title: Karlheinz Stockhausen

text: From the age of seven, Stockhausen lived in Altenberg, where he received his first piano lessons from the Protestant organist of the Altenberger Dom, Franz-Josef Kloth. In 1938 his father remarried. His new wife, Luzia, had been the family's housekeeper. The couple had two daughters. Because his relationship with his new stepmother was less than happy, in January 1942 Karlheinz became a boarder at the teachers' training college in Xanten, where he continued his piano training and also studied oboe and violin. In 1941 he learned that his mother had died, ostensibly from leukemia, although everyone at the same hospital had supposedly died of the same disease. It was generally understood that she had been a victim of the Nazi policy of killing "useless eaters". The official letter to the family falsely claimed she had died 16 June 1941, but recent research by Lisa Quernes, a student at the Landesmusikgymnasium in Montabaur, has determined that she was murdered in the gas chamber, along with 89 other people, at the Hadamar Killing Facility in Hesse-Nassau on 27 May 1941. Stockhausen dramatized his mother's death in hospital by lethal injection, in Act 1 scene 2 ("") of the opera Donnerstag aus Licht.


title: Karlheinz Stockhausen

text: In late 1944, Stockhausen was conscripted to serve as a stretcher bearer in Bedburg. In February 1945, he met his father for the last time in Altenberg. Simon, who was on leave from the front, told his son, "I'm not coming back. Look after things." By the end of the war, his father was regarded as missing in action, and may have been killed in Hungary. A comrade later reported to Karlheinz that he saw his father wounded in action. Fifty-five years after the fact, a journalist writing for the "Guardian" stated that Simon Stockhausen was killed in Hungary in 1945.


title: Karlheinz Stockhausen

text: From 1947 to 1951, Stockhausen studied music pedagogy and piano at the Hochschule für Musik Köln (Cologne Conservatory of Music) and musicology, philosophy, and German studies at the University of Cologne. He had training in harmony and counterpoint, the latter with Hermann Schroeder, but he did not develop a real interest in composition until 1950. He was admitted at the end of that year to the class of Swiss composer Frank Martin, who had just begun a seven-year tenure in Cologne. At the Darmstädter Ferienkurse in 1951, Stockhausen met Belgian composer Karel Goeyvaerts, who had just completed studies with Olivier Messiaen (analysis) and Darius Milhaud (composition) in Paris, and Stockhausen resolved to do likewise. He arrived in Paris on 8 January 1952 and began attending Messiaen's courses in aesthetics and analysis, as well as Milhaud's composition classes. He continued with Messiaen for a year, but he was disappointed with Milhaud and abandoned his lessons after a few weeks. In March 1953, he left Paris to take up a position as assistant to Herbert Eimert at the newly established Electronic Music Studio of Nordwestdeutscher Rundfunk (NWDR) (from 1 January 1955, Westdeutscher Rundfunk, or WDR) in Cologne. In 1963, he succeeded Eimert as director of the studio. From 1954 to 1956, he studied phonetics, acoustics, and information theory with Werner Meyer-Eppler at the University of Bonn. Together with Eimert, Stockhausen edited the journal "Die Reihe" from 1955 to 1962.


title: Karlheinz Stockhausen

text: On 29 December 1951, in Hamburg, Stockhausen married Doris Andreae. Together they had four children: Suja (b. 1953), Christel (b. 1956), Markus (b. 1957), and Majella (b. 1961). They were divorced in 1965. On 3 April 1967, in San Francisco, he married Mary Bauermeister, with whom he had two children: Julika (b. 22 January 1966) and Simon (b. 1967). They were divorced in 1972.


title: Karlheinz Stockhausen

text: Four of Stockhausen's children became professional musicians (Kurtz 1992, 202), and he composed some of his works specifically for them. A large number of pieces for the trumpet—from "Sirius" (1975–77) to the trumpet version of "In Freundschaft" (1997)—were composed for and premièred by his son Markus. Markus, at the age of 4 years, had performed the part of The Child in the Cologne première of "Originale", alternating performances with his sister Christel. "Klavierstück XII" and "Klavierstück XIII" (and their versions as scenes from the operas "Donnerstag aus Licht" and "Samstag aus Licht") were written for his daughter Majella, and were first performed by her at the ages of 16 and 20, respectively. The saxophone duet in the second act of "Donnerstag aus Licht", and a number of synthesizer parts in the "Licht" operas, including "Klavierstück XV" ("Synthi-Fou") from "Dienstag", were composed for his son Simon, who also assisted his father in the production of the electronic music from "Freitag aus Licht". His daughter Christel is a flautist who performed and gave a course on interpretation of "Tierkreis" in 1977, later published as an article.


title: Karlheinz Stockhausen

text: In 1961, Stockhausen acquired a parcel of land in the vicinity of Kürten, a village east of Cologne, near Bergisch Gladbach in the Bergisches Land. He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of 1965.


title: Karlheinz Stockhausen

text: After lecturing at the Internationale Ferienkurse für Neue Musik at Darmstadt (first in 1953), Stockhausen gave lectures and concerts in Europe, North America, and Asia. He was guest professor of composition at the University of Pennsylvania in 1965 and at the University of California, Davis in 1966–67. He founded and directed the Cologne Courses for New Music from 1963 to 1968, and was appointed Professor of Composition at the Hochschule für Musik Köln in 1971, where he taught until 1977. In 1998, he founded the Stockhausen Courses, which are held annually in Kürten.


title: Karlheinz Stockhausen

text: From the mid-1950s onward, Stockhausen designed (and in some cases arranged to have printed) his own musical scores for his publisher, Universal Edition, which often involved unconventional devices. The score for his piece "Refrain", for instance, includes a rotatable (refrain) on a transparent plastic strip. Early in the 1970s, he ended his agreement with Universal Edition and began publishing his own scores under the Stockhausen-Verlag imprint. This arrangement allowed him to extend his notational innovations (for example, dynamics in "Weltparlament" [the first scene of "Mittwoch aus Licht"] are coded in colour) and resulted in eight German Music Publishers Society Awards between 1992 ("Luzifers Tanz") and 2005 ("Hoch-Zeiten", from "Sonntag aus Licht"). The "Momente" score, published just before Stockhausen's death in 2007, won this prize for the ninth time.


title: Karlheinz Stockhausen

text: In the early 1990s, Stockhausen reacquired the licenses to most of the recordings of his music he had made to that point, and started his own record company to make this music permanently available on Compact Disc.


title: Karlheinz Stockhausen

text: Stockhausen died of sudden heart failure on the morning of 5 December 2007 in Kürten, North Rhine-Westphalia. The night before, he had finished a recently commissioned work for performance by the Mozart Orchestra of Bologna. He was 79 years old.


title: Karlheinz Stockhausen

text: Stockhausen wrote 370 individual works. He often departs radically from musical tradition and his work is influenced by Olivier Messiaen, Edgard Varèse, and Anton Webern, as well as by film and by painters such as Piet Mondrian and Paul Klee.


title: Karlheinz Stockhausen

text: Stockhausen began to compose in earnest only during his third year at the conservatory. His early student compositions remained out of the public eye until, in 1971, he published "Chöre für Doris", "Drei Lieder" for alto voice and chamber orchestra, "Choral" for a cappella choir (all three from 1950), and a Sonatine for violin and piano (1951).


title: Karlheinz Stockhausen

text: In August 1951, just after his first Darmstadt visit, Stockhausen began working with a form of athematic serial composition that rejected the twelve-tone technique of Schoenberg. He characterized many of these earliest compositions (together with the music of other, like-minded composers of the period) as "punktuelle Musik", "punctual" or "pointist" music, commonly mistranslated as "pointillist", though one critic concluded after analysing several of these early works that Stockhausen "never really composed punctually". Compositions from this phase include "Kreuzspiel" (1951), the "Klavierstücke I–IV" (1952—the fourth of this first set of four "Klavierstücke", titled "Klavierstück IV", is specifically cited by Stockhausen as an example of "punctual music", and the first (unpublished) versions of "Punkte" and "Kontra-Punkte" (1952). However, several works from these same years show Stockhausen formulating his "first really ground-breaking contribution to the theory and, above all, practice of composition", that of "group composition", found in Stockhausen's works as early as 1952 and continuing throughout his compositional career. This principle was first publicly described by Stockhausen in a radio talk from December 1955, titled "Gruppenkomposition: "Klavierstück I"".


title: Karlheinz Stockhausen

text: In December 1952, he composed a "Konkrete Etüde", realized in Pierre Schaeffer's Paris musique concrète studio. In March 1953, he moved to the NWDR studio in Cologne and turned to electronic music with two "Electronic Studies" (1953 and 1954), and then introducing spatial placements of sound sources with his mixed "concrète" and electronic work "Gesang der Jünglinge" (1955–56). Experiences gained from the "Studies" made plain that it was an unacceptable oversimplification to regard timbres as stable entities. Reinforced by his studies with Meyer-Eppler, beginning in 1955, Stockhausen formulated new "statistical" criteria for composition, focussing attention on the aleatoric, directional tendencies of sound movement, "the change from one state to another, with or without returning motion, as opposed to a fixed state". Stockhausen later wrote, describing this period in his compositional work, "The first revolution occurred from 1952/53 as "musique concrète", "electronic tape music", and "space music", entailing composition with transformers, generators, modulators, magnetophones, etc; the integration of concrete and abstract (synthetic) sound possibilities (also all noises), and the controlled projection of sound in space". His position as "the leading German composer of his generation" was established with "Gesang der Jünglinge" and three concurrently composed pieces in different media: "Zeitmaße" for five woodwinds, "Gruppen" for three orchestras, and "Klavierstück XI". The principles underlying the latter three compositions are presented in Stockhausen's best-known theoretical article, "... wie die Zeit vergeht ..." ("... How Time Passes ..."), first published in 1957 in vol. 3 of "Die Reihe".


title: Karlheinz Stockhausen

text: His work with electronic music and its utter fixity led him to explore modes of instrumental and vocal music in which performers' individual capabilities and the circumstances of a particular performance (e.g., hall acoustics) may determine certain aspects of a composition. He called this "variable form". In other cases, a work may be presented from a number of different perspectives. In "Zyklus" (1959), for example, he began using graphic notation for instrumental music. The score is written so that the performance can start on any page, and it may be read upside down, or from right to left, as the performer chooses. Still other works permit different routes through the constituent parts. Stockhausen called both of these possibilities "polyvalent form", which may be either open form (essentially incomplete, pointing beyond its frame), as with "Klavierstück XI" (1956), or "closed form" (complete and self-contained) as with "Momente" (1962–64/69).


