title: The Kick Inside

text: It was also around this time that Bush had started to study dance and movement as a way of presenting the songs and subsequently credited her dance teacher Lindsay Kemp on the album. The song "Moving" was inspired by Kemp. EMI and Bush disagreed over the use of a certain shot, which emphasised her cleavage, on the picture sleeve for the first single. Initially, this was to be "James and the Cold Gun", but Bush insisted on "Wuthering Heights". EMI relented and the single was scheduled for release in November 1977. However, due to the disagreement over the picture sleeve, this date was pushed back to the new year of 1978. The song became a big hit and reached No. 1 in the UK Singles Chart in March. It stayed at the top of the charts for four weeks, becoming one of the biggest selling songs of the year and was the first time a female singer-songwriter topped the charts with a self-penned song.


title: The Kick Inside

text: The album, titled "The Kick Inside", was released in February 1978 and featured 13 tracks. Bush's cinematic and literary influences, two qualities which would later be considered key to her work, were most obvious in the song "Wuthering Heights". The song was not initially inspired by Emily Brontë's novel but by a television adaptation, although Bush read the novel later in order to (in her own words) "get the research right". Further influences can be found when she references Gurdjieff in "Them Heavy People", while the title song is inspired by the ballad of Lizie Wan. Bush also writes openly about sexuality, particularly on the erotic "Feel It" and "L'Amour Looks Something Like You". "Strange Phenomena" questions unusual coincidences, premonition, and déjà vu.


title: The Kick Inside

text: The album's second single, "The Man with the Child in His Eyes", reached No. 6 in the UK. Three other singles were released over the world during the next two years: "Them Heavy People", "Moving" (which reached No. 1 in Japan) and "Strange Phenomena". "The Man with the Child in His Eyes" also charted on the American "Billboard" Hot 100, Bush's only single to do so until 1985. It peaked at No. 85. Bush made an appearance on "Saturday Night Live" in December 1978. Despite this publicity, "The Kick Inside" failed to enter the Top 200 of the "Billboard" albums chart.


title: The Kick Inside

text: The album peaked at No. 3 on the UK Albums Chart and remained on the chart for much of the rest of the year. Eventually clocking up 71 weeks in the chart, it was certified platinum and remains one of Bush's biggest selling records.


title: The Kick Inside

text: Six different varieties of the album's cover are known: the regular UK cover, a variant UK cover, the US cover, the Canadian cover, the Yugoslavian cover, the Japanese cover, and the Uruguayan cover, the Uruguayan cover being the rarest and most expensive due to its unusual head-on photo of Bush.


title: The Kick Inside

text: In the UK, it was released (twice) as a limited edition picture disc. This is housed in a full colour outer sleeve ('Kite' picture by Jay Myrdal). It sports a sticker declaring that it's a picture disc (cat. no: EMCP 3223). Two versions were actually released: The first edition has a circular sticker stating that it is a picture disc (usually in the top left hand corner). The second pressing (apparently aimed at the US market, where the first pressing had proven popular) has an oval sticker (usually top centre). The second disc also states "manufactured in the UK by EMI Records Ltd." as part of the copyright notice printed on the disc. The first edition does not have this wording.


title: The Kick Inside

text: Contemporary reviews were full of praise for the album. "Billboard" favoured the songs "Wuthering Heights" and "Them Heavy People" among others and said Bush wrote "evocative lyrics" and delivered them with "smooth and unrestrained vocals". Kris DiLorenzo of "Crawdaddy" said that "Bush's talent for soul-baring would be frightening were it not so ingenuous; she writes from a well of fantasy and feeling with a patina of experience, her concerns universal and womanly, not the usual wilted kitten yearning or last-rave bathos." Peter Reilly of "Stereo Review" praised Bush for going against the grain in women's music. He favoured the songs "The Man with the Child in His Eyes" and "Room for the Life" but cared less for "Wuthering Heights" and "James and the Cold Gun".


title: The Kick Inside

text: In later reviews, the album continued to receive universal praise. "Pitchfork" critic Laura Snapes said of the album, "It is ornate music made in austere times, but unlike the pop sybarites to follow in the next decade, flaunting their wealth while Britain crumbled, Bush spun hers not from material trappings but the infinitely renewable resources of intellect and instinct: Her joyous debut measures the fullness of a woman's life by what's in her head." Snapes spoke highly of every track, but had slight lyrical reservations for "Room for the Life". In a 2008 review for BBC Music, writer Chris Jones said, "Using mainly session musicians, "The Kick Inside" was the result of a record company actually allowing a young talent to blossom. Some of these songs were written when she was 13! Helmed by Gilmour's friend, Andrew Powell, it's a lush blend of piano grandiosity, vaguely uncomfortable reggae and intricate, intelligent, wonderful songs. All delivered in a voice that had no precedents." He says that the record company wanting to push "James and the Cold Gun" as the first single was a mistake as he labels it the album's "dullest track". AllMusic's Bruce Eder said that the album is "the sound of an impressionable and highly precocious teenager spreading her wings for the first time" and called it "a mightily impressive debut".


title: The Kick Inside

text: Not all reviews were positive. Sandy Robertson, from the now defunct music magazine "Sounds", criticized the lyrics, especially on the song Kite: "WHAT IS this supposed to be? Doom-laden, "meaningful" songs (with some of the worst lyrics ever; sample: "Beelzebub is aching in my belly-o/My feet are heavy and I'm rooted in my wellios") sung with the most irritatingly yelping voice since Robert Plant"


title: The Kick Inside

text: In an article for "Stylus Magazine", Marcello Carlin wrote that "The Kick Inside" "probably kicked down more doors than the whole of the first and second waves of punk combined", writing of Bush's unusual subjects, stark voice ("seeming to glide and swoop at will, covering three-and-a-half octaves with minimal apparent effort") and piano chord progressions, saying "their delayed sustain, their unexpected trapdoor modulations, the very fingers which were playing them ... couldn’t be ascribed to any realistic precedent; for one very important thing, they sounded so unambiguously feminine."


title: Leopold Stokowski

text: Leopold Anthony Stokowski (18 April 1882 – 13 September 1977) was a British conductor. One of the leading conductors of the early and mid-20th century, he is best known for his long association with the Philadelphia Orchestra and his appearance in the Disney film "Fantasia" with that orchestra. He was especially noted for his free-hand conducting style that spurned the traditional baton and for obtaining a characteristically sumptuous sound from the orchestras he directed.


title: Leopold Stokowski

text: Stokowski was music director of the Cincinnati Symphony Orchestra, the Philadelphia Orchestra, the NBC Symphony Orchestra, New York Philharmonic Symphony Orchestra, the Houston Symphony Orchestra, the Symphony of the Air and many others. He was also the founder of the All-American Youth Orchestra, the New York City Symphony, the Hollywood Bowl Symphony Orchestra and the American Symphony Orchestra.


title: Leopold Stokowski

text: Stokowski conducted the music for and appeared in several Hollywood films, most notably Disney's "Fantasia", and was a lifelong champion of contemporary composers, giving many premieres of new music during his 60-year conducting career. Stokowski, who made his official conducting debut in 1909, appeared in public for the last time in 1975 but continued making recordings until June 1977, a few months before his death at the age of 95.


title: Leopold Stokowski

text: The son of an English-born cabinet-maker of Polish heritage, Kopernik Joseph Boleslaw Stokowski, and his Northampton-born wife Annie-Marion (née Moore), Stokowski was born Leopold Anthony Stokowski, although on occasion in later life he altered his middle name to "Antoni", per the Polish spelling. There is some mystery surrounding his early life. For example, he spoke with an unusual, non-British accent, though he was born and raised in London. On occasion, Stokowski gave his year of birth as 1887 instead of 1882, as in a letter to the "Hugo Riemann Musiklexicon" in 1950, which also incorrectly gave his birthplace as Kraków. Nicolas Slonimsky, editor of "Baker's Biographical Dictionary of Musicians", received a letter from a Finnish encyclopaedia editor that said, "The Maestro himself told me that he was born in Pomerania, Germany, in 1889." In Germany there was a corresponding rumour that his original name was simply "Stock" (German for stick). However, Stokowski's birth certificate (signed by J. Claxton, the registrar at the General Office, Somerset House, London, in the parish of All Souls, County of Middlesex) gives his birth on 18 April 1882, at 13 Upper Marylebone Street (now New Cavendish Street), in the Marylebone District of London. Stokowski was named after his Polish-born grandfather Leopold, who died in the English county of Surrey on 13 January 1879, at the age of 49.


title: Leopold Stokowski

text: The mystery surrounding his origins and accent is clarified in Oliver Daniel's 1000-page biography "Stokowski – A Counterpoint of View" (1982), in which (in Chapter 12) Daniel reveals Stokowski came under the influence of his first wife, American pianist Olga Samaroff. Samaroff, born Lucy Mary Agnes Hickenlooper, was from Galveston, Texas, and adopted a more exotic-sounding name to further her career. For professional and career reasons, she "urged him to emphasize only the Polish part of his background" once he became a resident of the United States. He studied at the Royal College of Music, where he first enrolled in 1896 at the age of thirteen, making him one of the youngest students to do so. In his later life in the United States, Stokowski would perform six of the nine symphonies composed by his fellow organ student Ralph Vaughan Williams. Stokowski sang in the choir of the St Marylebone Parish Church, and later he became the assistant organist to Sir Walford Davies at The Temple Church. By age 16, Stokowski was elected to membership of the Royal College of Organists. In 1900, he formed the choir of St. Mary's Church, Charing Cross Road, where he trained the choirboys and played the organ. In 1902, he was appointed the organist and choir director of St. James's Church, Piccadilly. He also attended The Queen's College, Oxford, where he earned a Bachelor of Music degree in 1903.


title: Leopold Stokowski

text: In 1905, Stokowski began work in New York City as the organist and choir director of St. Bartholomew's Church. He was very popular among the parishioners, who included members of the Vanderbilt family, but in the course of time, he resigned this position in order to pursue a career as an orchestra conductor. Stokowski moved to Paris for additional study in conducting. There he heard that the Cincinnati Symphony Orchestra would be needing a new conductor when it returned from a long sabbatical. In 1908, Stokowski began a campaign to win this position, writing letters to Mrs. Christian R. Holmes, the orchestra's president, and travelling to Cincinnati, Ohio, for a personal interview.


