title: Jim Steinman

text: In 1979, the Freeway Records label made a 2-LP compilation album titled "L.A. Radio". It was not commercially released, but promo copies were distributed. It included a spoken word segment titled "Shadows on the Freeway", written and recited by Steinman. It later appeared on the 1981 album "Dead Ringer" with a new title, "Nocturnal Pleasure". Parts of it can also be heard at the beginning of the 1989 music video, directed by Ken Russell, for the first release of the song "It's All Coming Back to Me Now".


title: Jim Steinman

text: Steinman wrote the theme music for the 1979 National Lampoon sitcom "Delta House". Sean Kelly and Tony Hendra wrote the lyrics. Michael Simmons sang the lead vocal. The music from this later appeared on the song "Dead Ringer for Love".


title: Jim Steinman

text: In 1980, the film "A Small Circle of Friends" was released. It had an orchestral score composed by Steinman, and orchestrated by his frequent collaborator Steve Margoshes. The motifs of this orchestral score match the melodies of numerous songs Steinman later released, including "Total Eclipse of the Heart", "Making Love Out of Nothing at All" and "Für Sarah" from "Tanz der Vampire".


title: Jim Steinman

text: Early in the production of a follow-up album to "Bat Out of Hell", Meat Loaf developed vocal problems and was unable to continue on the project. Steinman proceeded with the album, released as "Bad for Good" in 1981. Most songs are sung by Steinman himself. Three of the songs are sung by Rory Dodd, who did not receive a clear indication for his work in the album's credits, and Karla DeVito sings a duet part on one song. Steinman was this time credited as co-producer with Todd Rundgren for all but one track. Steinman was credited as co-producer with Jimmy Iovine for the song "Rock and Roll Dreams Come Through".


title: Jim Steinman

text: Meat Loaf again recorded songs by Steinman on the album "Dead Ringer" (1981). All of the songs on the album were written by Steinman. One of the songs, "More Than You Deserve", was previously released. Stephan Galfas was the primary producer for this album. Steinman's role in this album was less than his role in "Bad for Good". The highest-charting song on this album was "Dead Ringer for Love", a duet with Cher, and the album reached No. 1 on the album charts in the United Kingdom.


title: Jim Steinman

text: Steinman is credited as music producer of every selection on Bonnie Tyler's album "Faster Than the Speed of Night" (1983). Steinman also wrote and composed two of the songs on the album: "Total Eclipse of the Heart" and "Faster Than the Speed of Night", the album's title selection. For a period in 1983, two songs written and produced by Steinman held the top two positions on the Billboard singles chart, with "Total Eclipse of the Heart" at number one, and "Making Love Out of Nothing at All", performed by Air Supply, at number two. The second of those appeared on Air Supply's 1983 compilation albums "Greatest Hits" and "Making Love... The Very Best of Air Supply". On the inner cover of the album, Steinman is also credited with being the "seductive female voice" speaking the words "I'd do anything for love, but I won't do that" on the song "Getting so Excited", the same words that would later become the title of a hit single Steinman wrote for Meat Loaf which was released ten years later.


title: Jim Steinman

text: Barry Manilow's compilation album "Greatest Hits Vol. II" (1983) included the song "Read 'Em and Weep", written, composed, and produced by Steinman. It had appeared on Meat Loaf's "Dead Ringer" album in 1981, but with a slightly different lyric. The song stayed at No. 1 on the Adult Contemporary Chart for eight consecutive weeks.


title: Jim Steinman

text: In 1983, Ian Hunter released his album "All of the Good Ones Are Taken". On the title selection, "All of the Good Ones Are Taken", Steinman is credited with "assistance". Rory Dodd and Eric Troyer, two singers who often sang on Steinman's studio work, were credited with "additional background vocals".


title: Jim Steinman

text: In 1984, the film "Streets of Fire" was released. The soundtrack included two songs written, composed, and produced by Steinman. They are "Tonight Is What It Means to Be Young" and "Nowhere Fast". The performance of these two songs is credited to "Fire Incorporated", which was a reference to an assembly of studio musicians and singers hired for these two songs. The voices heard on these songs include those of Rory Dodd, Holly Sherwood, and Laurie Sargent.


title: Jim Steinman

text: Steinman is credited for producing all the selections on Billy Squier's album "Signs of Life" (1984), and Barbra Streisand's album of the same year, "Emotion", featured "Left in the Dark", which Steinman wrote, composed and produced. The song had previously appeared on "Bad for Good".