title: Karlheinz Stockhausen

text: In many of his works, elements are played off against one another, simultaneously and successively: in "Kontra-Punkte" ("Against Points", 1952–53), which, in its revised form became his official "opus 1", a process leading from an initial "point" texture of isolated notes toward a florid, ornamental ending is opposed by a tendency from diversity (six timbres, dynamics, and durations) toward uniformity (timbre of solo piano, a nearly constant soft dynamic, and fairly even durations). In "Gruppen" (1955–57), fanfares and passages of varying speed (superimposed durations based on the harmonic series) are occasionally flung between three full orchestras, giving the impression of movement in space.


title: Karlheinz Stockhausen

text: In his "Kontakte" for electronic sounds (optionally with piano and percussion) (1958–60), he achieved for the first time an isomorphism of the four parameters of pitch, duration, dynamics, and timbre.


title: Karlheinz Stockhausen

text: In 1960, Stockhausen returned to the composition of vocal music (for the first time since "Gesang der Jünglinge") with "Carré" for four orchestras and four choirs. Two years later, he began an expansive cantata titled "Momente" (1962–64/69), for solo soprano, four choir groups and thirteen instrumentalists. In 1963, Stockhausen created "Plus-Minus", "2 × 7 pages for realisation" containing basic note materials and a complex system of transformations to which those materials are to be subjected in order to produce an unlimited number of different compositions. Through the rest of the 1960s, he continued to explore such possibilities of "process composition" in works for live performance, such as "Prozession" (1967), "Kurzwellen", and "Spiral" (both 1968), culminating in the verbally described "intuitive music" compositions of "Aus den sieben Tagen" (1968) and "Für kommende Zeiten" (1968–70). Some of his later works, such as "Ylem" (1972) and the first three parts of "Herbstmusik" (1974), also fall under this rubric. Several of these process compositions were featured in the all-day programmes presented at Expo 70, for which Stockhausen composed two more similar pieces, "Pole" for two players, and "Expo" for three. In other compositions, such as "Stop" for orchestra (1965), "Adieu" for wind quintet (1966), and the "Dr. K Sextett", which was written in 1968–69 in honour of Alfred Kalmus of Universal Edition, he presented his performers with more restricted improvisational possibilities.


title: Karlheinz Stockhausen

text: He pioneered live electronics in "Mixtur" (1964/67/2003) for orchestra and electronics, "Mikrophonie I" (1964) for tam-tam, two microphones, two filters with potentiometers (6 players), "Mikrophonie II" (1965) for choir, Hammond organ, and four ring modulators, and "Solo" for a melody instrument with feedback (1966). Improvisation also plays a part in all of these works, but especially in "Solo". He also composed two electronic works for tape, "Telemusik" (1966) and "Hymnen" (1966–67). The latter also exists in a version with partially improvising soloists, and the third of its four "regions" in a version with orchestra. At this time, Stockhausen also began to incorporate pre-existent music from world traditions into his compositions. "Telemusik" was the first overt example of this trend.


title: Karlheinz Stockhausen

text: In 1968, Stockhausen composed the vocal sextet "Stimmung", for the Collegium Vocale Köln, an hour-long work based entirely on the overtones of a low B-flat. In the following year, he created "Fresco" for four orchestral groups, a "Wandelmusik" ("foyer music") composition. This was intended to be played for about five hours in the foyers and grounds of the Beethovenhalle auditorium complex in Bonn, before, after, and during a group of (in part simultaneous) concerts of his music in the auditoriums of the facility. The overall project was given the title "Musik für die Beethovenhalle". This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in 1967 and 1968: "Ensemble" and "Musik für ein Haus", and would have successors in the "park music" composition for five spatially separated groups, "Sternklang" ("Star Sounds") of 1971, the orchestral work "Trans", composed in the same year and the thirteen simultaneous "musical scenes for soloists and duets" titled "Alphabet für Liège" (1972).


title: Karlheinz Stockhausen

text: Since the mid-1950s, Stockhausen had been developing concepts of spatialization in his works, not only in electronic music, such as the 5-channel "Gesang der Jünglinge" (1955–56) and "Telemusik" (1966), and 4-channel "Kontakte" (1958–60) and "Hymnen" (1966–67). Instrumental/vocal works like "Gruppen" for three orchestras (1955–57) and "Carré" for four orchestras and four choirs (1959–60) also exhibit this trait. In lectures such as "Music in Space" from 1958, he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was In 1968, the West German government invited Stockhausen to collaborate on the German Pavilion at the 1970 World Fair in Osaka and to create a joint multimedia project for it with artist Otto Piene. Other collaborators on the project included the pavilion's architect, Fritz Bornemann, Fritz Winckel, director of the Electronic Music Studio at the Technical University of Berlin, and engineer Max Mengeringhausen. The pavilion theme was "gardens of music", in keeping with which Bornemann intended "planting" the exhibition halls beneath a broad lawn, with a connected auditorium "sprouting" above ground. Initially, Bornemann conceived this auditorium in the form of an amphitheatre, with a central orchestra podium and surrounding audience space. In the summer of 1968, Stockhausen met with Bornemann and persuaded him to change this conception to a spherical space with the audience in the centre, surrounded by loudspeaker groups in seven rings at different "latitudes" around the interior walls of the sphere.


title: Karlheinz Stockhausen

text: Although Stockhausen and Piene's planned multimedia project, titled "Hinab-Hinauf", was developed in detail, the World Fair committee rejected their concept as too extravagant and instead asked Stockhausen to present daily five-hour programs of his music. Stockhausen's works were performed for 5½ hours every day over a period of 183 days to a total audience of about a million listeners. According to Stockhausen's biographer, Michael Kurtz, "Many visitors felt the spherical auditorium to be an oasis of calm amidst the general hubbub, and after a while it became one of the main attractions of Expo 1970".


title: Karlheinz Stockhausen

text: Beginning with "Mantra" for two pianos and electronics (1970), Stockhausen turned to formula composition, a technique which involves the projection and multiplication of a single, double, or triple melodic-line formula. Sometimes, as in "Mantra" and the large orchestral composition with mime soloists, "Inori", the simple formula is stated at the outset as an introduction. He continued to use this technique (e.g., in the two related solo-clarinet pieces, "Harlekin" [Harlequin] and "Der kleine Harlekin" [The Little Harlequin] of 1975, and the orchestral "Jubiläum" [Jubilee] of 1977) through the completion of the opera-cycle "Licht" in 2003. Some works from the 1970s did not employ formula technique—e.g., the vocal duet "Am Himmel wandre ich" (In the Sky I am Walking, one of the 13 components of the multimedia "Alphabet für Liège", 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration Jill Purce), "Laub und Regen" (Leaves and Rain, from the theatre piece "Herbstmusik" (1974), the unaccompanied-clarinet composition "Amour", and the choral opera "Atmen gibt das Leben" (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style. Two such pieces, "Tierkreis" ("Zodiac", 1974–75) and "In Freundschaft" (In Friendship, 1977, a solo piece with versions for virtually every orchestral instrument), have become Stockhausen's most widely performed and recorded compositions.


title: Karlheinz Stockhausen

text: This dramatic simplification of style provided a model for a new generation of German composers, loosely associated under the label "neue Einfachheit" or New Simplicity. The best-known of these composers is Wolfgang Rihm, who studied with Stockhausen in 1972–73. His orchestral composition "Sub-Kontur" (1974–75) quotes the formula of Stockhausen's "Inori" (1973–74), and he has also acknowledged the influence of "Momente" on this work.


title: Karlheinz Stockhausen

text: Other large works by Stockhausen from this decade include the orchestral "Trans" (1971) and two music-theatre compositions utilizing the "Tierkreis" melodies: "Musik im Bauch" ("Music in the Belly") for six percussionists (1975), and the science-fiction "opera" "Sirius" (1975–77) for eight-channel electronic music with soprano, bass, trumpet, and bass clarinet, which has four different versions for the four seasons, each lasting over an hour and a half.


title: Karlheinz Stockhausen

text: Between 1977 and 2003, Stockhausen composed seven operas in a cycle titled "Licht: Die sieben Tage der Woche" ("Light: The Seven Days of the Week"). The "Licht" cycle deals with the traits associated in various historical traditions with each weekday (Monday = birth and fertility, Tuesday = conflict and war, Wednesday = reconciliation and cooperation, Thursday = traveling and learning, etc.) and with the relationships between three archetypal characters: Michael, Lucifer, and Eve. Each of these characters dominates one of the operas ("Donnerstag" [Thursday], "Samstag" [Saturday], and "Montag" [Monday], respectively), the three possible pairings are foregrounded in three others, and the equal combination of all three is featured in "Mittwoch" (Wednesday).


title: Karlheinz Stockhausen

text: Stockhausen's conception of opera was based significantly on ceremony and ritual, with influence from the Japanese Noh theatre, as well as Judeo-Christian and Vedic traditions. In 1968, at the time of the composition of "Aus den sieben Tagen", Stockhausen had read a biography by Satprem about the Bengali guru Sri Aurobindo, and subsequently he also read many of the published writings by Aurobindo himself. The title of "Licht" owes something to Aurobindo's theory of "Agni" (the Hindu and Vedic fire deity), developed from two basic premises of nuclear physics; Stockhausen's definition of a formula and, especially, his conception of the "Licht" superformula, also owes a great deal to Sri Aurobindo's category of the "supramental". Similarly, his approach to voice and text sometimes departed from traditional usage: Characters were as likely to be portrayed by instrumentalists or dancers as by singers, and a few parts of "Licht" (e.g., "Luzifers Traum" from "Samstag", "Welt-Parlament" from "Mittwoch", "Lichter-Wasser" and "Hoch-Zeiten" from "Sonntag") use written or improvised texts in simulated or invented languages.


title: Karlheinz Stockhausen

text: The seven operas were not composed in "weekday order" but rather starting (apart from "Jahreslauf" in 1977, which became the first act of "Dienstag") with the "solo" operas and working toward the more complex ones: "Donnerstag" (1978–80), "Samstag" (1981–83), "Montag" (1984–88), "Dienstag" (1977/1987–91), "Freitag" (1991–94), "Mittwoch" (1995–97), and finally "Sonntag" (1998–2003).