title: Leopold Stokowski

text: Stokowski was selected over other applicants and took up his conducting duties in late 1909. That was also the year of his official conducting debut in Paris with the Colonne Orchestra on 12 May 1909, when Stokowski accompanied his bride to be, the pianist Olga Samaroff, in Tchaikovsky's Piano Concerto No. 1. Stokowski's conducting debut in London took place the following week on 18 May with the New Symphony Orchestra at Queen's Hall. His engagement as new permanent conductor in Cincinnati was a great success. He introduced the concept of "pops concerts" and, starting with his first season, he began championing the work of living composers. His concerts included performances of music by Richard Strauss, Sibelius, Rachmaninoff, Debussy, Glazunov, Saint-Saëns and many others. He conducted the American premieres of new works by such composers as Elgar, whose 2nd Symphony was first presented there on 24 November 1911. He was to maintain his advocacy of contemporary music to the end of his career. However, in early 1912, Stokowski became frustrated with the politics of the orchestra's Board of Directors, and submitted his resignation. There was some dispute over whether to accept this or not, but, on 12 April 1912, the board decided to do so.


title: Leopold Stokowski

text: Two months later, Stokowski was appointed the director of the Philadelphia Orchestra, and he made his conducting debut in Philadelphia on 11 October 1912. This position would bring him some of his greatest accomplishments and recognition. It has been suggested that Stokowski resigned abruptly at Cincinnati with the hidden knowledge that the conducting position in Philadelphia was his when he wanted it, or as Oscar Levant suggested in his book "A Smattering of Ignorance", "he had the contract in his back pocket." Before Stokowski moved into his conducting position in Philadelphia, however, he returned to England to conduct two concerts at the Queen's Hall in London. On 22 May 1912, Stokowski conducted the London Symphony Orchestra in a concert that he was to repeat in its entirety 60 years later at the age of 90, and on 14 June 1912, he conducted an all-Wagner concert that featured the noted soprano Lillian Nordica. While he was director of the Philadelphia Orchestra, he was largely responsible for convincing Mary Louise Curtis Bok to set up the Curtis Institute of Music (13 October 1924) in Philadelphia. He helped with recruiting faculty and hired many of their graduates.


title: Leopold Stokowski

text: Stokowski rapidly gained a reputation as a musical showman. His flair for the theatrical included grand gestures, such as throwing the sheet music on the floor to show he did not need to conduct from a score. He also experimented with new lighting arrangements in the concert hall, at one point conducting in a dark hall with only his head and hands lighted, at other times arranging the lights so they would cast theatrical shadows of his head and hands. Late in the 1929-1930 symphony season, Stokowski started conducting without a baton. His free-hand manner of conducting soon became one of his trademarks. On the musical side, Stokowski nurtured the orchestra and shaped the "Stokowski" sound, or what became known as the "Philadelphia Sound". He encouraged "free bowing" from the string section, "free breathing" from the brass section, and continually altered the seating arrangements of the orchestra's sections, as well as the acoustics of the hall, in response to his urge to create a better sound. Stokowski is credited as the first conductor to adopt the seating plan that is used by most orchestras today, with first and second violins together on the conductor's left, and the violas and cellos to the right.


title: Leopold Stokowski

text: Stokowski also became known for modifying the orchestrations of some of the works that he conducted, as was a standard practice for conductors prior to the second half of the 20th century. Among others, he amended the orchestrations of Beethoven, Tchaikovsky, Sibelius, Johann Sebastian Bach, and Brahms. For example, Stokowski revised the ending of the "Romeo and Juliet Fantasy Overture", by Tchaikovsky, so it would close quietly, taking his notion from Modest Tchaikovsky's "Life and Letters of Peter Ilych Tchaikovsky" (translated by Rosa Newmarch: 1906) that the composer had provided a quiet ending of his own at Balakirev's suggestion. Stokowski made his own orchestration of Mussorgsky's "Night on Bald Mountain" by adapting Rimsky-Korsakov's orchestration and making it sound, in some places, similar to Mussorgsky's original. In the film "Fantasia", to conform to the Disney artists' story-line, depicting the battle between good and evil, the ending of "Night on Bald Mountain" segued into the beginning of Schubert's "Ave Maria".


title: Leopold Stokowski

text: Many music critics have taken exception to the liberties Stokowski took—liberties which were common in the nineteenth century, but had mostly died out in the twentieth, when faithful adherence to the composer's scores became more common.Stokowski's repertoire was broad and included many contemporary works. He was the only conductor to perform all of Arnold Schoenberg's orchestral works during the composer's own lifetime, several of which were world premieres. Stokowski gave the first American performance of Schoenberg's "Gurre-Lieder" in 1932. It was recorded "live" on 78 rpm records and remained the only recording of this work in the catalogue until the advent of the LP Record. Stokowski also presented the American premieres of four of Dmitri Shostakovich's symphonies, Numbers 1, 3, 6, and 11. In 1916, Stokowski conducted the American premiere of Mahler's 8th Symphony, "Symphony of a Thousand", whose premiere he had attended in Munich on 12 September, 1910. He added works by Rachmaninoff to his repertoire, giving the world premieres of his Fourth Piano Concerto, the "Three Russian Songs", the Third Symphony, and the "Rhapsody on a Theme of Paganini"; Sibelius, whose last three symphonies were given their American premieres in Philadelphia in the 1920s; and Igor Stravinsky, many of whose works were also given their first American performances by Stokowski. In 1922, he introduced Stravinsky's score for the ballet "The Rite of Spring" to America, gave its first staged performance there in 1930 with Martha Graham dancing the part of The Chosen One, and at the same time made the first American recording of the work.


title: Leopold Stokowski

text: Seldom an opera conductor, Stokowski did give the American premieres in Philadelphia of the original version of Mussorgky's "Boris Godunov" (1929) and Alban Berg's "Wozzeck" (1931). Works by such composers as Arthur Bliss, Max Bruch, Ferruccio Busoni, Carlos Chávez, Aaron Copland, George Enescu, Manuel de Falla, Paul Hindemith, Gustav Holst, Gian Francesco Malipiero, Nikolai Myaskovsky, Walter Piston, Francis Poulenc, Sergei Prokofiev, Maurice Ravel, Ottorino Respighi, Albert Roussel, Alexander Scriabin, Elie Siegmeister, Karol Szymanowski, Edgard Varèse, Heitor Villa-Lobos, Anton Webern, and Kurt Weill, received their American premieres under Stokowski's direction in Philadelphia. In 1933, he started "Youth Concerts" for younger audiences, which are still a tradition in Philadelphia and many other American cities, and fostered youth music programs. After disputes with the board, Stokowski began to withdraw from involvement in the Philadelphia Orchestra from 1936 onwards, allowing his co-conductor Eugene Ormandy to gradually take over. Stokowski shared principal conducting duties with Ormandy from 1936 to 1941; Stokowski did not appear with the Philadelphia Orchestra from the closing concert of the 1940–41 season (a semi-disastrous performance of Bach's "St. Matthew Passion") until 12 February 1960, when he guest-conducted the Philadelphia in works of Mozart, Falla, Respighi, and in a legendary performance of the Shostakovich Fifth Symphony, arguably the greatest by Stokowski. The recording of this concert's broadcast had been circulated privately among collectors over the years, though never issued commercially, but with the copyright expiring at the start of 2011, it was released in its entirety on the Pristine Audio label.


title: Leopold Stokowski

text: Stokowski appeared as himself in the motion picture "The Big Broadcast of 1937", conducting two of his Bach transcriptions. That same year he also conducted and acted in "One Hundred Men and a Girl", with Deanna Durbin and Adolphe Menjou. In 1939, Stokowski collaborated with Walt Disney to create the motion picture for which he is best known: "Fantasia". He conducted all the music (with the exception of a "jam session" in the middle of the film) and included his own orchestrations for Bach's "Toccata and Fugue in D minor" and Mussorgsky's/Schubert's "Night on Bald Mountain"/"Ave Maria". Stokowski even got to talk to (and shake hands with) Mickey Mouse on screen, in a famous silhouette footage; though, he would later say with a smile that Mickey Mouse got to shake hands with him.


title: Leopold Stokowski

text: A lifelong and ardent fan of the newest and most experimental techniques in recording, Stokowski saw to it that most of the music for "Fantasia" was recorded over Class A telephone lines laid down between the Academy of Music in Philadelphia and Bell Laboratories in Camden NJ, using an early, highly complex version of multi-track stereophonic sound, dubbed Fantasound, which shared many attributes with the later Perspecta stereophonic sound system. Recorded on photographic film, the only suitable medium then available, the results were considered astounding for the latter half of the 1930s.


title: Leopold Stokowski

text: Upon his return in 1960, Stokowski appeared with the Philadelphia Orchestra as a guest conductor. He also made two LP recordings with them for Columbia Records, one including a performance of Manuel de Falla's "El amor brujo", which he had introduced to America in 1922 and had previously recorded for RCA Victor with the Hollywood Bowl Symphony Orchestra in 1946, and a Bach album which featured the 5th Brandenburg Concerto and three of his own Bach transcriptions. He continued to appear as a guest conductor on several more occasions, his final Philadelphia Orchestra concert taking place in 1969.


title: Leopold Stokowski

text: In honor of Stokowski's vast influence on music and the Philadelphia performing arts community, on 24 February 1969, he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit. Beginning in 1964, this award was "established to bring a declaration of appreciation to an individual each year that has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."


title: Leopold Stokowski

text: With his Philadelphia Orchestra contract having expired in 1940, Stokowski immediately formed the All-American Youth Orchestra, its players' ages ranging from 18 to 25. It toured South America in 1940 and North America in 1941 and was met with rave reviews. Although Stokowski made a number of recordings with the AAYO for Columbia, the technical standard was not as high as had been achieved with the Philadelphia Orchestra for RCA Victor. In any event, the AAYO was disbanded when America entered the Second World War, and plans for another extensive tour in 1942 were abandoned.


title: Leopold Stokowski

text: During this time, Stokowski also became chief conductor of the NBC Symphony Orchestra on a three-year contract (1941–1944). The NBC's regular conductor, Arturo Toscanini, did not wish to undertake the 1941-42 NBC season because of friction with NBC management, though he did accept guest engagements with the Philadelphia Orchestra. Stokowski conducted a great deal of contemporary music with the NBC Symphony, including the US premiere of Prokofiev's "Alexander Nevsky" in 1943, the world premieres of Schoenberg's Piano Concerto (with Eduard Steuermann) and George Antheil's 4th Symphony, both in 1944, and new works by Alan Hovhaness, Stravinsky, Hindemith, Milhaud, Howard Hanson, William Schuman, Morton Gould and many others. He also conducted several British works with this orchestra, including Vaughan Williams' 4th Symphony, Holst's "The Planets", and George Butterworth's "A Shropshire Lad". Stokowski also made a number of recordings with the NBC Symphony for RCA Victor in 1941–42, including Tchaikovsky's 4th Symphony, a work which was never in Toscanini's repertoire, and Stravinsky's Firebird Suite. Toscanini returned as co-conductor of the NBC Symphony with Stokowski for the remaining two years of the latter's contract.