title: Jim Steinman

text: The soundtrack for the 1984 film "Footloose" included the song "Holding Out for a Hero", performed by Bonnie Tyler. Steinman produced the selection and is credited with composing the music, and Dean Pitchford, who had written the film itself directly for the screen, for writing the lyrics. The song was a hit single, the soundtrack album was successful, and the film was successful. Some of the music from this song was adapted from the music used for the song "Stark Raving Love" from the album "Bad for Good".


title: Jim Steinman

text: In 1984, Steinman was hired by, and worked briefly with, rock band Def Leppard on some tracks that were intended for a Def Leppard album. However, Steinman was fired, and the recording work he made with the band was not released. The next album Def Leppard released after this, "Hysteria", was produced by Robert John "Mutt" Lange.


title: Jim Steinman

text: Jim Steinman wrote a song titled "Vaults of Heaven" which has the same melody as "Milady" from "The Confidence Man" and "Für Sarah" from "Tanz der Vampire". Rory Dodd sang a demo of this "Vaults of Heaven" in 1984. That demo has been in circulation among fans on the internet.


title: Jim Steinman

text: In 1985, Steinman wrote, composed, and produced a theme song for WWF performer Hulk Hogan. It was released in 1985 on an album titled "The Wrestling Album". The selection was recorded during the recording sessions for "Secret Dreams And Forbidden Fire," an album that Bonnie Tyler was then recording, and which Steinman also produced. The selection has no lead vocals, and it matches much of the non-vocal parts of the track of "Ravishing" that appeared on "Secret Dreams and Forbidden Fire". The track was also heard as the theme music on the animated television show "Hulk Hogan's Rock 'n' Wrestling". Steinman produced the track "Love Can Make You Cry", written by Michael Kehr, Don Kehr and Ian Hunter, for the soundtrack album for the 1986 film "Iron Eagle." This was a modified version of the original recording of the same song, which had appeared on Urgent's 1985 album "Cast The First Stone". The original recording had been produced by Ian Hunter and Mick Ronson.


title: Jim Steinman

text: According to Steinman in an interview, Andrew Lloyd Webber approached him to write lyrics for "The Phantom of the Opera" because Lloyd Webber felt that his "dark obsessive side" fit in with the project. However, Steinman declined in order to fulfill his commitments to a Bonnie Tyler album. In 1986, the album "Secret Dreams and Forbidden Fire" was released. Bonnie Tyler sang lead vocals, and Steinman produced all the selections on the album. Four of the songs on the album were written and/or composed by Steinman. One, "Holding Out for a Hero", was the same track from the "Footloose" soundtrack. The other three were "Ravishing", "Rebel Without a Clue" and "Loving You's a Dirty Job but Somebody's Gotta Do It", a duet with Todd Rundgren. This album was the first time Steinman worked with Steven Rinkoff, who was a recording engineer on this album. Since this album, the two have been co-producers and regular professional partners on Steinman's work.


title: Jim Steinman

text: In 1987, the Sisters of Mercy released their second album "Floodland". The track "This Corrosion" was produced by Steinman, and the track "Dominion/Mother Russia" was co-produced by Steinman, along with Larry Alexander and Andrew Eldritch. The soundtrack album for the 1989 film "Rude Awakening" included two tracks produced by Steinman. One was the song "Rude Awakening", with lead vocals by Bill Medley and was written by Rick Rose and Paul Rothchild. The other, "Darling Be Home Soon", which featured lead vocals by Phoebe Snow, had been written, composed and originated by John Sebastian.


title: Jim Steinman

text: In 1989, the album "Original Sin" was released. The album artist name is Pandora's Box. Pandora's Box referred to a group assembled by Steinman, including, officially, four female singers and Steinman himself. The official four female singers were Ellen Foley, Elaine Caswell, Gina Taylor and Deliria Wilde (with Holly Sherwood doing lead vocals on "Good Girls Go to Heaven"). Gina Taylor, who is now better known as Gina Taylor-Pickens, was previously in the group Musique, including the 1978 hit single "In The Bush". In interview, Elaine Caswell said Pandora's Box was "four women; three that existed and [...] Deliria Wilde who was somewhat mythical, someone [Steinman] kind of created". Deliria Wilde might have been a pseudonym for Holly Sherwood. Sales in Europe were low. The album was successful and reached No. 1 on the album charts in South Africa. It was not released at all in North America. Years later, it was reissued and became available internationally on compact disc. "Original Sin" included the original recording of "It's All Coming Back to Me Now", sung by Elaine Caswell. Two songs from this album "It Just Won't Quit" and "Good Girls Go to Heaven (Bad Girls Go Everywhere)" were re-recorded and released on "".