title: Karlheinz Stockhausen

text: Stockhausen had dreams of flying throughout his life, and these dreams are reflected in the "Helikopter-Streichquartett" (the third scene of "Mittwoch aus Licht"), completed in 1993. In it, the four members of a string quartet perform in four helicopters flying independent flight paths over the countryside near the concert hall. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Videos of the performers are also transmitted back to the concert hall. The performers are synchronized with the aid of a click track, transmitted to them and heard over headphones.


title: Karlheinz Stockhausen

text: The first performance of the piece took place in Amsterdam on 26 June 1995, as part of the Holland Festival. Despite its extremely unusual nature, the piece has been given several performances, including one on 22 August 2003 as part of the Salzburg Festival to open the Hangar-7 venue, and the German première on 17 June 2007 in Braunschweig as part of the Stadt der Wissenschaft 2007 Festival. The work has also been recorded by the Arditti Quartet.


title: Karlheinz Stockhausen

text: In 1999 he was invited by Walter Fink to be the ninth composer featured in the annual Komponistenporträt of the Rheingau Musik Festival.


title: Karlheinz Stockhausen

text: In 1999, BBC producer Rodney Wilson asked Stockhausen to collaborate with Stephen and Timothy Quay on a film for the fourth series of Sound on Film International. Although Stockhausen's music had been used for films previously (most notably, parts of Hymnen in Nicolas Roeg's "Walkabout" in 1971), this was the first time he had been asked to provide music specially for the purpose. He adapted 21 minutes of material taken from his electronic music for "Freitag aus Licht", calling the result "Zwei Paare" (Two Couples), and the Brothers Quay created their animated film, which they titled "In Absentia", based only on their reactions to the music and the simple suggestion that a window might be an idea to use. When, at a preview screening, Stockhausen saw the film, which shows a madwoman writing letters from a bleak asylum cell, he was moved to tears. The Brothers Quay were astonished to learn that his mother had been "imprisoned by the Nazis in an asylum, where she later died. ... This was a very moving moment for us as well, especially because we had made the film without knowing any of this".


title: Karlheinz Stockhausen

text: After completing "Licht", Stockhausen embarked on a new cycle of compositions based on the hours of the day, "Klang" ("Sound"). Twenty-one of these pieces were completed before Stockhausen's death. The first four works from this cycle are First Hour: "Himmelfahrt" (Ascension), for organ or synthesizer, soprano and tenor (2004–2005); Second Hour: "Freude" (Joy) for two harps (2005); Third Hour: "Natürliche Dauern" (Natural Durations) for piano (2005–2006); and Fourth Hour: "Himmels-Tür" (Heaven's Door) for a percussionist and a little girl (2005). The Fifth Hour, "Harmonien" (Harmonies), is a solo in three versions for flute, bass clarinet, and trumpet (2006). The Sixth through Twelfth hours are chamber-music works based on the material from the Fifth Hour. The Thirteenth Hour, "Cosmic Pulses", is an electronic work made by superimposing 24 layers of sound, each having its own spatial motion, among eight loudspeakers placed around the concert hall. Hours 14 through 21 are solo pieces for bass voice, baritone voice, basset-horn, horn, tenor voice, soprano voice, soprano saxophone, and flute, respectively, each with electronic accompaniment of a different set of three layers from "Cosmic Pulses". The twenty-one completed pieces were first performed together as a cycle at the Festival MusikTriennale Köln on 8–9 May 2010, in 176 individual concerts.


title: Karlheinz Stockhausen

text: In the 1950s and early 1960s, Stockhausen published a series of articles that established his importance in the area of music theory. Although these include analyses of music by Mozart, Debussy, Bartók, Stravinsky, Goeyvaerts, Boulez, Nono, Johannes Fritsch, Michael von Biel, and, especially, Webern, the items on compositional theory directly related to his own work are regarded as the most important generally. "Indeed, the "Texte" come closer than anything else currently available to providing a general compositional theory for the postwar period". His most celebrated article is "... wie die Zeit vergeht ..." ("... How Time Passes ..."), first published in the third volume of "Die Reihe" (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions "Zeitmaße", "Gruppen", and "Klavierstück XI". In particular, this article develops (1) a scale of twelve tempos analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the overtone series, (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale form from a series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form".


title: Karlheinz Stockhausen

text: Other important articles from this period include "Elektronische und Instrumentale Musik" ("Electronic and Instrumental Music", 1958), "Musik im Raum" ("Music in Space", 1958), "Musik und Graphik" ("Music and Graphics", 1959), "Momentform" (1960), "Die Einheit der musikalischen Zeit" ("The Unity of Musical Time", 1961), and "Erfindung und Entdeckung" ("Invention and Discovery", 1961), the last summing up the ideas developed up to 1961. Taken together, these temporal theories suggested that the entire compositional structure could be conceived as "timbre": since "the different experienced components such as colour, harmony and melody, meter and rhythm, dynamics, and form correspond to the different segmental ranges of this unified time", the total musical result at any given compositional level is simply the "spectrum" of a more basic duration—i.e., its "timbre", perceived as the overall effect of the overtone structure of that duration, now taken to include not only the "rhythmic" subdivisions of the duration but also their relative "dynamic" strength, "envelope", etc.


title: Karlheinz Stockhausen

text: Compositionally considered, this produced a change of focus from the individual tone to a whole complex of tones related to one another by virtue of their relation to a "fundamental"—a change that was probably the most important compositional development of the latter part of the 1950s, not only for Stockhausen's music but for "advanced" music in general. Some of these ideas, considered from a purely theoretical point of view (divorced from their context as explanations of particular compositions) drew significant critical fire. For this reason, Stockhausen ceased publishing such articles for a number of years, as he felt that "many useless polemics" about these texts had arisen, and he preferred to concentrate his attention on composing.


title: Karlheinz Stockhausen

text: Through the 1960s, although he taught and lectured publicly, Stockhausen published little of an analytical or theoretical nature. Only in 1970 did he again begin publishing theoretical articles, with "Kriterien", the abstract for his six seminar lectures for the Darmstädter Ferienkurse. The seminars themselves, covering seven topics ("Micro- and Macro-Continuum", "Collage and Metacollage", "Expansion of the Scale of Tempos", "Feedback", "Spectral Harmony—Formant Modulation", "Expansion of Dynamics—A Principle of "Mikrophonie I"", and "Space Music—Spatial Forming and Notation") were published only posthumously.


title: Karlheinz Stockhausen

text: His collected writings were published in "Texte zur Musik", including his compositional theories and analyses on music as a general phenomenon.


title: Karlheinz Stockhausen

text: Stockhausen has been described as "one of the great visionaries of 20th-century music". His two early "Electronic Studies" (especially the second) had a powerful influence on the subsequent development of electronic music in the 1950s and 1960s, particularly in the work of the Italian Franco Evangelisti and the Poles Andrzej Dobrowolski and Włodzimierz Kotoński. The influence of his "Kontra-Punkte", "Zeitmasse" and "Gruppen" may be seen in the work of many composers, including Igor Stravinsky's "Threni" (1957–58) and "Movements" for piano and orchestra (1958–59) and other works up to the "Variations: Aldous Huxley in Memoriam" (1963–64), whose rhythms "are likely to have been inspired, at least in part, by certain passages from Stockhausen's "Gruppen"". Though music of Stockhausen's generation may seem an unlikely influence, Stravinsky said in a 1957 conversation: I have all around me the spectacle of composers who, after their generation has had its decade of influence and fashion, seal themselves off from further development and from the next generation (as I say this, exceptions come to mind, Krenek, for instance). Of course, it requires greater effort to learn from one's juniors, and their manners are not invariably good. But when you are seventy-five and your generation has overlapped with four younger ones, it behooves you not to decide in advance "how far composers can go", but to try to discover whatever new thing it is makes the new generation new.


title: Karlheinz Stockhausen

text: Amongst British composers, Sir Harrison Birtwistle readily acknowledges the influence of Stockhausen's "Zeitmaße" (especially on his two wind quintets, "Refrains and Choruses" and "Five Distances") and "Gruppen" on his work more generally. Brian Ferneyhough says that, although the "technical and speculative innovations" of "Klavierstücke I–IV", "Kreuzspiel" and "Kontra-Punkte" escaped him on first encounter, they nevertheless produced a "sharp emotion, the result of a beneficial shock engendered by their boldness" and provided "an important source of motivation (rather than of imitation) for my own investigations". While still in school, he became fascinated upon hearing the British première of "Gruppen", and listened many times to the recording of this performance, while trying to penetrate its secrets—how it always seemed to be about to explode, but managed nevertheless to escape unscathed in its core—but scarcely managed to grasp it. Retrospectively, it is clear that from this confusion was born my interest for the formal questions which remain until today. Although it eventually evolved in a direction of its own, Ferneyhough's 1967 wind sextet, "Prometheus", began as a wind quintet with cor anglais, stemming directly from an encounter with Stockhausen's "Zeitmaße". With respect to Stockhausen's later work, he said, I have never subscribed (whatever the inevitable personal distance) to the thesis according to which the many transformations of vocabulary characterizing Stockhausen's development are the obvious sign of his inability to carry out the early vision of strict order that he had in his youth. On the contrary, it seems to me that the constant reconsideration of his premises has led to the maintenance of a remarkably tough thread of historical consciousness which will become clearer with time. ... I doubt that there has been a single composer of the intervening generation who, even if for a short time, did not see the world of music differently thanks to the work of Stockhausen. In a short essay describing Stockhausen's influence on his own work, Richard Barrett concludes that "Stockhausen remains the composer whose next work I look forward most to hearing, apart from myself of course" and names as works that have had particular impact on his musical thinking "Mantra", "Gruppen", "Carré", "Klavierstück X", "Inori", and "Jubiläum".


title: Karlheinz Stockhausen

text: French composer and conductor Pierre Boulez once declared, "Stockhausen is the greatest living composer, and the only one whom I recognize as my peer". Boulez also acknowledged the influence of performing Stockhausen's "Zeitmaße" on his subsequent development as a conductor. Another French composer, Jean-Claude Éloy, regards Stockhausen as the most important composer of the second half of the 20th century, and cites virtually "all his catalog of works" as "a powerful discoveration , and a true revelation".


title: Karlheinz Stockhausen

text: Dutch composer Louis Andriessen acknowledged the influence of Stockhausen's "Momente" in his pivotal work "Contra tempus" of 1968. German composer Wolfgang Rihm, who studied with Stockhausen, was influenced by "Momente", "Hymnen", and "Inori".