title: Leopold Stokowski

text: In 1944, on the recommendation of Mayor Fiorello La Guardia, Stokowski helped form the New York City Symphony Orchestra, which they intended would make music accessible for middle-class workers. Ticket prices were set low, and performances took place at convenient, after-work hours. Many early concerts were standing room only; however, a year later in 1945, Stokowski was at odds with the board (who wanted to trim expenses even further) and he resigned. Stokowski made three 78pm sets with the New York City Symphony for RCA Victor: Beethoven's 6th Symphony, Richard Strauss's "Death and Transfiguration", and a selection of orchestral music from Georges Bizet's "Carmen".


title: Leopold Stokowski

text: In 1945, he founded the Hollywood Bowl Symphony Orchestra. The orchestra lasted for two years before it was disbanded for live concerts, but not for recordings, which continued well into the 1960s. Stokowski's own recordings (made in 1945–46) included Brahms's 1st Symphony, Tchaikovsky's "Pathetique" Symphony and a number of short popular pieces. Some of Stokowski's open-air HBSO concerts were broadcast and recorded, and have been issued on CD, including a collaboration with Percy Grainger on Edvard Grieg's Piano Concerto in A minor in the summer of 1945. (It began giving live concerts again as the "Hollywood Bowl Orchestra" in 1991, under John Mauceri). There was a 1949 cartoon spoof of Stokowski at the Bowl with Bugs Bunny playing the conductor in "Long-Haired Hare" by Chuck Jones. Premiered "From A Moonlit Ceremony" (Moonlit Peace) by George Frederick McKay in 1946 with Hollywood Bowl Symphony Orchestra. Hollywood Bowl Symphony Yearbook 1946.


title: Leopold Stokowski

text: He continued to appear frequently with the Los Angeles Philharmonic, both at the Hollywood Bowl and other venues. Then in 1946 Stokowski became a chief Guest Conductor of the New York Philharmonic. His many "first performances" with them included the US Premiere of Prokofiev's 6th Symphony in 1949. He also made many splendid recordings with the NYPO for Columbia, including the world premiere recordings of Vaughan Williams's 6th Symphony and Olivier Messiaen's "L'Ascension", also in 1949.


title: Leopold Stokowski

text: However, when in 1950 Dimitri Mitropoulos was appointed Chief Conductor of the NYPO, Stokowski began a new international career which commenced in 1951 with a nationwide tour of England: during the Festival of Britain celebrations he conducted the Royal Philharmonic Orchestra at the invitation of Sir Thomas Beecham. It was during this first visit that he made his debut recording with a British orchestra, the Philharmonia, of Rimsky-Korsakov's "Scheherazade". During that same summer he also toured and conducted in Germany, Holland, Switzerland, Austria, and Portugal, establishing a pattern of guest-conducting abroad during the summer months while spending the winter seasons conducting in the United States. This scheme was to hold good for the next 20 years during which Stokowski conducted many of the world's greatest orchestras, simultaneously making recordings with them for various labels. Thus he conducted and recorded with the main London orchestras as well as the Berlin Philharmonic, the Suisse Romande Orchestra, the French National Radio Orchestra, the Czech Philharmonic, the Hilversum (Netherlands) Radio Philharmonic, et al.


title: Leopold Stokowski

text: Stokowski returned to the NBC Symphony Orchestra in 1954 for a series of recording sessions for RCA Victor. The repertoire included Beethoven's 'Pastoral' Symphony, Sibelius's 2nd Symphony, Acts 2 and 3 of Tchaikovsky's "Swan Lake" and highlights from Saint-Saëns's "Samson and Delilah" with Risë Stevens and Jan Peerce. After the NBC Symphony Orchestra was disbanded as the official ensemble of the NBC radio network, it was re-formed as the Symphony of the Air with Stokowski as notional Music Director, and as such performed many concerts and made recordings from 1954 until 1963. The US premiere in 1958 of Turkish composer Adnan Saygun's "Yunus Emre" Oratorio is among them. He made a series of Symphony of the Air recordings for the United Artists label in 1958 which included Beethoven's 7th Symphony, Shostakovich's 1st Symphony, Khatchaturian's 2nd Symphony and Respighi's "The Pines of Rome". From 1955 to 1961, Stokowski was also the Music Director of the Houston Symphony Orchestra. For his debut appearance with the orchestra he gave the first performance of "Mysterious Mountain" by Alan Hovhaness – one of many living American composers whose music he championed over the years. He also gave the US premiere in Houston of Shostakovich's 11th Symphony (7 April 1958) and made its first American recording on the Capitol label.


title: Leopold Stokowski

text: In 1960, Stokowski made one of his infrequent appearances in the opera house, when he conducted Giacomo Puccini's "Turandot" at the New York Metropolitan, in memorable performances with a cast that included Birgit Nilsson, Franco Corelli and Anna Moffo. At the New York City Opera, he had led double-bills of "Œdipus rex" (with Richard Cassilly) and "Carmina burana" (1959), as well as "L'Orfeo" (with Gérard Souzay) and "Il prigioniero" (with Norman Treigle, 1960).


title: Leopold Stokowski

text: In 1962, at the age of 80, Stokowski founded the American Symphony Orchestra. His championship of the 20th-century composer remained undiminished, and perhaps his most celebrated premiere with the American Symphony Orchestra was of Charles Ives's 4th Symphony in 1965, which CBS also recorded. In addition, he continued to collaborate with noted contemporary soloists of the time including the pianist Glenn Gould in a recording of Beethoven's Piano Concerto No. 5, Op 73 "Emperor Concerto" in 1966. Stokowski served as Music Director for the ASO until May 1972 when, at the age of 90, he returned to live in England. On 3 January 1962, still showing his interest in using technological innovation, he was featured in a telecast for WGN-TV conducting the Chicago Symphony Orchestra, which has since been made available on DVD. One of his British guest conducting engagements in the 1960s was the first Proms performance of Gustav Mahler's Second Symphony, "Resurrection", since issued on CD.


title: Leopold Stokowski

text: He continued to conduct in public for a few more years, but failing health forced him to only make recordings. An eyewitness said that Stokowski often conducted sitting down in his later years; sometimes, as he became involved in the performance, he would stand up and conduct with remarkable energy. His last public appearance in the UK took place at the Royal Albert Hall, London, on 14 May 1974. Stokowski conducted the New Philharmonia in the 'Merry Waltz' of Otto Klemperer (in tribute to the orchestra's former Music Director who had died the previous year), Vaughan Williams's "Fantasia on a Theme of Thomas Tallis", Ravel's "Rapsodie espagnole" and Brahms's 4th Symphony. His final public appearance took place during the 1975 Vence Music Festival in the South of France, when, on 22 July 1975, he conducted the Rouen Chamber Orchestra in several of his Bach transcriptions.


title: Leopold Stokowski

text: Stokowski gave his last world premiere in 1973 when, at the age of 91, he conducted Havergal Brian's 28th Symphony in a BBC radio broadcast with the New Philharmonia Orchestra. In August 1973, Stokowski conducted the International Festival Youth Orchestra at Royal Albert Hall in London, performing Tchaikovsky's Fifth Symphony. Edward Greenfield of The Guardian wrote: "Stokowski rallied them as though it was a vintage Philadelphia concert of the 1920s". Stokowski continued to make recordings even after he had retired from the concert platform, mainly with the National Philharmonic, another ad-hoc orchestra made up of first-desk players chosen from the main London orchestras. In 1976, he signed a recording contract with Columbia Records that would have kept him active until he was 100 years old.


title: Leopold Stokowski

text: Stokowski died of a heart attack in 1977 in Nether Wallop, Hampshire, at the age of 95. His very last recordings, made shortly before his death, for Columbia, included performances of the youthful Symphony in C by Georges Bizet and Felix Mendelssohn's 4th Symphony, "Italian", with the National Philharmonic Orchestra in London. He is interred at East Finchley Cemetery.


title: Leopold Stokowski

text: Stokowski made his very first recordings, with the Philadelphia Orchestra, for the Victor Talking Machine Company in October 1917, beginning with two of Brahms' "Hungarian Dances". Other works recorded in the early sessions were the scherzo from Mendelssohn's "A Midsummer Night's Dream" incidental music and "Dance of the Blessed Spirits" from Gluck's "Orfeo ed Euridice." He found ways to make the best use of the acoustic recording process, until electric recording was introduced by Victor in the spring of 1925. He conducted the first orchestral electrical recording to be made in America (Saint-Saëns's "Danse Macabre") in April 1925. The following month Stokowski recorded "Marche Slave" by Tchaikovsky, in which he increased the double basses to best utilise the lower frequencies of early electrical recording. Stokowski was also the first conductor in America to record all four of Brahms' symphonies (between 1927 and 1933).


title: Leopold Stokowski

text: Stokowski made the first US recordings of the Beethoven 7th and 9th Symphonies, Antonín Dvořák's "New World" Symphony, Pyotr Ilyich Tchaikovsky's 4th Symphony and "Nutcracker Suite", César Franck's Symphony in D minor, Nikolai Rimsky-Korsakov's "Scheherazade", Sergei Rachmaninoff's 2nd Piano Concerto (with the composer as soloist), Jean Sibelius's 4th Symphony (its first recording), Dmitri Shostakovich's 5th and 6th Symphonies, and many shorter works. His early recordings were made at Victor's Trinity Church studio in Camden, New Jersey until 1926, when Victor began recording the orchestra in the Academy of Music in Philadelphia. Stokowski and the Philadelphia Orchestra later participated in long playing, high fidelity, and stereophonic experiments, during the early 1930s, mostly for Bell Laboratories (Victor even released some early Long Playing Records around this time, which were not commercially successful for several reasons). Stokowski and the Philadelphia Orchestra continued to make records exclusively for Victor through December 1940. One of his last 1940 sessions was the world premiere recording of Shostakovich's sixth symphony. In addition to RCA Victor, Stokowski recorded prodigiously for several other labels until shortly before his death, including Columbia, Capitol, EMI/HMV, Everest, United Artists, and Decca/London.


title: Leopold Stokowski

text: In 1954, Stokowski made his first commercial stereo recordings with the NBC Symphony Orchestra for RCA Victor. These records were of excerpts from Prokofiev's ballet "Romeo and Juliet" and the complete one-act ballet "Sebastian" by Gian Carlo Menotti. From 1947 to 1953, Stokowski recorded for RCA Victor with a specially assembled 'ad hoc' band of players drawn principally from the New York Philharmonic and NBC Symphony Orchestras. The records were credited to 'Leopold Stokowski and His Symphony Orchestra' and the repertoire ranged from Haydn (his "Imperial" Symphony) to Schoenberg ("Transfigured Night") by way of Schumann, Liszt, Bizet, Wagner, Tchaikovsky, Debussy, Ralph Vaughan Williams, Sibelius and Percy Grainger. Stokowski's recordings for Capitol Records in the 1950s were distinguished by the use of three-track stereophonic tape recorders.