title: Jim Steinman

text: In the late 1980s, Jim Steinman was working on an adaptation of the 1974 movie "Phantom of the Paradise" by writer and director Brian De Palma. Steinman made demos for this project. His demos include Rory Dodd singing "Making Love Out of Nothing at All", with an extra verse not heard in the Air Supply recording, and include a 1980s recording of "Who Needs the Young?"


title: Jim Steinman

text: In the late 1980s, Jim Steinman was preparing to produce an album for ELO Part II, a spin-off of the group Electric Light Orchestra. Steinman made a demo of Rory Dodd singing the song Kiss Me Red by Billy Steinberg and Tom Kelly. ELO Part II released their album "Electric Light Orchestra Part Two" in 1990, without Steinman producing. Eric Troyer, a frequent background vocalist on Steinman productions, sang the lead vocal on ELO Part II's released recording of "Kiss Me Red".


title: Jim Steinman

text: With Andrew Eldritch, Steinman co-wrote and co-produced the track "More" for the album "Vision Thing" (1990) by the group the Sisters of Mercy.


title: Jim Steinman

text: Around 1992, Steinman worked with the punk band Iron Prostate, which featured guitarist and writer George Tabb. The group reportedly dissolved while working with Steinman on what was to be their second album. Tabb's website has shared a recording of the song "Bring Me The Head of Jerry Garcia", with Steinman credited as executive producer. The song's lyric says of Jerry Garcia, "he plays guitar like diarrhea".


title: Jim Steinman

text: After a series of financial and legal disputes during the 1980s, Steinman and Meat Loaf met at the singer's house in Connecticut at Christmas 1989 or 1990 and sang "Bat out of Hell" on piano. Steinman says that "working together again seemed like the cool thing to do."


title: Jim Steinman

text: In 1993, the album "" was released. Steinman wrote all the songs, and was credited as producer and arranger. Steven Rinkoff was, as usual, credited as co-producer, and others received co-producer credits. The album was successful, reaching the peak position on album charts in many countries. The album had three top 40 singles, with "I'd Do Anything for Love (But I Won't Do That)" reaching the peak position on pop singles charts in 28 countries. The other top 40 singles from this album were "Rock and Roll Dreams Come Through" and "Objects in the Rear View Mirror May Appear Closer than They Are".


title: Jim Steinman

text: "Original Sin", the eponymous song on the 1989 Pandora's Box album, featured on the soundtrack album for the film "The Shadow" (1994). The lyric on this release was slightly different from that heard on the original release of this song. Steinman also produced this version, with lead vocals by Taylor Dayne.


title: Jim Steinman

text: In 1995, the band Watershed released the album "Twister". Steinman was executive producer for the album, and Steinman's partner Steven Rinkoff was producer for all but one track of it. The album consisted of songs written by the band members.


title: Jim Steinman

text: In 1995, Bonnie Tyler released the album "Free Spirit", featuring two tracks produced and written by Steinman. They were dance versions of the past hits "Two Out of Three Ain't Bad" and "Making Love Out of Nothing at All".


title: Jim Steinman

text: Steinman, along with Brothers in Rhythm and David James, with Steven Rinkoff as associate producer and engineer, co-produced the song "Never Forget". It was written by Gary Barlow, for the British group Take That. It was released on the album "Nobody Else" (1995) and reached the No. 1 position on the UK singles chart. Like many Steinman/Rinkoff productions, it featured programming and keyboard work by Jeff Bova.


title: Jim Steinman

text: Celine Dion's album "Falling into You" (1996) included the song "It's All Coming Back to Me Now", written and produced by Steinman. He also produced, but not authored, two other songs on the album: "River Deep, Mountain High" and "Call the Man". "It's All Coming Back to Me Now" reached No. 2 on the Billboard charts and won Steinman the award for BMI song of the year. That award is given for the song, out of all those represented in the BMI catalog, that receives the most radio airplay in a particular year. This album as a whole won two 1997 Grammy Awards, for Best Pop Album and for Album of the Year. Steinman also produced the track "Us", written by Billy Pace, for Dion's album "Let's Talk About Love" (1997). Steinman's production team prepared a recording of the Steinman/Black song "Is Nothing Sacred" for that album, but it was removed shortly before the album's release. A recording of Dion singing the song was leaked and has been shared on fan websites.