title: Karlheinz Stockhausen

text: At the Cologne ISCM Festival in 1960, the Danish composer Per Nørgård heard Stockhausen's "Kontakte" as well as pieces by Kagel, Boulez, and Berio. He was profoundly affected by what he heard and his music suddenly changed into "a far more discontinuous and disjunct style, involving elements of strict organization in all parameters, some degree of aleatoricism and controlled improvisation, together with an interest in collage from other musics".


title: Karlheinz Stockhausen

text: Jazz musicians such as Miles Davis, Charles Mingus, Herbie Hancock, Yusef Lateef, and Anthony Braxton cite Stockhausen as an influence.


title: Karlheinz Stockhausen

text: Stockhausen was influential within pop and rock music as well. Frank Zappa acknowledges Stockhausen in the liner notes of "Freak Out!", his 1966 debut with The Mothers of Invention. On the back of The Who's second LP released in the US, "Happy Jack", their primary composer and guitarist Pete Townshend, is said to have "an interest in Stockhausen". Rick Wright and Roger Waters of Pink Floyd also acknowledge Stockhausen as an influence. San Francisco psychedelic groups Jefferson Airplane and the Grateful Dead are said to have done the same; Stockhausen said that the Grateful Dead were "well orientated toward new music". Founding members of Cologne-based experimental band Can, Irmin Schmidt and Holger Czukay, both studied with Stockhausen at the Cologne Courses for New Music. German electronic pioneers Kraftwerk also say they studied with Stockhausen, and Icelandic vocalist Björk has acknowledged Stockhausen's influence.


title: Karlheinz Stockhausen

text: Stockhausen, along with John Cage, is one of the few avant-garde composers to have succeeded in penetrating the popular consciousness. The Beatles included his face on the cover of "Sgt. Pepper's Lonely Hearts Club Band". This reflects his influence on the band's own avant-garde experiments as well as the general fame and notoriety he had achieved by that time (1967). In particular, "A Day in the Life" (1967) and "Revolution 9" (1968) were influenced by Stockhausen's electronic music. Stockhausen's name, and the perceived strangeness and supposed unlistenability of his music, was even a punchline in cartoons, as documented on a page on the official Stockhausen web site (Stockhausen Cartoons). Perhaps the most caustic remark about Stockhausen was attributed to Sir Thomas Beecham. Asked "Have you heard any Stockhausen?", he is alleged to have replied, "No, but I believe I have trodden in some".


title: Karlheinz Stockhausen

text: Stockhausen's fame is also reflected in works of literature. For example, he is mentioned in Philip K. Dick's 1974 novel "Flow My Tears, the Policeman Said", and in Thomas Pynchon's 1966 novel "The Crying of Lot 49". The Pynchon novel features "The Scope", a bar with "a strict electronic music policy". Protagonist Oedipa Maas asks "a hip graybeard" about a "sudden chorus of whoops and yibbles" coming out of "a kind of jukebox." He replies, "That's by Stockhausen... the early crowd tends to dig your Radio Cologne sound. Later on we really swing".


title: Karlheinz Stockhausen

text: The French writer Michel Butor acknowledges that Stockhausen's music "taught me a lot", mentioning in particular the electronic works "Gesang der Jünglinge" and "Hymnen".


title: Karlheinz Stockhausen

text: Later in his life, Stockhausen was portrayed by at least one journalist, John O'Mahony of the "Guardian" newspaper, as an eccentric, for example being alleged to live an effectively polygamous lifestyle with two women, to whom O'Mahony referred as his "wives", while at the same time stating he was not married to either of them. In the same article, O'Mahony claims Stockhausen said he was born on a planet orbiting the star Sirius. In the German newspaper "Die Zeit", Stockhausen stated that he was educated at Sirius (see Controversy below).


title: Karlheinz Stockhausen

text: In 1995, BBC Radio 3 sent Stockhausen a package of recordings from contemporary techno and ambient music artists Aphex Twin, Richie Hawtin (Plastikman), Scanner and Daniel Pemberton, and asked him for his opinion on the music. In August of that year, Radio 3 reporter Dick Witts interviewed Stockhausen about these pieces for a broadcast in October, called "The Technocrats" and asked what advice he would give these young musicians. Stockhausen made suggestions to each and they were then invited to respond. All but Plastikman obliged.


title: Karlheinz Stockhausen

text: Robin Maconie finds that, "Compared to the work of his contemporaries, Stockhausen's music has a depth and rational integrity that is quite outstanding... His researches, initially guided by Meyer-Eppler, have a coherence unlike any other composer then or since". Maconie also compares Stockhausen to Beethoven: "If a genius is someone whose ideas survive all attempts at explanation, then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Reason? His music lasts", and "As Stravinsky said, one never thinks of Beethoven as a superb orchestrator because the quality of invention transcends mere craftsmanship. It is the same with Stockhausen: the intensity of imagination gives rise to musical impressions of an elemental and seemingly unfathomable beauty, arising from necessity rather than conscious design".


title: Karlheinz Stockhausen

text: Christopher Ballantine, comparing the categories of experimental and avant-garde music, concludes that Perhaps more than any other contemporary composer, Stockhausen exists at the point where the dialectic between experimental and avant-garde music becomes manifest; it is in him, more obviously than anywhere else, that these diverse approaches converge. This alone would seem to suggest his remarkable significance.


title: Karlheinz Stockhausen

text: Igor Stravinsky expressed great, but not uncritical, enthusiasm for Stockhausen's music in the conversation books with Robert Craft, and for years organised private listening sessions with friends in his home where he played tapes of Stockhausen's latest works. In an interview published in March 1968, however, he says of an unidentified person, I have been listening all week to the piano music of a composer now greatly esteemed for his ability to stay an hour or so ahead of his time, but I find the alternation of note-clumps and silences of which it consists more monotonous than the foursquares of the dullest eighteenth-century music. The following October, a report in "Sovetskaia Muzyka" translated this sentence (and a few others from the same article) into Russian, substituting for the conjunction "but" the phrase "Ia imeiu v vidu Karlkheintsa Shtokkhauzena" ("I am referring to Karlheinz Stockhausen"). When this translation was quoted in Druskin's Stravinsky biography, the field was widened to "all" of Stockhausen's compositions and Druskin adds for good measure, "indeed, works he calls unnecessary, useless and uninteresting", again quoting from the same "Sovetskaia Muzyka" article, even though it had made plain that the characterization was of American "university composers".


title: Karlheinz Stockhausen

text: Throughout his career, Stockhausen excited controversy. One reason for this is that his music displays high expectations about "shaping and transforming the world, about the truth of life and of reality, about the creative departure into a future determined by spirit", so that Stockhausen's work "like no other in the history of new music, has a polarizing effect, arouses passion, and provokes drastic opposition, even hatred". Another reason was acknowledged by Stockhausen himself in a reply to a question during an interview on the Bavarian Radio on 4 September 1960, reprinted as a foreword to his first collection of writings:


title: Karlheinz Stockhausen

text: After the student revolts in 1968, musical life in Germany became highly politicized, and Stockhausen found himself a target for criticism, especially from the leftist camp who wanted music "in the service of the class struggle". Cornelius Cardew and Konrad Boehmer denounced their former teacher as a "servant of capitalism". In a climate where music mattered less than political ideology, some critics held that Stockhausen was too élitist, while others complained he was too mystical.


title: Karlheinz Stockhausen

text: As reported in the German magazine "Der Spiegel", the première (and only performance to date) on 15 November 1969 of Stockhausen's work "Fresco" for four orchestral groups (playing in four different locations) was the scene of a scandal. The rehearsals were already marked by objections from the orchestral musicians questioning such directions as "glissandos no faster than one octave per minute" and others phoning the artists union to clarify whether they really had to perform the Stockhausen work as part of the orchestra. In the backstage warm-up room at the premiere a hand-lettered sign could be seen saying: "We're playing, otherwise we would be fired". During the première the parts on some music stands suddenly were replaced by placards reading things like "Stockhausen-Zoo. Please don't feed", that someone had planted. Some musicians, fed up with the monkeyshines, left after an hour, though the performance was planned for four to five hours. Stockhausen fans protested, while Stockhausen foes were needling the musicians asking: "How can you possibly participate in such crap?" ("Wie könnt ihr bloß so eine Scheiße machen!"). At one point someone managed to switch off the stand lights, leaving the musicians in the dark. After 260 minutes the performance ended with no-one participating any longer.


title: Karlheinz Stockhausen

text: In an obituary in the German newspaper "Die Zeit", Karlheinz Stockhausen was quoted as having said: "I was educated at Sirius and want to return to there, although I am still living in Kürten near Cologne." On hearing about this, conductor Michael Gielen stated: "When he said he knew what was happening at Sirius, I turned away from him in horror. I haven't listened to a note since." He called Stockhausen's statements "hubris" and "nonsense", while at the same time defending his own belief in astrology: "Why should these large celestial bodies exist if they do not stand for something? I cannot imagine that there is anything senseless in the universe. There is much we do not understand".


title: Karlheinz Stockhausen

text: In a press conference in Hamburg on 16 September 2001, Stockhausen was asked by a journalist whether the characters in "Licht" were for him "merely some figures out of a common cultural history" or rather "material appearances". Stockhausen replied, "I pray daily to Michael, but not to Lucifer. I have renounced him. But he is very much present, like in New York recently." The same journalist then asked how the events of 11 September had affected him, and how he viewed reports of the attack in connection with the harmony of humanity represented in "Hymnen". He answered:Well, what happened there is, of course—now all of you must adjust your brains—the biggest work of art there has ever been. The fact that spirits achieve with one act something which we in music could never dream of, that people practise ten years madly, fanatically for a concert. And then die. [Hesitantly.] And that is the greatest work of art that exists for the whole Cosmos. Just imagine what happened there. There are people who are so concentrated on this single performance, and then five thousand people are driven to Resurrection. In one moment. I couldn't do that. Compared to that, we are nothing, as composers. [...] It is a crime, you know of course, because the people did not agree to it. They did not come to the "concert". That is obvious. And nobody had told them: "You could be killed in the process."


title: Karlheinz Stockhausen

text: As a result of the reaction to the press report of Stockhausen's comments, a four-day festival of his work in Hamburg was cancelled. In addition, his pianist daughter announced to the press that she would no longer appear under the name "Stockhausen". In a subsequent message, he stated that the press had published "false, defamatory reports" about his comments, and said:


title: Karlheinz Stockhausen

text: At the press conference in Hamburg, I was asked if Michael, Eve and Lucifer were historical figures of the past and I answered that they exist now, for example Lucifer in New York. In my work, I have defined Lucifer as the cosmic spirit of rebellion, of anarchy. He uses his high degree of intelligence to destroy creation. He does not know love. After further questions about the events in America, I said that such a plan appeared to be Lucifer's greatest work of art. Of course I used the designation "work of art" to mean the work of destruction personified in Lucifer. In the context of my other comments this was unequivocal.