title: Leopold Stokowski

text: Stokowski was very careful in the placement of musicians during recording sessions and worked closely with the recording staff to achieve the best possible results. Some of the sessions took place in the ballroom of the Riverside Plaza Hotel in New York City in January and February 1957; these were produced by Richard C. Jones and engineered by Frank Abbey with Stokowski's own orchestra, which was typically drawn from New York musicians (primarily members of the Symphony of the Air). The CD reissue by EMI included selections originally released on two LPs -- "The Orchestra" and "Landmarks of a Distinguished Career"—and featured music of Paul Dukas, Samuel Barber, Richard Strauss, Harold Farberman, Vincent Persichetti, Tchaikovsky, Mussorgsky, Debussy, Bach (as arranged by Stokowski), and Sibelius. Although he officially used the Ravel orchestration of the finale to Mussorgsky's "Pictures at an Exhibition" in his 1957 Capitol recording, he did add a few additional percussion instruments to the score. His Capitol recording of Holst's "The Planets" was made with the Los Angeles Philharmonic Orchestra. EMI, which acquired Angel Records and Capitol in the 1950s, reissued many of Stokowski's Capitol recordings on CD; these recordings are now controlled by Warner Classics, as EMI ceased to exist in 2013. All of the music that Stokowski conducted in "Fantasia" was released on a 3-LP set by Disneyland Records, in the 1957 soundtrack album made from the film. After stereo became possible on phonograph records, the album was released in stereo on Buena Vista Records. With the advent of compact discs, it appeared on a 2-CD Walt Disney Records set, in conjunction with the film's 50th anniversary.


title: Leopold Stokowski

text: In 1958, Stokowski signed a contract with Everest Records, which was noted for its use of 35 mm film instead of tape and the resulting highly vivid sound. One of Stokowski's most notable Everest recordings was a coupling of Tchaikovsky's "Francesca da Rimini" and "Hamlet" with the New York Stadium Symphony Orchestra (the summer name for the New York Philharmonic). Stokowski's other remarkable Everest recordings include Villa-Lobos' tone poem "Uirapuru", Shostakovich's Symphony No. 5 and Prokofiev's ballet suite "Cinderella". Several of Stokowski's televised concerts have been issued on both VHS and DVD, including Beethoven's 5th Symphony and Schubert's "Unfinished" Symphony with the London Philharmonic on EMI Classics 'Classic Archive' label; the Nielsen 2nd Symphony with the Danish Radio Orchestra on VAI (Video Artists International); and Charles Ives' 4th Symphony with the American Symphony Orchestra on Classical Video Rarities.


title: Leopold Stokowski

text: In 1973, Stokowski was invited by the International Festival of Youth Orchestras to conduct the 1973 International Festival Orchestra, numbering 140 of the world's finest young musicians, in a performance of Tchaikovsky's Fifth Symphony at the Royal Albert Hall, London. The Cameo Classics LP label recorded the concert, and also, by special permission of the maestro, the final rehearsals, which would make up a 2-LP set. Edward Greenfield in "The Guardian" reported "Stokowski rallied them as though it was a vintage Philadelphia concert of the 1920s". Robert M. Stumpff ll (Leopold Stokowski Club of America) called the performance "The finest ever performance of this symphony". This unique Dolby recording was restored in 2014 by Klassik Haus and is available from Cameo Classics on CD (Nimbus Records Distribution).


title: Leopold Stokowski

text: Stokowski married three times. His first wife was American concert pianist Olga Samaroff, to whom he was married from 24 April 1911 until their divorce on 30 July 1923. They had one daughter: Sonya Maria Noel Stokowski (born 24 December 1921), an actress, who married Willem Thorbecke and settled in the US with their four children, Noel, Johan, Leif and Christine.


title: Leopold Stokowski

text: His second wife was Johnson & Johnson heiress Evangeline Love Brewster Johnson, an artist and aviator, to whom he was married from 11 January 1926 until their divorce on 2 December 1937. They had two daughters: Gloria Luba Stokowski and Andrea Sadja Stokowski. In March 1938 Stokowski vacationed with Greta Garbo on the island of Capri in Italy. This followed other reports of friendship or romance between Stokowski and Garbo.


title: Leopold Stokowski

text: On 21 April 1945, Stokowski married heiress and actress Gloria Vanderbilt. They had two sons, Leopold Stanislaus Stokowski (born 1950) and Christopher Stokowski (born 1952). They divorced on 29 October 1955.


title: Leopold Stokowski

text: After he had achieved international fame with the Philadelphia Orchestra, unsubstantiated rumours circulated that he was born "Leonard" or "Lionel Stokes" or that he had "anglicised" it to "Stokes"; this canard is readily disproved by reference not only to his birth certificate and those of his father, younger brother, and sister (which show Stokowski to have been the genuine polonised Lithuanian family name, originally "Stokauskas", where "stoka" means "lack" or "shortage"), but also by the Student Entry Registers of the Royal College of Music, Royal College of Organists, and The Queen's College, Oxford, along with other surviving documentation from his days at St. Marylebone Church, St. James's Church, and St. Bartholomew's in New York City.


title: Leopold Stokowski

text: After Stokowski's death, Tom Burnam writes, the "concatenation of canards" that had arisen around him was revived — that his name and accent were phony; that his musical education was deficient; that his musicians did not respect him; that he cared about nobody but himself. Burnam suggests that there was a dark, hidden reason for these rumours. Stokowski deplored the segregation of symphony orchestras in which women and minorities were excluded, and, Burnam claims, his detractors got revenge by slandering him. Nevertheless, and notwithstanding Burnam's claims, attitudes towards Stokowski have changed dramatically since his death. In 1999, for "Gramophone" magazine, the noted music commentator David Mellor wrote: "One of the great joys of recent years for me has been the reassessment of Leopold Stokowski. When I was growing up there was a tendency to disparage the old man as a charlatan. Today it is all very different. Stokowski is now recognised as the father of modern orchestral standards. He possessed a truly magical gift of extracting a burnished sound from both great and second-rank ensembles. He also loved the process of recording and his gramophone career was a constant quest for better recorded sound. But the greatest pleasure of all for me is his acceptance now as an outstanding conductor of nineteenth- and twentieth-century music, including a lot that was at the cutting edge of contemporary achievement."


title: Leopold Stokowski

text: The "Looney Tunes" episode "Long-Haired Hare" has a satirical homage to Stokowski: Bugs Bunny impersonates him at the Hollywood Bowl. The cartoon pokes gentle fun at Stokowski's habit of conducting without a baton by having Bugs break the baton handed to him.


title: Leopold Stokowski

text: A statue of the maestro shaking hands with Mickey Mouse, a recreation of a memorable moment in "Fantasia", stands in the lobby of Disney's Contemporary Resort in Walt Disney World in Orlando, Florida.


title: Ashtanga vinyasa yoga

text: Ashtanga vinyasa yoga is a style of yoga as exercise popularised by K. Pattabhi Jois during the twentieth century, often promoted as a modern-day form of classical Indian yoga. Jois claimed to have learnt the system from his teacher Tirumalai Krishnamacharya. The style is energetic, synchronising breath with movements. The individual poses (asanas) are linked by flowing movements (vinyasas).


title: Ashtanga vinyasa yoga

text: Jois established his Ashtanga Yoga Research Institute in 1948. The current style of teaching is called "Mysore style", after the city in India where the practice was originally taught. Ashtanga vinyasa yoga has given rise to various spinoff styles of power yoga.


title: Ashtanga vinyasa yoga

text: Traditionally, ashtanga vinyasa yoga students memorised a sequence and practised it together without being led by a teacher. Teacher-led classes were introduced in K. Pattabhi Jois's later years. Such classes are typically taught twice per week in place of Mysore style classes. Teachers guide the practice, adjusting and assisting with postures and leading the group of students through a series of postures all at the same time.


title: Ashtanga vinyasa yoga

text: An ashtanga vinyasa practice of asanas typically begins with five repetitions of surya namaskara A and B respectively, followed by a standing sequence.


title: Ashtanga vinyasa yoga

text: The practitioner then progresses through one of six series of postures, followed by a standard closing sequence.


title: Ashtanga vinyasa yoga

text: There were originally four series on the ashtanga vinyasa syllabus: primary, intermediate, advanced A, and advanced B. A fifth series was the "Rishi series", which Pattabhi Jois said could be performed once a practitioner had mastered the preceding four series.


title: Ashtanga vinyasa yoga

text: According to Pattabhi Jois's grandson R. Sharath Jois, practictioners should master each pose separately attempting the others that follow. However, Pattabhi Jois's son Manju Jois disagreed; in his view, students were occasionally allowed to practice the postures in a non-linear format.


title: Ashtanga vinyasa yoga

text: Since the beginning of the twenty-first century a new generation of ashtanga vinyasa yoga teachers have embraced Sharath's rules, teaching in a linear style without variations. Practice typically takes place in a strict, Mysore style environment under the guidance of a Sharath-approved teacher. Workshops, detailed alignment instructions and strength-building exercises should not form part of the method, neither for the practitioner nor for the teacher. However, most teachers who claim to have been taught by Sharath do in practice employ the above methods, exercises and postures in their teaching.TH


title: Ashtanga vinyasa yoga

text: Ashtanga vinyasa yoga emphasizes certain key components, namely tristhana ("three places of action or attention", or the more physical aspects of poses) and vinyasa (which Sharath Jois defines as a system of breathing and movement).


title: Ashtanga vinyasa yoga

text: Tristhana means the three places of attention or action: breathing system (pranayama), posture (asana), and looking place (drishti). These are considered core concepts for ashtanga yoga practice, encompassing the three levels of purification: the body, nervous system, and the mind. They are supposed to be performed in conjunction with each other.


title: Ashtanga vinyasa yoga

text: Each asana in ashtanga yoga is part of a set sequence, as described above. The stated purpose of the asanas is to increase the strength and flexibility of the body. Officially, the style is accompanied by very little alignment instruction. Breathing is ideally even and steady, in terms of the length of the inhalations and exhalations.


title: Ashtanga vinyasa yoga

text: Drishti is the point where one focuses the eyes while practicing asana. In the ashtanga yoga method, there is a prescribed point of focus for every asana. There are nine dristhis: the nose, between the eyebrows, navel, thumb, hands, feet, up, right side and left side.


title: Ashtanga vinyasa yoga

text: Vinyasas are flowing sequences of movements that connect each asana to the next. Additionally, modern vinyasa yoga coordinates the breath with the vinyasa transition movements between the asanas.


title: Ashtanga vinyasa yoga

text: According to Sharath Jois, the purpose of vinyasas is to purify the blood, which is supposedly otherwise heated and contaminated by the practice of asanas.


title: Ashtanga vinyasa yoga

text: Although ashtanga yoga keeps a general principle of steady and even inhalations and exhalations, the particulars of pranayama during the asana practice are debated.


