,072 theaters. "Variety" said the film suffered from fierce competition at the box office, possible public weariness with Jobs and the low profile of Fassbender in the title role, and that the underperformance at the box office could hurt the film's award chances. After his film was pulled from wide release in the U.S., Danny Boyle expressed disappointment at the box office performance of "Steve Jobs", while suggesting that Universal expanded the film's release "too wide too soon" and that the studio's move was "arrogant".


title: Steve Jobs (film)

text: On the review aggregator Rotten Tomatoes, the film holds an approval rating of 85% based on 319 reviews with an average rating of 7.70/10. The website's critical consensus reads, "Like the tech giant co-founded by its subject, "Steve Jobs" gathers brilliant people to deliver a product whose elegance belies the intricate complexities at its core." On Metacritic, the film has a weighted average score of 82 out of 100, based on 45 reviews, indicating "universal acclaim." At CinemaScore, audiences gave the film an average grade of "A−" on an A+ to F scale.


title: Steve Jobs (film)

text: Todd McCarthy of "The Hollywood Reporter" said Boyle's "electric" direction "temperamentally complements Sorkin's highly theatrical three-act study" and praised Fassbender in the role, who "doesn't closely physically resemble the man, [yet] he fully delivers the essentials of how we have come to perceive the man." Justin Chang of "Variety" extolled the film as "a wildly creative fantasia...a brilliant, maddening, ingeniously designed and monstrously self-aggrandizing movie." Sasha Stone, writing for "TheWrap", stated that Fassbender gives "a stunning knockout" performance as Jobs in a film that is "a kind of talk opera", which to some might seem to be "Sorkin overkill but the same could be said for the best of them: David Mamet, Edward Albee, Paddy Chayefsky and even William Shakespeare. Sorkin is not trying to do anything but write in his own style, thus this film and its exceptional dialogue leaves its mark as profoundly as Jobs himself left his." Eric Kohn of IndieWire gave the film a "B+", stating that "the cast vanishes into their parts...buried under makeup and a distinctive Polish accent, Winslet's chameleonesque transformation is bested only by Fassbender, whose vivid expressions and constant movement turn him into a physical marvel." He also noted that Boyle "drops his usual whirlwind editing style and instead develops an engrossing chamber piece."


title: Steve Jobs (film)

text: Benjamin Lee of "The Guardian" gave the film three out of five stars, writing that "despite the film constantly informing you of just how incredibly important everything all is, it's disappointingly difficult to truly care about what's taking place." He blames Sorkin's "dominating" script, arguing that "the dialogue stifles" and that "the actors are tasked with trying to wrangle enough breathing space to offer up something of their own." He also feels that while it is "Boyle's best film for years," his direction "plays second fiddle" to a script that verges on a kind of "Apple-sponsored hero iWorship." Joe Nocera of "The New York Times", who knew Jobs well, took issue with "how little the film has to do with the flesh and blood Steve Jobs." Characterizing the movie as pure "fiction", he went on to say, "In ways both large and small, Sorkin − as well as Michael Fassbender, the actor who plays Jobs − has failed to capture him in any meaningful sense."


title: Steve Jobs (film)

text: Danny Boyle, the film's director, speaking on the creative liberties he took with portraying Steve Jobs said, "[it] was what Shakespeare used to do. He would take some of the facts about a man of power and he would guess at a lot of the rest and just gotten away at actually getting at the human in it. And that's what's wonderful about the writing I think, is that it acknowledges the people who disliked Steve Jobs, the people he hurt. But in the end, he brings it back to a very simple father-daughter relationship that he has to admit that he has made some of the most beautiful things in the world."