title: Indio, California

text: Indio (Spanish for "Indian") is a city in Riverside County, California, United States, in the Coachella Valley of Southern California's Colorado Desert region. It lies east of Palm Springs, east of Riverside, east of Los Angeles, 148 miles (238 km) northeast of San Diego, and 250 miles (402 km) west of Phoenix.


title: Indio, California

text: The population was 89,137 in the 2020 United States Census, up from 76,036 at the 2010 census, an increase of 17%. Indio is the most populous city in the Coachella Valley, and was formerly referred to as the Hub of the Valley after a Chamber of Commerce slogan used in the 1970s. It was later nicknamed the City of Festivals, a reference to the numerous cultural events held in the city, most notably the Coachella Valley Music and Arts Festival.


title: Indio, California

text: Railroad line construction east out of Los Angeles began in 1873. Trains were operated to Colton on July 16, 1875, and to Indio (then Indian Wells) on May 29, 1876. Moving on eastward from Indio, the railroad reached the west bank of the Colorado River opposite Yuma on May 23, 1877 (a village known as Arizona City prior to 1873). There was a delay in getting military authority to lay tracks across the Yuma Indian reservation, and it was September that year before the bridge was completed so trains could operate into Yuma. The Southern Pacific Railroad was to have joined those of the Texas & Pacific, one of several railroads then holding, or seeking, federal authority to build lines from various sections of the country west to the Pacific Coast. But the rail-head of the T & P was at a standstill far off in Texas, so Southern Pacific continued building eastward.


title: Indio, California

text: The City of Indio came about because of the need for a halfway point for the Southern Pacific Railroad between Yuma, Arizona and Los Angeles, since the engines needed to be refilled with water. At first, the would-be city was called Indian Wells, but since many other areas already had that name, Indio (after a Spanish variation of the word "Indian") was chosen instead. After the railroad's arrival in 1876, Indio really started to grow. The first permanent building was the craftsman-style Southern Pacific Depot station and hotel. Southern Pacific tried to make life as comfortable as it could for their workers to keep them from leaving such a difficult area to live in at the time. It was at the center of all social life in the desert with a fancy dining room and hosting dances on Friday nights.


title: Indio, California

text: While Indio started as a railroad town, it soon became agricultural. Onions, cotton, grapes, citrus and dates thrived in the arid climate due to the ingenuity of farmers finding various means of attaining water, first through artesian wells and later through the valley's branch of the All-American Canal. However, water also was a major problem for Indio and the city was flooded several times until the storm water canals were created throughout the Coachella Valley.


title: Indio, California

text: Businessmen and women found this last frontier land of the continental United States as an ideal place to start fresh. Dr. Harry Smiley and his wife Nell were early residents and stayed in Indio after their car broke down on the way to Los Angeles and became people of influence and helped shape the area. A. G. Tingman was an early store owner and first Postmaster of Indio, but also well known for taking advantage of miners as they headed to the mountains, selling at rather high prices. Later Dr. June Robertson McCarroll became a leading philanthropist and successful doctor in Indio. She was responsible along with the Indio Woman's Club for pressuring California into adopting the placing of white lines down the streets after she was nearly hit one too many times by passing vehicles. Even though these early founders of the city are considered pioneers, they still partook in the lifestyles of their friends living in such areas as Los Angeles. Indio established itself quickly and kept up with the trends as they were brought in by the railroads.


title: Indio, California

text: By the turn of the 20th century, Indio was already more than a fading railroad town. Schools were built, the La Casita hospital provided medical services, and families established roots. By 1920, about one to two thousand year-round residents lived in Indio, while it ballooned from 2,500 to 5,000 during the winter months and was advertised as a health resort for senior citizens and those with respiratory diseases and ailments in the rest of the 20th century.


title: Indio, California

text: Indio also served as the home of the USDA's Date Station, a place where leading scientific research was taking place on the fruit that would become a major part of the culture of Indio. The station started in 1907 and was responsible for the ability of local farmers to better understand this unique crop and make the Coachella Valley a leader in American date crops. This also created a tie to the Middle East that led to the theme for the County Fair with the Middle Eastern flair known as the Riverside County Fair and National Date Festival .


title: Indio, California

text: Coachella and Thermal soon became larger cities than Indio, but Indio remained the "Hub of the Valley", as it was called. With the burning of the majority of Thermal and the decline of Coachella, Indio grew again. By 1930, Indio was a thriving area and incorporated. On September 6, 1930, storekeeper Fred Kohler received the first business license in Indio.


title: Indio, California

text: Indio was also aided by the visiting soldiers from Patton's training grounds in Chiriaco Summit located 30 miles to the east.


title: Indio, California

text: In the second half of the 20th century, Indio saw another decline as the valley's population begin to move west towards newer cities such as Palm Desert. However, there is now a reversal in this trend.


title: Indio, California

text: Indio is located at (33.719871, −116.231889). According to the United States Census Bureau, the city has a total area of , 99.97% of which is land and 0.03% is water.


title: Indio, California

text: The telephone area code is 760. The city's ZIP codes are 92201 and 92203 north of Interstate 10. About north and east of Indio is the San Andreas Fault, a major tectonic plate boundary of the Pacific and North American plates.


title: Indio, California

text: Indio is home of Riverside County's eastern administration offices. Palm Springs had more people from 1955 to 1992, when the US census announced that Indio surpassed Palm Springs and that title was returned to them. The official elevation of Indio is below sea level; the city hall is below sea level, as the eastern half of the Coachella Valley drops as low as below sea level (the lakeshore of the Salton Sea is south of Indio).


title: Indio, California

text: The climate of the Coachella Valley is influenced by the surrounding geography. High mountain ranges on three sides contribute to its unique and year-round warm climate, with some of warmest winters west of the Rocky Mountains. Indio has a warm winter/hot summer desert climate (Köppen: BWh): Its average annual high temperature is and average annual low is but summer highs above are common and sometimes exceed , while summer night lows often stay above . Monsoon related thunderstorms can occur in the summer months. In September 1939, a thunderstorm from the remains of a tropical storm, brought more than 6" of rain in less than 24 hours. Winters are warm with daytime highs often between . Under of annual precipitation are average, with over 348 days of sunshine per year. The hottest temperature ever recorded there was on July 6, 1905. The mean annual temperature is .


title: Indio, California

text: Indio is in the Colorado Desert region of the Sonoran Desert. It is adjacent to the geologic Salton Sink and within the site of historic Lake Cahuilla of the Lower Colorado River Valley. Indio is an official National Bird Sanctuary, because of the seasonal bird migration flight routes that cross the town en route to the Salton Sea.


title: Indio, California

text: The 2010 United States Census reported that Indio had a population of 76,036. The population density was . The racial makeup of Indio was 46,735 (61.5%) White (27.0% Non-Hispanic White), 1,805 (2.4%) African American, 741 (1.0%) Native American, 1,693 (2.2%) Asian, 55 (0.1%) Pacific Islander, 22,394 (29.5%) from other races, and 2,613 (3.4%) from two or more races. Hispanic or Latino of any race were 51,540 persons (67.8%).


title: Indio, California

text: There were 23,378 households, out of which 10,522 (45.0%) had children under the age of 18 living in them, 13,149 (56.2%) were opposite-sex married couples living together, 3,578 (15.3%) had a female householder with no husband present, 1,512 (6.5%) had a male householder with no wife present. There were 1,654 (7.1%) unmarried opposite-sex partnerships, and 232 (1.0%) same-sex married couples or partnerships; 3,859 households (16.5%) were made up of individuals, and 1,777 (7.6%) had someone living alone who was 65 years of age or older. The average household size was 3.21. There were 18,239 families (78.0% of all households); the average family size was 3.60.


title: Indio, California

text: The population was spread out, with 22,879 people (30.1%) under the age of 18, 7,247 people (9.5%) aged 18 to 24, 20,705 people (27.2%) aged 25 to 44, 15,793 people (20.8%) aged 45 to 64, and 9,412 people (12.4%) who were 65 years of age or older. The median age was 32.2 years. For every 100 females, there were 97.3 males. For every 100 females age 18 and over, there were 94.5 males.


title: Indio, California

text: There were 28,971 housing units at an average density of , of which 15,274 (65.3%) were owner-occupied, and 8,104 (34.7%) were occupied by renters. The homeowner vacancy rate was 5.0%; the rental vacancy rate was 12.5%, while 46,780 people (61.5% of the population) lived in owner-occupied housing units and 28,307 people (37.2%) lived in rental housing units.


title: Indio, California

text: During 2009–2013, Indio had a median household income of $50,068, with 21.9% of the population living below the federal poverty line.


title: Indio, California

text: As of the census of 2000, there were 49,116 people, 13,871 households, and 11,069 families residing in the city. The population density was . There were 16,909 housing units at an average density of . The racial makeup of the city was 44.4% White, 2.8% Black, 1.0% Native American, 1.5% Asian American, 0.1% Pacific Islander, 42.0% from other races, and 3.9% from two or more races. 65.7% of the population were Hispanic or Latino of any race.


title: Indio, California

text: There were 13,871 households, out of which 48.2% had children under the age of 18 living with them, 55.9% were married couples living together, 16.7% had a female householder with no husband present, and 20.2% were non-families. Of all households 16.0% were made up of individuals, and 7.0% had someone living alone who was 65 years of age or older. The average household size was 3.5 and the average family size was 3.9.


title: Indio, California

text: In the city, the population was spread out, with 35.3% under the age of 18, 11.1% from 18 to 24, 29.4% from 25 to 44, 15.2% from 45 to 64, and 9.1% who were 65 years of age or older. The median age was 27 years. For every 100 females, there were 101.2 males. For every 100 females age 18 and over, there were 98.8 males.


title: Indio, California

text: The median income for a household in the city was $34,624, and the median income for a family was $35,564. Males had a median income of $25,651 versus $21,093 for females. The per capita income for the city was $13,525. About 16.8% of families and 21.5% of the population were below the poverty line, including 28.2% of those under age 18 and 12.0% of those age 65 or over.