title: Ashtanga vinyasa yoga

text: In his book "Yoga Mala", Pattabhi Jois recommends remaining in each posture for five to eight breaths, or else staying in each posture for as long as possible. Breathing instructions given are to do "rechaka" and "puraka" (to exhale and inhale) as much as possible. "It is sufficient, however, to breathe in and out five to eight times in each posture." In an interview regarding the length of the breath, Pattabhi Jois instructs practitioners to inhale for ten to fifteen seconds, and to exhale for ten to fifteen seconds. He goes on to clarify: "[if] your breath strength is possibly ten-second inhalations and exhalations, you do ten; fifteen seconds possible, you do fifteen. One hundred possible, you perform one hundred. Five is possible, you do five". His son Manju Jois also recommends taking more breaths in difficult postures.


title: Ashtanga vinyasa yoga

text: Various influential figures have discussed the specific process of breathing in ashtanga yoga. Pattabhi Jois recommended breathing fully and deeply with the mouth closed, although he did not specifically term this as "ujjayi breathing". However, Manju Jois does, referring to a breathing style called "dirgha rechaka puraka", meaning long, deep, slow exhalations and inhalations. "It should be dirgha... long, and like music. The sound is very important. You have to do the ujjayi pranayama". In late 2011, Sharath Jois stated that ujjayi breathing as such was not to be performed in the asana practice, but that asanas should be accompanied merely by deep breathing with sound. He reiterated this notion in a conference in 2013, stating: "You do normal breath, inhalation and exhalation with sound. Ujjayi breath is a type of pranayama. This is just normal breath with free flow".


title: Ashtanga vinyasa yoga

text: As far as other types of pranayama are concerned, the consensus is that they should be practised after the asanas have been mastered. Pattabhi Jois originally taught pranayama to those practicing the second series and later changed his mind, teaching pranayama after the third series.


title: Ashtanga vinyasa yoga

text: Sharath Jois later produced a series of videos teaching alternate nostril breathing to beginners. This pranayama practice was never taught to beginners by his grandfather and it is one of the many changes Sharath has made to the ashtanga yoga method of instruction.


title: Ashtanga vinyasa yoga

text: Bandhas are one of the three key elements of ashtanga vinyasa yoga, alongside breath and drishti. There are three principal bandhas which are considered internal body locks:


title: Ashtanga vinyasa yoga

text: Both Pattabhi Jois and Sharath Jois recommend practising mula and uddiyana bandha even when not practicing asanas. Pattabhi Jois explains: (translated quote) "You completely exhale, apply mula bandha and after inhaling you apply uddiyana bandha. Both bandhas are very important... After bandha practice, take [your attention] to the location where they are applied and maintain that attention at all times, while walking, talking, sleeping and when walk is finished. Always you control mula bandha".


title: Ashtanga vinyasa yoga

text: Sharath Jois says: "Without bandhas, breathing will not be correct, and the asanas will give no benefit".


title: Ashtanga vinyasa yoga

text: Pattabhi Jois claimed to have learned the system of ashtanga from Tirumalai Krishnamacharya, who in turn claimed to have learned it from a supposed text called "Yoga Kurunta" by the otherwise unknown author Vamama Rishi. This text was imparted to Krishnamacharya in the early 1900s by his Guru, Yogeshwara Ramamohana Brahmachari. Jois insists that the text described all of the asanas and vinyasas of the sequences of the ashtanga system. However, the text is said to have been eaten by ants so it is impossible to verify his assertions. Additionally, it is unusual that the text is not mentioned as a source in either of the books by Krishnamacharya, "Yoga Makaranda" (1934) and "Yogāsanagalu" (c. 1941).


title: Ashtanga vinyasa yoga

text: According to Manju Jois, the sequences of ashtanga yoga were created by Krishnamcharya. There is some evidence to support this in "Yoga Makaranda", which lists nearly all the postures of the Pattabhi Jois primary series and several postures from the intermediate and advanced series, described with reference to vinyasa.


title: Ashtanga vinyasa yoga

text: There is also evidence that the ashtanga yoga series incorporates exercises used by Indian wrestlers and British gymnasts. Recent academic research details documentary evidence that physical journals in the early 20th century were full of the postural shapes that were very similar to Krishnamacharya's asana system. In particular, the flowing surya namaskara, which later became the basis of Krishnamacharya's Mysore style, was in the 1930s considered as exercise and not part of yoga; the two styles were at that time taught separately, in adjacent halls of the Mysore palace.


title: Ashtanga vinyasa yoga

text: Jois elided any distinction between his sequences of asanas and the eight-limbed ashtanga yoga (Sanskrit अष्टांग "asht-anga", "eight limbs") of Patanjali's "Yoga Sutras". The eight limbs of Patanjali's scheme are yama, niyama, asana, pranayama, pratyahara, dharana, dhyana, and samadhi. It was Jois's belief that asana, the third limb, must be practiced first, and only after that could one master the other seven limbs. However, the name ashtanga in Jois's usage may, as yoga scholar Mark Singleton suggests, derive from the old name of surya namaskar in the system of "dand" gymnastic exercises, which was named "ashtang dand" after one of the original postures in the sequence, ashtanga namaskara (now replaced by chaturanga dandasana), in which eight body parts all touch the ground, rather than Patanjali's yoga.


title: Ashtanga vinyasa yoga

text: There has been much debate over the term "traditional" as applied to ashtanga yoga. The founder's students noted that Jois freely modified the sequence to suit the practitioner. Some of the differences include the addition or subtraction of postures in the sequences, changes to the vinyasa (full and half vinyasa), and specific practice prescriptions to specific people.


title: Ashtanga vinyasa yoga

text: Several changes to the practice have been made since its inception. Nancy Gilgoff, an early student, describes many differences in the way she was taught ashtanga to the way it is taught now. According to her experiences, some of the differences include: Pattabhi Jois originally left out seven postures in the standing sequence, but later assigned utthita hasta padangusthasana and ardha baddha padmottanasana before the intermediate series was given; utkatasana, virabhadrasana A and B, parivritta trikonasana, and parivritta parsvakonasana were not in the series at this point; and Jois did not give a vinyasa between the same poses on the different sides of the body or between variations on a pose (e.g., janu sirsasana A, B, and C were done together, followed by a vinyasa. Likewise baddha konasana, upavishta konasana and supta konasana were also grouped together without a vinyasa between them, as were ubhaya padangusthasana and urdhva mukha paschimottanasana.


title: Ashtanga vinyasa yoga

text: According to Gilgoff, Pattabhi Jois prescribed practising twice a day, primary and intermediate series, with no vinyasa between sides in krounchasana, bharadvajasana, ardha matsyendrasana, eka pada sirsasana, parighasana, and gomukhasana in the intermediate series. Shalabhasana to parsva dhanurasana were done in a group, with a vinyasa only performed at the end. Ushtrasana through kapotasana also were done altogether. The same went for eka pada sirsasana through yoganidrasana. The closing sequence included only mudrasana, padmasana, and tolasana, until the completion of the intermediate series when the remainder of the closing sequence was assigned. Urdhva dhanurasana and "drop-backs" were taught after the intermediate series. Gilgoff states that the original intermediate series included vrishchikasana after karandavasana and ended with gomukhasana. She also notes that Pattabhi Jois added supta urdhva pada vajrasana as well as the seven headstands when another yogi asked for more; these eight postures were not part of the intermediate series prior to this.


title: Ashtanga vinyasa yoga

text: Power yoga began in the 1990s via a "nearly simultaneous invention" by two students of K. Pattabhi Jois and similar forms led by other yoga teachers.


title: Ashtanga vinyasa yoga

text: Bryan Kest, who studied ashtanga yoga under K. Pattabhi Jois, and Baron Baptiste, a Bikram yoga enthusiast, separately put their own spins on the style and provided its branding. Neither Baptiste's power yoga nor Kest's power yoga are synonymous with ashtanga yoga. In 1995, Pattabhi Jois wrote a letter to "Yoga Journal" expressing his disappointment at the association between his ashtanga yoga and the newly-coined power yoga, referring to it as "ignorant bodybuilding".


title: Ashtanga vinyasa yoga

text: In an article published by "The Economist", it was reported that "a good number of Mr Jois's students seemed constantly to be limping around with injured knees or backs because they had received his "adjustments", yanking them into Lotus, the splits, or a backbend". Tim Miller, one of Jois's students, indicates that "the adjustments were fairly ferocious". Injuries related to Jois's ashtanga yoga have been the subject of discussion in a "Huffington Post" article.


title: Ashtanga vinyasa yoga

text: In 2008, yoga researchers in Europe published a survey of practitioners of ashtanga yoga that indicated that 62 percent of respondents had suffered at least one injury that lasted longer than one month. However, the survey lacked a control group (of similar people not subject to the treatment, such as people who had practised a different form of yoga), which limited its validity.


title: Michael Learns to Rock

text: Michael Learns to Rock (also known as MLTR) is a Danish soft rock and pop rock band formed in 1988. The band currently consists of Jascha Richter, Mikkel Lentz and Kåre Wanscher. Søren Madsen was an original member of the group since its formation but left in 2000. The band has sold over 11 million records over the course of their career, with the majority sold in Scandinavia and Asia. Despite being Danish, the band performs songs in English. The band has attributed its success in Asia to their drug-free, clean-living image and to singing in English as a second language.


title: Michael Learns to Rock

text: MLTR has earned gold and platinum status for records in many countries and won many awards, including the Gold Preis Award from RSH, Germany and "The Best Performing Act of the Year" at the SEA Grammy Awards in Singapore. In addition, their song "Take Me to Your Heart" was awarded "most downloaded single of the year 2006" with 6 million or more paid downloads. The band has recorded nine studio albums as well as a number of live and greatest hits albums. Their latest studio album, "Still", was released on 21 March 2018.


title: Michael Learns to Rock

text: During the peak of their popularity in the mid and late 1990s, MLTR was described by critics as being "as good (if not better) a band as any current big name group out of America or the UK or the Australia." According to the band's record label releases, their sound is "the perfect balance of a Scandinavian glow and the international pop song that has been instrumental in forming the compelling sound of the band", although the lead singer and songwriter, Jascha Richter, disagrees with this, maintaining that the music defies geographical categorization.


title: Michael Learns to Rock

text: In 1988, singer Jascha Richter with the intent of forming a band to perform his songs, asked his high school friend and drummer Kåre Wanscher in Aarhus, Denmark to perform with him. Realizing the limitations of playing as a duo, they recruited the guitarist Mikkel Lentz, who was then playing rock music with his group the Rocking Studs. On 15 March 1988, their first night of practice made them realize they needed a fourth musician, so they asked Søren Madsen, another guitarist who was into Led Zeppelin, to join in on bass guitar. Although Madsen was not an obvious choice for a pop band, he was invited on the basis that he had been part of the band Hip Hop that had reached the finals of a Danish competition to nominate a song to the Eurovision Song Contest.