title: Jim Steinman

text: Steinman produced two tracks for films in the late 1990s. He produced "In the Dark of the Night", written by Stephen Flaherty and Lynn Ahrens, for the soundtrack album of the film "Anastasia" (1997). He also produced "I Want to Spend My Lifetime Loving You" (music by James Horner, lyric by Will Jennings) for the film "The Mask of Zorro" (1998). Lead vocals were a duet between Tina Arena and Marc Anthony, and the track also appeared on Tina Arena's album "In Deep" (1997).


title: Jim Steinman

text: No later than 1996, Steinman worked on a movie musical titled "Bat Out of Hell 2100". This was a predecessor to "", and it built upon the storyline of Steinman's "Neverland" musical from the 1970s. This movie was not made. A script for "Bat Out of Hell 2100" was leaked, and has been available among fans on the internet. Steinman also made demos for "Bat Out of Hell 2100". Those include Kyle Gordon a.k.a. Scarpia singing "All Revved Up With No Place To Go" with an alternate lyric, Ellen Foley singing a song titled "City Night", and Marcus Lovett singing "Total Eclipse of the Heart". "City Night" incorporates material from "Come With Me" from "Tanz der Vampire" and "Dance of the Vampires", which uses the melody from "New Orleans is Comin' To Me" from "The Confidence Man" and "The Future Ain't What It Used To Be". Recordings of all three of those demos have been leaked and circulated among fans on the internet.


title: Jim Steinman

text: Steinman provided lyrics for Andrew Lloyd Webber's musical "Whistle Down the Wind", which opened in Washington, D.C. in December 1996. However, it received poor reviews and the Broadway run, scheduled for the following April, was cancelled. A reworked and more successful West End production opened at the Aldwych Theatre on July 1, 1998. In addition to a full-length cast album for the London production, an album was released of well-known performers singing pop versions of the songs from the show. This album was produced by Steinman, as usual with Steven Rinkoff. Those performers include Tom Jones, Tina Arena, Boyzone, Elaine Paige, Donny Osmond, The Everly Brothers, Meat Loaf, Boy George, Sounds of Blackness, Bonnie Tyler, Michael Ball, and Lottie Mayor. One track, "No Matter What" performed by Boyzone, reached the peak position on the pop charts in many countries. The same track appeared on a Boyzone album and their greatest hits album. As of 2019, Boyzone's 1998 recording of "No Matter What" is the most recent new song or project written at least in part by Steinman, or to contain any new work of his at all, to achieve major, chart-topping success. The track "Whistle Down the Wind", performed by Tina Arena, from the same album, also had some chart success. There was also a single released in the UK for charity, of children from Red Hill Primary School and Sylvia Young Theatre School performing "When Children Rule The World". The singers were named the Red Hill Children, and the single peaked at No. 40 on the UK singles chart.


title: Jim Steinman

text: "Tanz der Vampire" ("Dance of the Vampires"), opened in Vienna, Austria on October 4, 1997. The show was adapted from Roman Polanski's movie "The Fearless Vampire Killers" (1967), and initially directed by Polanski himself. It won six International musical awards, at the International Musical Award Germany (IMAGE 1998), in Düsseldorf. There have been translated productions of "Tanz der Vampire" in Estonia, Poland, Finland, Hungary and Japan. Many of the various productions of "Tanz der Vampire" have had cast recordings released, some of them produced by Steinman, along with other co-producers. Like much of Steinman's work, the show includes adaptation (or, recycling) of material Steinman had released before. This includes the song "Total Eclipse of the Heart", the melody of "Objects in the Rear View Mirror May Appear Closer than They Are", and many other parts of earlier works.


title: Jim Steinman

text: Ten previously released Steinman songs were included on the 2-disc compilation album "The Very Best of Meat Loaf" (1998). The included recording of the song "Life Is a Lemon and I Want My Money Back" was a new remix made by Steinman's production team. The compilation also included three new recordings of songs co-written by Steinman, all three of which he produced. They include the hybrid track "Home By Now/No Matter What" and "A Kiss Is a Terrible Thing to Waste" from "Whistle Down the Wind". Also included is the song "Is Nothing Sacred", on which Steinman wrote music for Don Black's lyrics.


title: Jim Steinman

text: In 2000, South African singer Jennifer Jones sang at the World Aids Day concert. Jones performed "The Future Ain't What It Used To Be". The World Aids Day concert was broadcast worldwide. For many people around the world, this was the first or only time they ever heard that song.