title: Indio, California

text: From 1984 to 2008, Indio grew many times its previous size. Indio handles unprecedented growth for being a select area of choice for thousands of new residents per year. In 2018, Indio was ranked the 30th fastest-growing city in America and 8th fastest-growing city in California.


title: Indio, California

text: The 2010 United States Census recorded the city's population to be about 76,000 residents, but it did not include the addition of seasonal residents. According to the Demographic Research Unit (DRU) of the California Department of Finance, the provisional population estimate for the City of Indio as of January 1, 2019, was 89,406.


title: Indio, California

text: Two major contributions to the local economy are year-round agriculture and tourism, although the majority of tourist activity is seasonal, between October and May.


title: Indio, California

text: Indio has been one of Southern California's most important agricultural regions, once responsible for a large percentage of the nation's date crop; however, due to increasing residential and recreational development, the date groves are now more limited to the south and southeast of Indio. Even the grove of date palm trees at the Riverside County Fair and national Date Festival grounds have been removed by the county.


title: Indio, California

text: One can visit Shields Date Gardens, a date grower that maintains a large retail store along State Highway 111. There are citrus groves and vegetable fields surrounding the city limits, but rapid development of new housing tracts and golf courses in the "East Valley" in the 1990s and 2000s has displaced most of the agricultural space.


title: Indio, California

text: Indio has increasingly served as a magnet of job opportunities for immigrants and newcomers from parts of California and across the nation. Jobs in fields such as agriculture, construction, hospitality, maintenance, and retail and housekeeping are highly sought after in the area.


title: Indio, California

text: Construction and government are among the largest employment sectors in Indio, with a higher proportion of workers in these industries in Indio than the rest of the Coachella Valley.


title: Indio, California

text: In addition to construction and government, a 2019 study revealed that the top five employment industries in Indio are educational services, entertainment services, wholesale/retail, agriculture/mining/construction, and waste services. Between 2007 and 2015, the percentage of retail trade jobs in Indio increased by 4.4 percent and the percentage of education jobs increased from 15.2 to 20.5 percent.


title: Indio, California

text: As the secondary seat of government for Riverside County, California, Indio has many county offices and employs more than a thousand county employees. The California Superior Court's Larson Justice Center, Riverside County's Law Library and District Attorney's office, numerous law firms along Highway 111, and the California Desert Trial Academy (CDTA) College of Law (the only law school in Riverside County), located at 45290 Fargo Street, have made Downtown Indio the center for law and legal studies in the Coachella Valley.


title: Indio, California

text: The average salary for a job in Indio increased from $28,224 in 2003 to $35,532 in 2015. The City of Indio is constantly expanding to see the number of jobs and average salaries rise. It is currently in the process of a 2040 general plan to increase the number of developments in Indio. For example, the city opened a 120-room Fairfield Inn and Suites in February 2019 and broke ground on a 93-room Hampton Inn and Suites that is expected to open January 2020. A new movie theater and the continual development of retail stores at the Indio Towne Center, The Showcase at Indio, and The Palms shopping centers is also anticipated to create an abundance of jobs.


title: Indio, California

text: Light industry is not new to Indio. Between the 1960s and the early 1980s, the Bank of America-owned Giannini Research Institute, Kaiser Inc. and Cabazon Firearms had contracts with both NASA and the US Armed Forces that produced ammunition, computer parts, moon rover parts for the Apollo landing program, and train engines for the Southern Pacific Railroad. Indio sought more corporate businesses and office professions, including fruit packing and shipping firms. Locally based United States Filter Corporation, Guy Evans Inc., Dimare Fruit Co., West Coast Turf and Japanese-owned Sun World Inc.; and move-in companies such as Borden, Coca-Cola, Ernie Ball, Ernst and Young, Ferguson, Fulton Distributors, Guthy-Renker, Pulte Homes, Sunrise Company, SunScape Tech and Tala Industries choose Indio for the location of transport routes, low economic costs, and growth potential.


title: Indio, California

text: Indio is home to Buzz Box Premium Cocktails, Ring Power Corporation, Triangle Distributing Company (formerly Heimark), The Forager Project, and Purus International. Other companies in Indio include Pepsi Cola Distributing, RDO Equipment, Sepulveda Building Materials, Fortun Foods, Arctic Glacier, A.C. Houston Lumber Company, and Commercial Lighting Industry.


title: Indio, California

text: According to the city's 2020 Comprehensive Annual Financial Report, the top employers in the city are:


title: Indio, California

text: Two Native American owned casinos in and near Indio are the Fantasy Springs Resort Casino, owned by the Cabazon Band of Mission Indians, and the Spotlight 29 Casino, owned by the Twenty-Nine Palms Band of Mission Indians. Spotlight 29 formerly was "Trump 29" when it was partly owned by then-businessman Donald Trump for a brief period of time in the 2000s.


title: Indio, California

text: Because of the numerous festivals and special events held annually in Indio, the Chamber of Commerce deemed Indio's official nickname to be "The City of Festivals". Indio is considered the second County seat, the Riverside County Fairgrounds is a facility that hosts various events year round such as music concerts, 4x4 monster truck rallies, rodeos, and other special events.


title: Indio, California

text: Two major annual festivals are the Indio International Tamale Festival and the Riverside County Fair and National Date Festival is held each February at the Riverside County Fairgrounds, located on Highway 111 in the heart of Indio. Since 1947, this festival has celebrated the date fruit crop of the Coachella Valley. The Tamale Festival is held each December on the streets of Old Town Indio and holds one Guinness World Record as the largest tamale festival (120,000 in attendance, Dec. 2–3, 2000) and once held the record for the world's largest tamale, [over in diameter and in length], created by Chef John Sedlar, but that record has since been surpassed.


title: Indio, California

text: In 1993, Paul Tollett, president of Goldenvoice, booked a Pearl Jam concert at the Empire Polo Club in Indio, and six years later, the Coachella Valley Music and Arts Festival was born. Since 2001, Coachella has been an annual event that has brought notable music acts to the desert, including: AC/DC, Red Hot Chili Peppers, Guns N' Roses, Prince, Paul McCartney, Lady Gaga, Beyoncé, Ariana Grande, Kanye West, Radiohead, Dr. Dre, Snoop Dogg, Pixies, The Cure, The White Stripes, Jay-Z, Tool, Beastie Boys, Jane's Addiction, Roger Waters and several others. Coachella extended the festival to three days in 2007. Organizers eliminated single-day tickets in 2010 and went to three-day passes only. The festival continues to draw large numbers of concertgoers to Indio and the Empire Polo Club, a venue that "Rolling Stone" said possessed a "lush beauty... that made the desert seem very far away."


title: Indio, California

text: In May 2007, Goldenvoice, promoters of Coachella, started Stagecoach, a three-day country music festival held the weekend following the Coachella. Performers have included George Strait, Kenny Chesney, the Eagles, Sugarland, Taylor Swift, Carrie Underwood, Luke Bryan, Keith Urban, and Kid Rock.


title: Indio, California

text: In 2013, "OC Weekly"s Dave Barton described the arts scene in Indio with "seems to consist of Johnny Cash tributes, chalk art, camel and ostrich races, and Neil Simon revivals."


title: Indio, California

text: In 2016, Goldenvoice brought together The Rolling Stones, The Who, Paul McCartney, Bob Dylan, Roger Waters, and Neil Young for a 3-day mega concert known as Desert Trip. Desert Trip took place at the same venue as the Coachella Music Festival, over two three-day weekends, on October 7–9 and 14–16, 2016. Despite Desert Trip becoming the highest-grossing music festival in history, Goldenvoice founder Paul Tollett has not announced any plans for a second Desert Trip, stating that it's not necessary for it to "turn into another franchise festival".


title: Indio, California

text: Indio is also the site of many other annual arts, culture, and entertainment festivals and events. Among these include:


title: Indio, California

text: The Coachella Valley History Museum Home, on Miles Avenue, has a two-acre campus, which currently includes the Smiley-Tyler House, built in 1926, the 1909 Schoolhouse, and the Date Museum dedicated to the history and development of the fruit (the only date museum in the world), plus gardens and archives preserving historical artifacts of the Coachella Valley. It also has the historic M.H. Whittier Ranch Tower, which is used for the only light art projection system in the Coachella Valley.


title: Indio, California

text: The Indio Performing Arts Center, known as IPAC, is located at the heart of downtown Indio at 45–175 Fargo Street to promote arts and entertainment for the community. IPAC has hosted live concerts, theater productions, dinner theater events and sing-alongs, movie nights, fashion shows, arts and crafts fairs, music video productions, and other special events. IPAC is a 23,000 sq. ft. facility with a main hall, the Expo Hall; three separate theaters that are approximately 2,200 sq. ft. each: Village Theatre, Cabaret Theatre, and the Old Towne Playhouse. Desert TheatreWorks occupies the facility, which has produced more than 50 plays and musicals, 8 children's musicals and more than 20 special events, making them one of the Coachella Valley's leading producers of theatre and educational programming for the performing arts. The College of the Desert also has a film class in the Village Theatre during the school year.


title: Indio, California

text: The Coachella Valley Art Center is located at 45140 Towne Street in downtown Indio. It hosts a variety of art exhibits, workshops, and special events throughout the year and includes a main gallery, project spaces, classrooms, a glass studio, performance space, and artist studios. The center has hosted local and international artists, and been a venue for art events and live performances.


title: Indio, California

text: From January to March each year, polo season is in full effect at the Eldorado Polo Club and the Empire Polo Club. Tailgating, food vendors, picnics, and great polo games are a common sight at these family-friendly Sunday events.


title: Indio, California

text: Golfing is another main attraction that brings people from far and wide to Indio and surrounding cities, with the Coachella Valley housing approximately 28 percent of all California's golf courses. Golf course development in the desert became a huge phenomenon in the 1950s, with a golf course opening approximately every 100 days. During the winter months, country clubs with golf courses attract dozens of vacationers each year. Today, there are more than 13 golf courses located in Indio and 124 golf courses in the entire Coachella Valley. The City of Indio, in particular, owns the only night-lighted golf course in the Coachella Valley – the Lights at Indio Golf Course.


title: Indio, California

text: Casinos are also a point of interest in Indio that draw a large crowd. Fantasy Springs Resort Casino is owned by the Cabazon Band of Mission Indians, whose tribal headquarters are also located in Indio. The casino opened in 2004 and includes a hotel, bowling center, golf course, and special events center that acts as a concert venue. The Fantasy Springs special events center has hosted musicians as big as The Beach Boys, John Legend, Snoop Dogg, Stevie Nicks, and Kelly Clarkson.