title: Michael Learns to Rock

text: Since Richter already had a number of original songs, eliminating the need to jam, they were able to quickly record a demo tape intending it to be sent to the 'Rock Grand Prix' competition in their hometown Aarhus, they had to hurriedly come up with a name before posting it; Richter wrote as the name of the sender 'Michael Learns to Rock', partly inspired by a line from his school English textbook and partly because they were a pop band taking part in a rock concert. Lentz and Richter have admitted that the band was named after Michael Jackson: "I think Richter was thinking of Michael Jackson, because he was called 'the king of pop' and it was kind of funny, because it was like, what would he sound like if he learned to rock? It was wordplay," Lentz has stated. Richter claimed in an interview : "Yeah, it was like Johnny Hates Jazz and Frankie Goes to Hollywood. Sure, I've regretted calling ourselves this many times since, but we were successful so quickly, we had to stick with it and over time I got used to it."


title: Michael Learns to Rock

text: On 22 May 1988, the quartet played their first public show in Aarhus in 'Rock Grand Prix' at Aarhus's biggest venue, Ridehuset. As one of the two winning teams, MLTR performed that summer at the Aarhus Outdoor Festival on 20 June, however, only 20 people turned up. The disappointment was offset by a daily newspaper, "Information", describing the unknown group as "an immensely positive surprise". On 30 July 1988, the group entered and won the city's famed annual talent shows 'We Have The Stage – Do You Have The Music?' at Aarhus Musikhus.


title: Michael Learns to Rock

text: Jens Peter (J.P.) Andersen, a member of the contest jury as well as a promoter of Danmarks Smukkeste Festival (literally, "Denmark’s Most Beautiful Festival") at Skanderborg, was impressed with the band's talent but was somewhat annoyed at their lack of professionalism, so he decided to become the band's manager, at the band's request. Michael Learns to Rock continued playing live throughout Jutland and recording material in order to attract the attention of Danish record labels. One of these efforts included the band contributing four tracks for the double album "Secrets", a record organised by the Danish Rock Council to create interest in four talented but 'secret' new bands. They finally signed a record deal with the Danish label Medley in January 1989. However, the band did not release their first album, "Michael Learns to Rock", until September 1991, backed by the American record label Impact Records and with much of the album including the first American single, "My Blue Angel", mixed and produced by the American producers Tony Peluso and Steve Barri.


title: Michael Learns to Rock

text: Although not making any headway as intended in America despite airplay for "My Blue Angel", a later single (the second in Denmark after "I Still Carry On") from the album, "The Actor", topped the Danish chart and also did well in Norway, Sweden, Indonesia, Malaysia, Singapore and the Philippines. In January 1992, the album topped the Danish charts, followed soon after by success in Asia, selling 25,000 copies and earning gold status in Indonesia alone.


title: Michael Learns to Rock

text: Encouraged by the performance of their first album, Michael Learns to Rock released a second album, "Colours", in October 1993 which sold over 1.1 million records. The album included the singles "Sleeping Child", "25 Minutes" and "Out of the Blue". The band toured Asia for the first time. At the Phoebus Concert Hall in Bangkok they played to their largest audience until then of 12,000 people. The performance of this album coupled with the band's live performances resulted in the band receiving 'The Best Performing Act of the Year' award in 1994 at SEA Grammy Awards in Singapore for their performance of "25 Minutes", followed by the 'Gold Preis' from the German radio station RSH (Radio Schleswig-Holstein) in 1995 for radio hits such as "Wild Women'" and "25 Minutes".


title: Michael Learns to Rock

text: In August 1995, Michael Learns to Rock's third album "Played on Pepper" was released, selling more than 1.2 million units. Tracks in this album included "That's Why (You Go Away)" and "Someday". For the first time, the band recorded and produced the whole album themselves. To promote the album, the group performed 25 shows in ten countries. The release of this album also increased the band's presence in hitherto untapped markets like Brazil, South Africa, the UAE and eleven countries in the Far East, including Japan.


title: Michael Learns to Rock

text: To capitalize on the success of "Played on Pepper" and to curb piracy, Michael Learns to Rock released the greatest hits album "Paint My Love" in October 1996, primarily in Asia; the album sold 3.4 million copies. The song, "Paint My Love", is an English version of "Kun med dig" by Danish singers Dorthe Andersen and Martin Loft, which was composed by Jascha Richter. The band was also chosen as the headliner for the 'Celebrate Hong Kong' concert on 6 July 1997, marking the transfer of Hong Kong from the United Kingdom to China. The album also topped the charts in South Africa with sales of more than 350,000 copies in South Africa alone.


title: Michael Learns to Rock

text: They released their fourth studio album, "Nothing to Lose", was released in September 1997, and also sold more than 1.1 million copies. In an incident that showcased Michael Learns to Rock's popularity in Asia, 20,000 fake tickets were sold (more than twice the number of real ones) for a concert in Hanoi, Vietnam, in December 1997 and while the concert was on, those outside with fake tickets tried to break into the concert hall through the windows causing riot police to be deployed. The band travelled to South Africa in January 1998, playing sell-out concerts in Johannesburg and Pretoria, consequently taking "Nothing to Lose" to the top of the charts in South Africa.


title: Michael Learns to Rock

text: Soon after, the band's members took a break to spend time with their families and to develop projects on their own or in collaboration with other performers. They also decided to re-brand the band under the simpler name of MLTR. During the break, Richter wrote some new songs for the band, one of which is "Strange Foreign Beauty" that was later added to the 1999 greatest hits album "Greatest Hits – Strange Foreign Beauty". In a process undertaken by MLTR for the first time, the song was made by compiling the best details from recordings of ideas made individually by the four members. This album included their previous hits, either remixed or refined in some way by notable international producers such as Chris Lord-Alge (for "Someday", "Something You Should Know" etc.), Cutfather & Joe (for "Sleeping Child") and the Swedish producer Per Magnusson (for the MLTR top hit "The Actor'"). This greatest hits album went to the top of the Danish sales charts (the second MLTR album after their first album to do so), as well in Sweden and Portugal, and logged sales of nearly a million copies.


title: Michael Learns to Rock

text: In 2000, Søren Madsen decided to leave the group to embark on a solo career. The remaining three members set themselves the challenge of pursuing a sound different from that of their previous albums and thus produced the album "Blue Night", which almost went platinum in Denmark and sold well in Asia, with sales over one million. The following year a biography of MLTR, "Something You Should Know" written by Poul Martin-Bonde, was published along with a few previously unreleased recordings. The English translation of the book was called "It Never Rains on Bali", a reference to an incident that took place during the band's 1995 Bali concert, where a no-rain forecast proved wrong and the unexpected rain stopped the concert.


title: Michael Learns to Rock

text: After the release of "Blue Night", the band took a prolonged break, with Richter working on his solo album "Planet Blue". The band later admitted that they even considered disbanding during this time. They ultimately decided against it, following the success of their greatest hits album releases, including "19 Love Songs / Love Ballads" in 2002, which went to number 2 in Denmark.


title: Michael Learns to Rock

text: In 2004, the band regrouped again, departing from the name MLTR, and using the original name for their sixth album called "Michael Learns to Rock", released in Asia as "Take Me to Your Heart". The album focused on the Asian market. The single "Take Me to Your Heart" was a remake of Jacky Cheung's "Goodbye Kiss" ("吻别"), and was popular in China, Hong Kong, Vietnam, Thailand and Taiwan. By the end of 2006 alone, the single created a record when it sold over 6 million paid downloads and was awarded the "Most Downloaded Single of the Year 2006". MLTR sang an English and Chinese duet of "Take Me to Your Heart" with the Chinese singer Hu Yanbin at a 2005 New Year's Party in Guangzhou, China. The band also sang the song with the South Korean star Shin Hye-sung, lead vocalist of the famous boy band Shinhwa. This album has been one of the major successes of MLTR in Asia, especially China.


title: Michael Learns to Rock

text: In 2007, MLTR performed at the Formula1 in Shanghai and The 6th Golden Eagle Award Ceremony. Later in the year, MLTR released "The Best of Michael Learns to Rock Live" and in July toured Hong-Kong, Taiwan, Thailand and Malaysia. Elsewhere, this album was released as "The Live Musical Adventures of Michael Learns to Rock / I Walk This Road Alone", and featured live recordings from their Take Me to Your Heart Asian Tour, mainly from the September 2005 concerts in India.


title: Michael Learns to Rock

text: In November 2008, MLTR released their seventh studio album titled "Eternity" under their own independent label, MLTR Music, in association with the Danish label At:tack. This album has the distinction of being the first MLTR album to be produced solely by Mikkel Lentz. The band mention on their website that the name is an indication of the fact that "the band plan to make music for as long as they still find joy in the process". Although the sales were slow (admittedly, according to the band), the second single from the album, "Sweetest Surprise" reached No. 1 in Thailand within a few weeks of release. The following year, another track, "It's Gonna Make Sense", gained popularity in Asia after it was played as the farewell song on the Philippine reality TV show "". The promotion of the album took MLTR on the Eternity South East Asia Tour, the response to which, the band declare, has led them to consider playing more concerts abroad, especially in Southeast Asia.


title: Michael Learns to Rock

text: Michael Learns to Rock completed touring their home-country Denmark, having played unplugged concerts in February and March 2010 with fair success. In June 2010, the band undertook a three-city promotional tour of India playing shows at Mumbai, Delhi and Bangalore to promote the latest album ""Eternity"". More Unplugged shows followed in Denmark in late 2010. The band also did a short promotional tour of China and Macau from 27 September to 1 October 2010 for their upcoming China concerts in December 2010 and to give a preview of their Chinese Tour Compilation CD. This was followed up with their first ever international Unplugged concerts at Beijing, Shanghai and Guangzhou in December 2010. The track "Fairy Tale", an English cover version of a song originally performed by singer Li Jian, and later popularized by Hong Kong pop diva Faye Wong, was released in conjunction with the CD release. Following this, the band was scheduled to play another unplugged tour in Denmark in spring 2011.


title: Michael Learns to Rock

text: In a blog, dated 13 April 2010 on the band's website, the band announced that they have started working on their next album. Over the latter part of 2010 and throughout 2011, Michael Learns to Rock began giving feelers about their next studio album on their official Facebook page. The album which was till then not named, was set to be released on 11 August 2011 in Europe and Denmark, with releases following in other territories around the same time, but was subsequently postponed to an unspecified later date. In a teaser Facebook update, the band revealed the name of one of the tracks to be "Ice Breaker". Elsewhere, in a note on his Facebook Page, Jascha Richter had revealed the name of another song, "Hanging On", from the forthcoming album.