title: Jim Steinman

text: In 2001, the box set "Andrew Lloyd Webber: Now & Forever" was released. It included a recording, produced by Steinman and Andrew Lloyd Webber, and also co-produced by Steven Rinkoff and Nigel Wright, of the Steinman/Webber song "A Kiss Is a Terrible Thing to Waste", from "Whistle Down the Wind". It was credited to The Metal Philharmonic Orchestra, which was an unrealized performance project idea. Kyle Gordon, a.k.a. "Scarpia", a singer on many demo recordings for Steinman, sang the lead vocal.


title: Jim Steinman

text: Around 2001, Steinman was working with singer Karine Hannah. Plans to make an album with her were eventually abandoned. Demo recordings of Hannah singing four songs by Steinman were leaked to fans and have since been available on numerous fan sites. The songs on these demos are "Safe Sex", "Making Love Out of Nothing at All", "Is Nothing Sacred" and "Braver Than We Are". Steinman also recorded her voice on a demo of "Catwoman's Song", which recycled parts of the Steinman/Eldritch song "More". This demo was part of Steinman's preparations for the unrealized "Batman: The Musical". He shared it with fans through a website. In 2002, Russell Watson released the album "Encore". It included the Steinman/Black song "Is Nothing Sacred". Steinman had originally worked on his production of this song with Watson on lead vocals.


title: Jim Steinman

text: Composed by Michael Reed and Steinman, with a script by Warner Brown, "Garbo – the Musical", about the life of the late screen idol Greta Garbo, opened in Sweden to poor reviews in 2002. Preparation for a stage musical based on the Batman comic book series began early in the decade, with Steinman working on the music and lyrics. In August 2002, the "New York Post" reported that Warner Bros. signed Tim Burton to direct. According to an unnamed source Burton was attracted to the project because it was as dark as his 1989 film "Batman" rather than "the goofy, campy turn the franchise took with "Batman Forever" and "Batman and Robin", both of which were directed by Joel Schumacher." Steinman said about Burton and the project, "It's more like his first two movies than any of the other movies. It's very dark and gothic, but really wildly funny. It was my dream that he do this." However, Warner Bros. cancelled its plans to cast and stage the show. Steinman has since shared some of the song demos from the show via the Dream Pollution website. The Dream Engine has, according to its website and MySpace page, also worked on recordings of some of the songs that were in the show. That includes the songs "We're Still The Children We Were Then" and "Not Allowed To Love".


title: Jim Steinman

text: Steinman was executive producer for the 2003 MTV television film "Wuthering Heights". He has cited Emily Brontë's novel, which had inspired "It's All Coming Back to Me Now", as one of his favorites. A limited-release six-track soundtrack CD was sold through MTV, on Steinman and Rinkoff's Ravenous Records label. Jim Steinman is credited as producer for the album and most of its tracks, and Steven Rinkoff is credited with recording, mixing and co-production. That album includes a simple recording of the Steinman/Eldritch song "More" with actors Mike Vogel and Erika Christensen performing lead vocals. It also includes the first-ever release of the song "If It Ain't Broke (Break It)", written by Steinman, with lead vocals by Mike Vogel. The album also has a version of "The Future Ain't What It Used to Be" by Jim Steinman with lead vocals from Erika Christensen.


title: Jim Steinman

text: In 2002, the Opera Babes released the album "Beyond Imagination". Steinman produced the track "Vittoria!", adapted from the Giuseppe Verdi opera "Aida". Steven Rinkoff was credited with co-production, recording and mixing. Like many Steinman productions, it includes work by electronic-music arranger and programmer Jeff Bova. Steinman was also credited as arranger, along with Jeff Bova and Jon Cohen. In 2004, the film "Shrek 2" was released, along with a soundtrack album. The album has two dance covers of the Steinman/Pitchford song "Holding Out for a Hero", one with vocals by Jennifer Saunders and the other credited to Frou Frou.


title: Jim Steinman

text: In 2005, The Everly Brothers released a limited edition album titled "". This album included the song "A Kiss Is a Terrible Thing to Waste", written and produced by Steinman. The recording on that album was made in 1987, during the recording sessions that ended up being the 1989 album "Some Hearts". However, the Steinman song was not released until 2005. This song is different from the song with the same title in "Whistle Down the Wind". The two songs with this title share only a few words and no music in common, with the Everly Brothers version containing musical motifs recycled from the Steinman song "Out of the Frying Pan (And Into the Fire)". A demo recording of this song, with Rory Dodd singing lead vocals, has for many years been in circulation among fan websites. Steinman also wrote a later incarnation of "A Kiss Is A Terrible Thing To Waste", with partly different music and a partly different lyric. Steinman made a recording of this later incarnation with Gina Taylor, a.k.a. Gina Taylor-Pickens or Gina Taylor Pickens, singing the lead vocal. That recording was most likely made when the Pandora's Box album "Original Sin" was made, in the late 1980s, and has been in circulation among fans on the internet.