title: Indio, California

text: In the fall of 1996, the Indio Chamber of Commerce formed a committee to develop a Historic Mural Project to help revitalize the local economy at the time of the statewide economic recession. Several communities have benefited from similar programs, such as Chemainus, Canada; El Paso, Texas; and Eureka, Bishop, Needles, & 29 Palms in California, as well the famous Chicano Park mural to commemorate Hispanic-American life in Barrio Logan, San Diego in the late 1970s.


title: Indio, California

text: It began with a suggestion to start a mural project first brought to the city by David Hernandez, a former Indio city council member, after he visited Chemainus. Very little happened with this concept until 1996, when the Riverside County National Date Festival's executive director Bruce Latta and commissioned artist Bill Weber of San Francisco to paint a mural of the Taj Mahal on the "Taj Mahal" ("Garden of Allah") building at the fairgrounds. At the same time, local businessman Bruce Clark, who was instrumental in promoting Historic U.S. Route 99 (Indio Blvd.) to its former status as the "Main Street of California". He maintains a website on Historic Route 99. He brought the mural idea forward again after seeing the success of a similar local program in 29 Palms. When Clark presented the idea to the chamber board of directors, the idea was immediately recognized as something that could help the city's economy by encouraging tourism. Indio now has ten murals about the city on the sides of various buildings in Old Town and on a water reservoir tank on Monroe Street.


title: Indio, California

text: The city operates under a City Council-City Manager form of government with five elected members of the City Council served by a City Manager and staff and City Attorney. The five councilmembers are elected by district for four-year terms. Each year the Council selects the Mayor on a rotational basis and determines assignments for the external commissions and committees at its first meeting of December. The City Council is the legislative body for the city, Public Financing Authority and Redevelopment Agency. Its responsibilities include establishing City policies, adopting of ordinances and resolutions as well as the budget, holding public hearings, authorizing expenditures, and the appointment of the City Manager, City Attorney and the member of City commissions and committees.


title: Indio, California

text: Indio is served by two public school districts: Desert Sands Unified and on the city's southeastern corner, Coachella Valley Unified. Desert Sands' headquarters is located in La Quinta.


title: Indio, California

text: Indio's six elementary and two middle schools are highly rated under the California Distinguished Schools program. Because of Indio's growing population and above-average number of young people with families, the two school districts are expanding, with plans on building more schools, along with remodeling the older ones with new buildings and designs.


title: Indio, California

text: Grace Academy (K–8), Indio Christian Center (1–12), River Springs Charter School (K–12), Our Lady of Perpetual Help (PK–8), Trinity Lutheran Child Development Center (PK, K) and Christian School of the Desert (PK–12), located in nearby Bermuda Dunes


title: Indio, California

text: College of the Desert, commonly referred to by its initials (C.O.D), is the Coachella Valley's community college. C.O.D opened a campus facility in 2002 in the Riverside County Employment Developmental Center located on Monroe Street. And their Indio campus on Oasis street. They expanded their classes to an "East Valley" educational center in Mecca.


title: Indio, California

text: Riverside County has a Regional Occupational Program facility in Indio that provides vocational educational courses in the Coachella Valley's job market.


title: Indio, California

text: The California Desert Trial Academy College of Law was approved by the California State Bar as an unaccredited fixed facility law school in Indio and is currently holding classes in the County Law Library in Indio. Meanwhile, plans are moving forward on the school constructing its own campus buildings in downtown Indio.


title: Indio, California

text: Print news in Indio is most notably provided by The Desert Sun, a daily newspaper part of the USA Today Network with a circulation of 14,685 in Indio in 2017. Providing news coverage of the Coachella Valley and distributing to eight cities, The Desert Sun had the largest newspaper circulation in the desert in 2017.


title: Indio, California

text: The Coachella Valley also receives news coverage from the Press-Enterprise, a Riverside-based daily newspaper, and Desert Star Weekly, a Riverside County adjudicated newspaper. There are many other independently or Self Published daily newspapers and weeklies covering Indio, such as the Coachella Valley Independent and Tidbits of the Coachella Valley.


title: Indio, California

text: Newspapers aimed at a Latino readership are also essential in Indio, due to the high number of Spanish-speaking Hispanics/Latinos in the area. "El Informador del Valle" is printed in Spanish then distributed to homes and a range of meat markets, gas stations, Hispanic restaurants, and more locally owned businesses throughout Indio. "La Prensa Hispana" is another such newspaper that is aimed toward Indio's Latino community, but uniquely merges English and Spanish together to provide a bilingual newspaper. The newspaper has received recognition from the Hispanic Chamber of commerce-Coachella Valley for its value and impact on the community.


title: Indio, California

text: There are also several online news sources that cover Indio, such as the Coachella Valley Weekly, Cactus Hugs, Coachella Magazine, KESQ, and Los Angeles Times. Entertainment and lifestyle magazines and publications include the Desert Entertainer, Coachella Magazine, and Desert Magazine, among others.


title: Indio, California

text: Indio has ten local television stations serving the Coachella Valley and six Spanish-language networks (local or regional affiliates like KUNA-LD and KVER-CD), some of which are over-air signals from Mexico. Eight Los Angeles television stations are available on cable and satellite service.


title: Indio, California

text: Four out of 20 Palm Springs area's radio stations are licensed to Indio: KESQ 1400 AM (in Spanish) owned by KESQ-TV/KDFX-CD, KKUU 92.7 FM (Urban/Hip-hop/R&B) owned by Morris Communications, KHCV 104.3, and classic rock KRHQ 102.3 FM owned by RM Broadcasting. However, none of the stations have their offices or studios in Indio. KHCV and KESQ are located in Palm Desert; both KKUU and KRHQ are located in Palm Springs.


title: Indio, California

text: Indio has its own police department. In 2016, the Indio Police Department was one among 15 law enforcement agencies chosen to participate in President Barack Obama's 21st Century Policing Task Force. Recognized for its achievements in community engagement, the Indio Police Department was charged with implementing the Task Force's recommendations for policing in a year-long study. During Coachella Fest, Indio Police is able to handle a large number of 911 and non-emergency calls due to its six-position public safety answering point (PSAP).


title: Indio, California

text: In addition to the Indio Police Department, the city also contracts with the Riverside County Sheriff's Department for police services.


title: Indio, California

text: The city of Indio contracts for fire and paramedic services with the Riverside County Fire Department through a cooperative agreement with CAL FIRE. Indio has 4 fire stations used to reduce response times, and a full-time staff of 56 people.


title: Indio, California

text: The City of Indio also has a Fire Services Prevention Office, and, through the Riverside County, participates in the Volunteer Reserve Firefighter Program.


title: Indio, California

text: One of the eleven U.S. Customs and Border Protection stations is located in Indio. Created in 1936, the station was originally an auxiliary for the El Centro Sector station. Now, the border patrol agents stationed in Indio are tasked with patrolling the northern portion of Imperial County.


title: Indio, California

text: Indio is also the site of a California Highway Patrol Border Division office. The division patrols Interstate 10, State Routes 62, 86, and 177, which encompasses cities such as Desert Hot Springs, Palm Springs, Cathedral City, Rancho Mirage, Palm Desert, La Quinta, Indio, and Coachella.


title: Indio, California

text: Bermuda Dunes Airport (FAA designator: UDD) is on the north-western border of Indio, along I-10 just west of Jefferson Street. It has a runway and serves small private planes, air carriers and commuter jets. The Jacqueline Cochran Regional Airport in Thermal just a few minutes from Indio, is named for the famous 1920s pilot and Indio resident and used for cargo planes to ship agricultural products, also on the four-lane California State Route 86 expressway or the "NAFTA highway" (in reference to the North American Free Trade Agreement) for international traffic. The closest airport with regularly-scheduled commercial passenger service is Palm Springs International Airport, about away.


title: Indio, California

text: Greyhound and Amtrak Thruway Motorcoach intercity passenger buses stop at Indio station with regular services to stops in Southern California, Arizona, and the Mexican border. The city is served by the local bus line SunLine Transit Agency ("SunBus"), which services much of the Coachella Valley. The Amtrak rail station is expected to be reactivated in April 2021 for that year's Coachella Valley Music Festival. the city and the Riverside County Transportation Commission are planning a passenger rail service that will run to Los Angeles from Indio.


title: Indio, California

text: Interstate 10 is the primary highway in the city, running roughly on the north side. Highway 111 runs through the city which connects the northern end with I-10 in Whitewater, CA to the southern end in Calexico, California.


title: Indio, California

text: The city has a major hospital providing general acute care, known as the John F. Kennedy Memorial Hospital. JFK Memorial Hospital provides a range of services, from 24/7 emergency care to surgical services. One of three hospitals in the Coachella Valley, JFK hospital expanded and opened a new maternity center as part of a 2002 hospital expansion plan for more surgical rooms, intensive care units and a new concrete emergency heliport. The Indio (renamed John F. Kennedy) hospital opened in a new location in 1983 on land donated by hospital co-founder Dr. Reynaldo J. Carreon.


title: Indio, California

text: In 2017, JFK Memorial Hospital, Desert Regional Medical Center, and Hi-Desert Medical Center, along with several affiliated outpatient clinics and centers, came together to form the Desert Care Network. According to Desert Care Network CEO Michelle Finney, the main purpose of the Desert Care Network is to "help improve care coordination between our hospitals and our affiliated entities for the more than 125,000 patients we treat every year."


title: Indio, California

text: Indio and the rest of the Coachella Valley recognize the need for free or affordable health care services for its residents. Coachella Valley Volunteers in Medicine, a branch of Volunteers in Medicine, is the Coachella Valley's only no-cost clinic providing chronic, acute, preventive, and mental health care to adult residents. Located in Indio, the clinic had a total of 3,154 visits in 2018.


title: Indio, California

text: In addition, California Care Force, a non-profit organization that sets up temporary no-cost clinics across California, provides free medical, dental, and vision services for residents at the Riverside County Fairgrounds in Indio each year. In its seventh annual free clinic in 2019, California Care Force served 1,818 Coachella Valley uninsured and underinsured residents.


title: Indio, California

text: In 2018, Loma Linda University Children's Health – Indio opened its doors to serve approximately 150 children per week on a range of pediatric services such as general pediatric care, neurological care, and behavioral health counseling. The clinic's large scope of health care services and weekly number of patients is largely due to its size – making it the largest pediatric center in the Coachella Valley.