title: Michael Learns to Rock

text: On 19 November 2011, the band unveiled the song "Any Way You Want It" from the forthcoming album at a live concert in Kathmandu produced and organized by ODC Network (P)LTD. The band also shot footage in and around Kathmandu and during the performance of the song, to include it on the song's music video. The video of the song was then released formally on 11 June 2012 by the band on YouTube first, and soon after, it started airing on TV in India and Nepal.


title: Michael Learns to Rock

text: The studio album "Scandinavia" was released on 11 June 2012 in India digitally by Virgin Records on Nokia Music. Subsequently, release of the physical CD of album took place in many Asian countries, namely India (30 June 2012), Malaysia (2 July), Singapore (4 July), Thailand (12 July), Korea (12 July), Taiwan (13 July), Hong Kong (17 July), Philippines (19 July), Indonesia (15 August), and then in China. The album was released in Denmark by Sony Music Denmark on 3 September 2012. The album was also made available in Asia on iTunes. As in the case of the previous album "Eternity", the album "Scandinavia" was also solely produced by Mikkel Lentz.


title: Michael Learns to Rock

text: The first single from "Scandinavia", "Renovate My Life", was released on iTunes on 9 June 2012, going on air in Denmark from 11 June. The album release began on 11 June 2012, with the release of a music video for "Any Way You Want It" on YouTube, as well as the digital release of the album in India. The music video features different places of Kathmandu valley and the capital city of Nepal, where the band performed a concert in November 2011. The physical CD of "Scandinavia" was first released on 30 June 2012 in India by Virgin Records, by Warner Music during July in Southeast Asia, and by Sony Music on 3 September 2012 in Denmark.


title: Michael Learns to Rock

text: In 2014, the group released "" in commemoration of the band's 25th anniversary, released on 25 October 2014, which included two new studio recordings. The first single, "Silent Times" was released on 16 September 2014, followed by "Call on Love", released on 18 December 2014. The band also recorded "Eternal Love", the theme song of the Korean drama series, "Healer". The song was written by Lee Sang Joon, Denzil "DR" Remedios, and Ryan Jhun Sewon. In 2015, the group released the single "I'll Wait for You" on 6 November 2015. In 2016, they released the single "We Shared the Night" on 5 February 2016, their Valentine's Day gift to their fans.


title: Michael Learns to Rock

text: The song "It's Gonna Make Sense" from the album "Eternity" was featured in the Indian film "Welcome M1LL10NS", directed by Milroy Goes, in which Mikkel Lentz contributed the background score to the film. The film was filmed in the states of Goa and Punjab. It was also contested at the 91st Academy Awards and qualified at Oscars 2019 in the General Category.


title: Michael Learns to Rock

text: The band had been working on their new record over the course of 2017 and into early 2018. In late January 2018, the band organized a competition over their social media platforms for the title of their upcoming album. Over the course of the week, they released the titles of the songs slated to be released through their new record. On 2 February 2018, the band released a new single titled "Everything You Need".


title: Michael Learns to Rock

text: After the contest, the band announced its winner, as well as the title of their ninth studio album, "Still". Released on 21 March 2018 through all digital music platforms successfully and on limited number of special physical copies, the album features songs that sound like "Michael Learns to Rock but [it] sounds like today," according to Wanscher.


title: Michael Learns to Rock

text: As of September 2010, Michael Learns to Rock have played over 450 shows, including both large and small open-air & closed-hall stage concerts, TV appearances, unplugged and sing-back gigs, over a period of 22 years. In total, MLTR have played in at least 21 countries and territories which include Denmark, Nepal, Indonesia, China, Thailand, Malaysia, the Philippines, Hong Kong, India, Japan, Singapore, Taiwan, South Africa, Switzerland, Bangladesh, UAE, Faroe Islands, Vietnam, Cambodia, Norway, South Korea, Sri Lanka, Papua New Guinea and Sweden. They have also traveled to Hollywood for recording part of their debut album, to Spain, Finland and Germany to attend interviews, and to the UK to shoot a video. In Asia, MLTR are one of the few artists to have played more than once in a country and to have still sustained an audience turn-out comparable to that of their earlier appearances.


title: Michael Learns to Rock

text: Michael Learns to Rock were also the first international act to have performed in Cambodia when they played a show (that was also televised live) in front of 700 fans in CTN's Studio One in Phnom Penh in October 2005. The alternative version of their live album called "The Live Musical Adventures of Michael Learns to Rock-I Walk This Road Alone" features 14 live audio recordings mostly from their September 2005 show at Shillong, India, and a few video recordings from other live shows in Asia.


title: Michael Learns to Rock

text: In various interviews, the band members have admitted that touring and the response from fans to their concerts, among other reasons, keep them together, in spite of the stresses associated with traveling. In a recent interview Mikkel Lentz said, "The reason we stay together is because it makes sense. Our fans come to our shows and we still enjoy playing and travelling, so why should we stop? There is also the pleasure of making music, even though sometimes things like television shows or interviews can become a little boring." Kåre Wanscher has also said in an interview that the highest points of their career have been when they were out touring Asia over the last few years.


title: Michael Learns to Rock

text: MLTR toured China in December 2010, playing unplugged concerts. The 2011 spring leg of the Danish tour started on 17 February 2011 and ended on 12 March 2011 with MLTR playing gigs in most of the Danish cities and towns, many of which were sold out. MLTR then completed their first full-production concert tour after their extended unplugged stint by playing on 22 April 2011 at Penang, 24 April 2011 at Kuala Lumpur and 30 April 2011 at Kuantan in Malaysia.


title: Michael Learns to Rock

text: The Summer tour commenced on 11 August 2011 with the band playing in Skanderborg, and later on 12 August 2011 at Aarhus and on 13 August at Aabenraa.


title: Michael Learns to Rock

text: The band played on 19 November 2011 for the first time ever in Kathmandu, Nepal at the Tudikhel Ground, as the headliners of Nepal Rocks. The band were only the second internationally acclaimed band to play in Nepal, after the Canadian artist Bryan Adams did so earlier in the year. They also performed in Dhaka, Bangladesh on 22 June 2012 and in Ulaanbaatar, Mongolia on 7 and 8 December 2012.


title: Michael Learns to Rock

text: The band is the first to stream their 25th anniversary concert live to a global audience, using the Subcell smartphone app. The concert was broadcast live in sound and video from the Skanderborg Smukfest festival in Denmark on 11 August 2013. In Asia, their MLTR 25 Tour was staged in the Philippines on 19 September 2015.


title: Michael Learns to Rock

text: On 13 December 2015, MLTR performed live for the first time in North East India's prehistoric ancient city of Guwahati (earlier known as Pragjyotishpur) in Assam in front of a 75,000 strong audience at the huge Sarusajai Stadium, in company of multiple award-winning popular Assamese-Indian singer-composer Jim Ankan Deka. The musical night was inaugurated with multilingual performances by Jim Ankan Deka and his music band VooDoo Child, wherein they sang their own compositions of Assamese and English songs. The attendance in the show was unprecedented in the city of Guwahati so far.


title: Michael Learns to Rock

text: On 31 August 2017, MLTR's first stop in their Eternal Asia Tour was staged at the Kia Theatre in Manila to a sold-out crowd.


title: Michael Learns to Rock

text: In October 2022, the band played in the cities of Manila, Cebu, and Davao as part of their Back on The Road Tour 2022 in the Philippines.


title: Michael Learns to Rock

text: Michael Learns to Rock infuses soft rock with ballad and follows a basic verse-chorus song-form (which is typical of most pop songs) with lyrics comprising straight forward and short-length phrasing incorporating very basic sentence constructions. The verses consist of either one or two couplets and the chorus often contrasts the verse melodically, rhythmically, and harmonically, assuming a higher level of dynamics and activity. The essence of this style followed invariably by MLTR is evident from Jascha Richter's dead-pan response to a query in an interview as to what constituted the elements of a good song: "You got to have a chorus and a verse". Many songs incorporate a bridge section following the second chorus section (most notably "25 Minutes", "That's Why (You Go Away)", "Someday", "Paint My Love", "Blue Night" etc.). Many songs also contain instrumental solos, more commonly, guitar (e.g. "Someday", "That's Why (You Go Away)", "How Many Hours", "The Actor", "Something You Should Know", "Breaking My Heart", "Watch Your Back" etc.) and sometimes the keyboard (e.g. "Messages"), following the second chorus or following the bridge, in case the latter is present. Vocal harmonies also constitute a common feature of their songs.


title: Michael Learns to Rock

text: Lentz admits that they never really jam to come out with or develop upon a song and most of MLTR's songs are written and composed by Jascha Richter on the piano. According to Richter, however, after he has written the song, Lentz takes the ideas further and makes it into a final production. Lentz insists that MLTR do not fit to any genre of music except for having a classic pop-sound. Further, he believes the secret behind MLTR's sustained music career is the non-conformance to any musical trends; "We never tried to follow trends. I think that's the reason we are still around. There's been trip hop, grunge, pop. We never fitted into these trends. What seems to be tough then is now our strength. They're just songs. The songs don't belong to a musical wave."


title: Michael Learns to Rock

text: Michael Learns to Rock have cited their influences to be Supertramp, Elton John, the Beatles, the Rolling Stones, Stevie Wonder, Eagles, Billy Joel, ABBA, Bee Gees and "all the bands that write good lyrics" (as Mikkel Lentz puts it tongue-in-cheek). Lentz, however, denies the influence of Michael Jackson on their music.


title: Michael Learns to Rock

text: However, Jascha Richter reveals on his Facebook page in response to a fan's query that Michael Jackson's music did influence their music, especially the latter's "Bad" album which was released in the year preceding MLTR's formation. Also, Jascha Richter has cited Talk Talk, a-ha and Eurythmics to be his influences. A-ha's international success, in spite of originating from the small Scandinavian country of Norway, instilled the self-belief in the MLTR members that even they, hailing from a similarly small Scandinavian country (Denmark), could carve out a career for themselves in international music.


title: Michael Learns to Rock

text: Despite being branded simplistic, easy-listening and sometimes, down-right cheesy, banal or even naive by many, Michael Learns to Rock are adamant that these are the very qualities of their lyrics and music which have found favor with Asian music listeners.


title: Line integral

text: In mathematics, a line integral is an integral where the function to be integrated is evaluated along a curve. The terms "path integral", "curve integral", and "curvilinear integral" are also used; "contour integral" is used as well, although that is typically reserved for line integrals in the complex plane.


title: Line integral

text: The function to be integrated may be a scalar field or a vector field. The value of the line integral is the sum of values of the field at all points on the curve, weighted by some scalar function on the curve (commonly arc length or, for a vector field, the scalar product of the vector field with a differential vector in the curve). This weighting distinguishes the line integral from simpler integrals defined on intervals. Many simple formulae in physics, such as the definition of work as formula_1, have natural continuous analogues in terms of line integrals, in this case formula_2, which computes the work done on an object moving through an electric or gravitational field F along a path formula_3.