title: Indio, California

text: The city of Indio operates a variety of public parks, including a municipal golf course, a community recreation center, a senior center one block from the Indio teen center located across from Indio High school, and the Desert Park Wildlife Refuge north of 40th and 42nd Avenues.


title: Indio, California

text: Indio had city-to-city economic exchange programs with San Luis Rio Colorado, Sonora, Mexico, in the Sister Cities International (SCI) program. There are similar inter-city exchange agreements with Lynwood, California; Farmington, Minnesota; and American Fork, Utah, in the US, and officials from the Vancouver 2010 Winter Olympic Games visited the 2010 National Date Festival to promote the Vancouver, British Columbia, Canada, area.


title: Lauren Shuler Donner

text: Lauren Diane Shuler Donner (born June 23, 1949) is an American film producer, who specializes in mainstream youth and family-oriented entertainment. She owned The Donners' Company with her late husband, director Richard Donner. Her films have grossed about $5.5 billion worldwide including major contributions from the "X-Men" film series.


title: Lauren Shuler Donner

text: Donner was born and raised in Cleveland, Ohio. She studied film at Boston University, specializing in production and editing. Following the advice of a teacher, she moved to Los Angeles in hopes of entering the entertainment industry.


title: Lauren Shuler Donner

text: As Donner worked in Los Angeles as an assistant editor of educational and medical films, a chance meeting at NBC headquarters led her to leave her data there. After being taught about cameras by the crew of "The Tonight Show", Shuler asked NBC to work on the local news. Afterwards she freelanced on Metromedia, working on rock concert shoots, sitcoms and TV movies. Donner was a rare camerawoman in a male-dominated field, being the first woman admitted to the IATSE Electrical and Camera Guild #659.


title: Lauren Shuler Donner

text: Eventually Donner decided to work as an associate producer, in 1976 joining "ABC's Wide World of Entertainment". After a traffic accident that had her hospitalized for months, Donner started working with screenwriter friends and became a creative executive/story editor on Motown Productions. Her input on the script of "Thank God It's Friday" (1978) led her to become an associate producer for that film. Next she made her television producing debut in 1979 with the acclaimed "Amateur Night at the Dixie Bar and Grill", a television film written and directed by Joel Schumacher in the style of Robert Altman's "Nashville". She got the job by directly asking NBC programming director Charles Engel.


title: Lauren Shuler Donner

text: While working at Motown, Donner became a personal friend of "National Lampoon" writer John Hughes, and convinced him to write a script that would become her feature film producing debut, the 1983 comedy hit "Mr. Mom", starring Michael Keaton. The following year she persuaded Richard Donner to direct "Ladyhawke", and the two fell in love, marrying a year after the film was released, 1985. She produced only two more of her husband's movies, "Radio Flyer" (1992), and "Timeline" (2003). She said their professional relationship helped her learn how to work on action films: "if I hadn't seen how he did action movies, I wouldn't have had the wherewithal to even pursue an "X-Men" or a "Constantine". "The Hollywood Reporter"; October 15, 2008</ref> Her experience with Schumacher and Hughes led them to invite her to produce "St. Elmo's Fire" (1985) and "Pretty in Pink" (1986), both seminal films of the Brat Pack period. Donner had a particularly successful year in 1993 overseeing two solid hits: "Dave", a homespun political comedy, and "Free Willy", a family film about a boy and his whale. The last X-Men films Donner solo produced were "" and "Deadpool".


title: Lauren Shuler Donner

text: Donner has liberal political views and likes to work on movies that express her beliefs – "Dave" for politics, "Free Willy" for marine life and "Hotel for Dogs" for animal rights. She donates yearly to Canine Companions. She has served on the advisory boards of Planned Parenthood and TreePeople. She is a long time Board member of LupusLA. Donner recently joined the Board of the MPTF, (Motion Picture Film Television Fund). She also supports Cedars Sinai Hospital in Los Angeles and UCLA Hospitals, plus she gives back to Boston University.


title: Lauren Shuler Donner

text: Donner has received a star on the Hollywood Walk of Fame in 2008. In 2006, Donner was awarded the Women in Film Crystal Award along with Jennifer Lopez and Diane Warren. She received an honorary Doctorate of Human Letters degree from Boston University in 2019 and was the Commencement Speaker for COM at Boston University.


title: Lauren Shuler Donner

text: The Donners were also given a Lifetime Achievement Award from The Ojai Film Festival in November 2008.


title: Lauren Shuler Donner

text: In 2013, the Donners were honored by The Women's Guild of Cedar Sinai Medical Center. In 2020 Shuler Donner was awarded The Golden Eddie by The American Cinema Editors (ACE).


title: Angle of attack

text: In fluid dynamics, angle of attack (AOA, α, or formula_1) is the angle between a reference line on a body (often the chord line of an airfoil) and the vector representing the relative motion between the body and the fluid through which it is moving. Angle of attack is the angle between the body's reference line and the oncoming flow. This article focuses on the most common application, the angle of attack of a wing or airfoil moving through air.


title: Angle of attack

text: In aerodynamics, angle of attack specifies the angle between the chord line of the wing of a fixed-wing aircraft and the vector representing the relative motion between the aircraft and the atmosphere. Since a wing can have twist, a chord line of the whole wing may not be definable, so an alternate reference line is simply defined. Often, the chord line of the root of the wing is chosen as the reference line. Another choice is to use a horizontal line on the fuselage as the reference line (and also as the longitudinal axis). Some authors do not use an arbitrary chord line but use the zero lift axis where, by definition, zero angle of attack corresponds to zero coefficient of lift.


title: Angle of attack

text: Some British authors have used the term angle of incidence instead of angle of attack. However, this can lead to confusion with the term "riggers' angle of incidence" meaning the angle between the chord of an airfoil and some fixed datum in the airplane.


title: Angle of attack

text: The lift coefficient of a fixed-wing aircraft varies with angle of attack. Increasing angle of attack is associated with increasing lift coefficient up to the maximum lift coefficient, after which lift coefficient decreases.


title: Angle of attack

text: As the angle of attack of a fixed-wing aircraft increases, separation of the airflow from the upper surface of the wing becomes more pronounced, leading to a reduction in the rate of increase of the lift coefficient. The figure shows a typical curve for a cambered straight wing. Cambered airfoils are curved such that they generate some lift at small negative angles of attack. A symmetrical wing has zero lift at 0 degrees angle of attack. The lift curve is also influenced by the wing shape, including its airfoil section and wing planform. A swept wing has a lower, flatter curve with a higher critical angle.


title: Angle of attack

text: The critical angle of attack is the angle of attack which produces the maximum lift coefficient. This is also called the "stall angle of attack". Below the critical angle of attack, as the angle of attack decreases, the lift coefficient decreases. Conversely, above the critical angle of attack, as the angle of attack increases, the air begins to flow less smoothly over the upper surface of the airfoil and begins to separate from the upper surface. On most airfoil shapes, as the angle of attack increases, the upper surface separation point of the flow moves from the trailing edge towards the leading edge. At the critical angle of attack, upper surface flow is more separated and the airfoil or wing is producing its maximum lift coefficient. As the angle of attack increases further, the upper surface flow becomes more fully separated and the lift coefficient reduces further.


title: Angle of attack

text: Above this critical angle of attack, the aircraft is said to be in a stall. A fixed-wing aircraft by definition is stalled at or above the critical angle of attack rather than at or below a particular airspeed. The airspeed at which the aircraft stalls varies with the weight of the aircraft, the load factor, the center of gravity of the aircraft and other factors. However, the aircraft always stalls at the same critical angle of attack. The critical or stalling angle of attack is typically around 15° - 18° for many airfoils.


title: Angle of attack

text: Some aircraft are equipped with a built-in flight computer that automatically prevents the aircraft from increasing the angle of attack any further when a maximum angle of attack is reached, regardless of pilot input. This is called the 'angle of attack limiter' or 'alpha limiter'. Modern airliners that have fly-by-wire technology avoid the critical angle of attack by means of software in the computer systems that govern the flight control surfaces.


title: Angle of attack

text: In takeoff and landing operations from short runways (STOL), such as Naval Aircraft Carrier operations and STOL backcountry flying, aircraft may be equipped with the angle of attack or Lift Reserve Indicators. These indicators measure the angle of attack (AOA) or the Potential of Wing Lift (POWL, or Lift Reserve) directly and help the pilot fly close to the stalling point with greater precision. STOL operations require the aircraft to be able to operate close to the critical angle of attack during landings and at the best angle of climb during takeoffs. Angle of attack indicators are used by pilots for maximum performance during these maneuvers since airspeed information is only indirectly related to stall behavior.


title: Angle of attack

text: Some military aircraft are able to achieve controlled flight at very high angles of attack, but at the cost of massive induced drag. This provides the aircraft with great agility. A famous example is Pugachev's Cobra. Although the aircraft experiences high angles of attack throughout the maneuver, the aircraft is not capable of either aerodynamic directional control or maintaining level flight until the maneuver ends. The Cobra is an example of supermaneuvering as the aircraft's wings are well beyond the critical angle of attack for most of the maneuver.


title: Angle of attack

text: Additional aerodynamic surfaces known as "high-lift devices" including leading edge wing root extensions allow fighter aircraft much greater flyable 'true' alpha, up to over 45°, compared to about 20° for aircraft without these devices. This can be helpful at high altitudes where even slight maneuvering may require high angles of attack due to the low density of air in the upper atmosphere as well as at low speed at low altitude where the margin between level flight AoA and stall AoA is reduced. The high AoA capability of the aircraft provides a buffer for the pilot that makes stalling the airplane (which occurs when critical AoA is exceeded) more difficult. However, military aircraft usually do not obtain such high alpha in combat, as it robs the aircraft of speed very quickly due to induced drag, and, in extreme cases, increased frontal area and parasitic drag. Not only do such maneuvers slow the aircraft down, but they cause significant structural stress at high speed. Modern flight control systems tend to limit a fighter's angle of attack to well below its maximum aerodynamic limit.


title: Angle of attack

text: In sailing, the physical principles involved are the same as for aircraft. A sail's angle of attack is the angle between the sail's chord line and the direction of the relative wind.


title: Insulin shock therapy

text: Insulin shock therapy or insulin coma therapy was a form of psychiatric treatment in which patients were repeatedly injected with large doses of insulin in order to produce daily comas over several weeks. It was introduced in 1927 by Austrian-American psychiatrist Manfred Sakel and used extensively in the 1940s and 1950s, mainly for schizophrenia, before falling out of favour and being replaced by neuroleptic drugs in the 1960s.