title: Line integral

text: In qualitative terms, a line integral in vector calculus can be thought of as a measure of the total effect of a given tensor field along a given curve. For example, the line integral over a scalar field (rank 0 tensor) can be interpreted as the area under the field carved out by a particular curve. This can be visualized as the surface created by "z" = "f"("x","y") and a curve "C" in the "xy" plane. The line integral of "f" would be the area of the "curtain" created—when the points of the surface that are directly over "C" are carved out.


title: Line integral

text: For some scalar field formula_4 where formula_5, the line integral along a piecewise smooth curve formula_6 is defined as


title: Line integral

text: where formula_8 is an arbitrary bijective parametrization of the curve formula_9 such that and give the endpoints of formula_9 and . Here, and in the rest of the article, the absolute value bars denote the standard (Euclidean) norm of a vector.


title: Line integral

text: The function is called the integrand, the curve formula_9 is the domain of integration, and the symbol may be intuitively interpreted as an elementary arc length of the curve formula_9 (i.e., a differential length of formula_9). Line integrals of scalar fields over a curve formula_9 do not depend on the chosen parametrization of formula_9.


title: Line integral

text: Geometrically, when the scalar field is defined over a plane , its graph is a surface in space, and the line integral gives the (signed) cross-sectional area bounded by the curve formula_9 and the graph of . See the animation to the right.


title: Line integral

text: For a line integral over a scalar field, the integral can be constructed from a Riemann sum using the above definitions of , and a parametrization of . This can be done by partitioning the interval into sub-intervals of length , then denotes some point, call it a sample point, on the curve . We can use the set of sample points to approximate the curve as a polygonal path by introducing the straight line piece between each of the sample points and . (The approximation of a curve to a polygonal path is called "rectification of a curve," see here for more details.) We then label the distance of the line segment between adjacent sample points on the curve as . The product of and can be associated with the signed area of a rectangle with a height and width of and , respectively. Taking the limit of the sum of the terms as the length of the partitions approaches zero gives us


title: Line integral

text: For a vector field F: "U" ⊆ R → R, the line integral along a piecewise smooth curve "C" ⊂ "U", in the direction of r, is defined as


title: Line integral

text: where · is the dot product, and r: ["a", "b"] → "C" is a bijective parametrization of the curve "C" such that r("a") and r("b") give the endpoints of "C".


title: Line integral

text: A line integral of a scalar field is thus a line integral of a vector field, where the vectors are always tangential to the line of the integration.


title: Line integral

text: Line integrals of vector fields are independent of the parametrization r in absolute value, but they do depend on its orientation. Specifically, a reversal in the orientation of the parametrization changes the sign of the line integral.


title: Line integral

text: From the viewpoint of differential geometry, the line integral of a vector field along a curve is the integral of the corresponding 1-form under the musical isomorphism (which takes the vector field to the corresponding covector field), over the curve considered as an immersed 1-manifold.


title: Line integral

text: The line integral of a vector field can be derived in a manner very similar to the case of a scalar field, but this time with the inclusion of a dot product. Again using the above definitions of , and its parametrization , we construct the integral from a Riemann sum. We partition the interval (which is the range of the values of the parameter ) into intervals of length . Letting be the th point on , then gives us the position of the th point on the curve. However, instead of calculating up the distances between subsequent points, we need to calculate their displacement vectors, . As before, evaluating at all the points on the curve and taking the dot product with each displacement vector gives us the infinitesimal contribution of each partition of on . Letting the size of the partitions go to zero gives us a sum


title: Line integral

text: By the mean value theorem, we see that the displacement vector between adjacent points on the curve is


title: Line integral

text: which happens to be the integrand for the line integral of F on r("t"). It follows, given a path "C ", that


title: Line integral

text: In other words, the integral of F over "C" depends solely on the values of "G" at the points r("b") and r("a"), and is thus independent of the path between them. For this reason, a line integral of a conservative vector field is called "path independent".


title: Line integral

text: The line integral has many uses in physics. For example, the work done on a particle traveling on a curve "C" inside a force field represented as a vector field F is the line integral of F on "C".


title: Line integral

text: For a vector field formula_28, , the line integral across a curve "C" ⊂ "U", also called the "flux integral", is defined in terms of a piecewise smooth parametrization , , as:


title: Line integral

text: Here ⋅ is the dot product, and formula_30 is the clockwise perpendicular of the velocity vector formula_31.


title: Line integral

text: The flow is computed in an oriented sense: the curve has a specified forward direction from to , and the flow is counted as positive when is on the clockwise side of the forward velocity vector .


title: Line integral

text: In complex analysis, the line integral is defined in terms of multiplication and addition of complex numbers. Suppose "U" is an open subset of the complex plane C, is a function, and formula_32 is a curve of finite length, parametrized by , where . The line integral


title: Line integral

text: The integral is then the limit of this Riemann sum as the lengths of the subdivision intervals approach zero.


title: Line integral

text: If the parametrization is continuously differentiable, the line integral can be evaluated as an integral of a function of a real variable:


title: Line integral

text: When is a closed curve (initial and final points coincide), the line integral is often denoted formula_36 sometimes referred to in engineering as a "cyclic integral".


title: Line integral

text: The line integrals of complex functions can be evaluated using a number of techniques. The most direct is to split into real and imaginary parts, reducing the problem to evaluating two real-valued line integrals. The Cauchy integral theorem may be used to equate the line integral of an analytic function to the same integral over a more convenient curve. It also implies that over a closed curve enclosing a region where is analytic without singularities, the value of the integral is simply zero, or in case the region includes singularities, the residue theorem computes the integral in terms of the singularities. This also implies the path independence of complex line integral for analytic functions.


title: Line integral

text: Consider the function "f"("z") = 1/"z", and let the contour "L" be the counterclockwise unit circle about 0, parametrized by z("t") = "e" with "t" in [0, 2π] using the complex exponential. Substituting, we find:


title: Line integral

text: Viewing complex numbers as 2-dimensional vectors, the line integral of a complex-valued function formula_40 has real and complex parts equal to the line integral and the flux integral of the vector field corresponding to the conjugate function formula_41 Specifically, if formula_42 parametrizes "L", and formula_43 corresponds to the vector field formula_44 then:


title: Line integral

text: By Cauchy's theorem, the left-hand integral is zero when formula_46 is analytic (satisfying the Cauchy–Riemann equations) for any smooth closed curve L. Correspondingly, by Green's theorem, the right-hand integrals are zero when formula_47 is irrotational (curl-free) and incompressible (divergence-free). In fact, the Cauchy-Riemann equations for formula_46 are identical to the vanishing of curl and divergence for F.


title: Line integral

text: By Green's theorem, the area of a region enclosed by a smooth, closed, positively oriented curve formula_3 is given by the integral formula_50 This fact is used, for example, in the proof of the area theorem.


title: Line integral

text: The path integral formulation of quantum mechanics actually refers not to path integrals in this sense but to functional integrals, that is, integrals over a space of paths, of a function "of" a possible path. However, path integrals in the sense of this article are important in quantum mechanics; for example, complex contour integration is often used in evaluating probability amplitudes in quantum scattering theory.


title: Magda Szubanski

text: Magdalene Mary Therese Szubanski ( ; born 12 April 1961) is an Australian comedy actress, author, singer and LGBT rights advocate. She performed in "Fast Forward", "Kath & Kim" as Sharon Strzelecki and in the films "Babe" (1995) and "" (1998), "Happy Feet" (2006) and "Happy Feet Two" (2011). In 2003 and 2004 surveys, she polled as the most recognised and well-liked Australian television personality.


title: Magda Szubanski

text: Szubanski has spoken openly about her struggles with intergenerational trauma, anxiety and suicidal ideation in her teens. She became an activist for LGBT rights and, in 2017, promoted same-sex marriage in Australia. In 2015, Szubanski released her memoir, "Reckoning".


title: Magda Szubanski

text: Szubanski was born on 12 April 1961, in Liverpool, England. Her mother Margaret (née McCarthy) is Scottish-Irish and came from a poor family. Her father, Zbigniew Szubanski, came from a well-off Polish family and was an assassin in a counter-intelligence branch of the Polish resistance movement in World War II. She is a cousin of Polish actress Magdalena Zawadzka.


title: Magda Szubanski

text: She attended Siena College, Melbourne. In 1976, as a Year 10 student, she captained a team on the television quiz show "It's Academic". Szubanski studied fine arts and philosophy at the University of Melbourne and, decades later, in 2016, attained a Bachelor of Arts and Bachelor of Arts (degree with honours).


title: Magda Szubanski

text: Szubanski was a writer and performer of sketch comedy. In 1985, while performing in a University of Melbourne revue of "Too Cool for Sandals", Szubanski, Michael Veitch, Tom Gleisner and others were talent-spotted by Australian Broadcasting Corporation (ABC) producers, which led to "The D-Generation" television sketch comedy show.


title: Magda Szubanski

text: Szubanski was one of the creators and performers of the "Fast Forward" television sketch comedy for the Seven Network, in which she played various characters, including Pixie-Anne Wheatley, Chenille from the Institute de Beauté, Wee Mary MacGregor, Joan Kirner, Michelle Grogan. The character of Lynne Postlethwaite was first performed on the ABC's "The D-Generation". It was originally written by John Allsop and Andrew Knight, but from "Fast Forward" on Szubanski co-wrote the sketches, and created and co-wrote her characters.


title: Magda Szubanski

text: In 1995, she and friends Gina Riley and Jane Turner wrote, performed and produced the first all-female Australian sketch comedy television program; "Big Girl's Blouse". When Riley and Turner developed sketch-characters they had created into the sitcom "Kath & Kim", Szubanski joined them to play Sharon Strzelecki, a character she had previously created.


title: Magda Szubanski

text: In 1999, Szubanski created, wrote, co-produced and played Margaret O'Halloran in the "Dogwoman" series of TV films, a detective style show based on the idea an expert "dog-whisperer" who, by treating problem dogs, inadvertently stumbles upon and solves human crimes.


title: Magda Szubanski

text: In 2009, she appeared on "Who Do You Think You Are?" where she explored her father's Polish Resistance activities as well as the story of her shell-shocked Irish grandfather and her sculptor ancestor Luigi Isepponi who assisted in making the Death mask for William Burke, half of the duo Burke and Hare, notorious grave robbers and serial killers.


title: Magda Szubanski

text: From 3 September 2018, Szubanski recurred as Jemima Davies-Smythe on "Neighbours". Her character officiated the first same-sex wedding on Australian television.


title: Magda Szubanski

text: On 8 April 2019, she appeared as "Guest Announcer" on "Chris & Julia's Sunday Night Takeaway"'s season finale where she participated in a number of roles.