title: Jim Steinman

text: A separate and very different show from "Tanz der Vampire", "Dance of the Vampires" opened on Broadway on October 16, 2002. After the original director left the show, it was directed by John Rando, who joined very shortly before the opening. The book was written by David Ives and was notable for the large number of jokes, many of which had a silly or vulgar quality to them. Whereas Tanz had been a "sung-through" musical with no breaks in the music (like an opera), "Dance of the Vampires" was a humorous spoken play with songs inserted at some parts.


title: Jim Steinman

text: The reviews tended to be very negative. It closed on January 25, 2003 after 61 preview and 56 regular performances. Financially, it was very unsuccessful and lost roughly $17 million. Steinman did not attend the opening night, in order to show his disgust with the show. In his blog, Steinman also described the show as "DOTV, which you guys know I hated & was disgusted by, & was FIRED by my manager, acting as producer!" The manager he was referring to was David Sonenberg, who was one of the producers of the show and Steinman's longtime manager.


title: Jim Steinman

text: During the concerts in his "Hair of the Dog" tour, Meat Loaf told the audience that he and Steinman would be releasing a new album. Later, Meat Loaf said that "lawyers worked for over a year putting together a contract for Steinman to do "Bat Out of Hell III". It was one of the best producer's contracts in the history of the record business." According to Meat Loaf, the composer had suffered some health setbacks, including a heart attack. Ultimately, according to the singer, Steinman was not well enough to work on such an intense project. However, Steinman's manager refuted this version, saying that Steinman's "health is excellent" and although he had some "meaningful health problems about four years ago... he's been totally healthy the last couple of years... that's not the reason he didn't participate in ["Bat III"]".


title: Jim Steinman

text: Produced by Desmond Child, "" was released in October 2006. It has fourteen songs, seven of which were written by Steinman; five of these were covers of songs already released on other albums. The other two were adapted from Steinman's demos of songs that were intended for musical theater projects. Steinman's demo of "In the Land of the Pig, the Butcher is King", with Rob Evan singing lead vocal, was part of the preparations for the unrealized "Batman: The Musical" project. Steinman's demo of "Cry to Heaven", with Kyle Gordon singing lead vocal, was intended for the possibility that Steinman would provide songs for a musical based on the film "Cry-Baby". "Cry-Baby" has since been staged, but without any work from Steinman.


title: Jim Steinman

text: In 2006, the album's title became the subject of a legal battle between Steinman and Meat Loaf. Steinman had registered a trademark on the title "Bat Out of Hell" in 1995, and sought to prevent Meat Loaf from using the title. Meat Loaf sought to cancel Steinman's trademark and use the title. Aside from the trademark case, he sued Steinman and longtime manager David Sonenberg for $50 million each, for a total of $100 million. An out-of-court settlement was reached, ending the legal cases, allowing Meat Loaf to use the title for this album, and allowing Meat Loaf to release his recordings of the songs "In the Land of the Pig the Butcher Is King" and "Cry to Heaven". The agreement allowed Steinman to use the title "Jim Steinman's Bat Out of Hell" for a musical theatre project based on the songs from "Bat Out of Hell". This project was announced for opening on February 17, 2017 in Manchester.


title: Jim Steinman

text: In 2006, Westlife released "The Love Album". It contained a cover of "Total Eclipse of the Heart", produced by Steve Mac. A remix with an added intro, presumably done by Steinman, Rinkoff, and Bova, has leaked and been in circulation among fan sites.


title: Jim Steinman

text: First publicly presented in early 2006, Steinman and Steven Rinkoff created a music performance group named The Dream Engine. The group has worked on studio recordings and held live shows in New York City. It also performed at an award show in Atlanta, Georgia. The people in this project were the first ever to publicly perform the songs "What Part of My Body Hurts the Most", "We're Still the Children We Once Were", "Speaking in Tongues", "Not Allowed to Love" and "(It Hurts) Only When I Feel". The last of those songs is partly adapted from "If It Ain't Broke (Break It)". This project was also the first to perform a revised and politicized lyric to "Braver Than We Are". With the new lyric, the song alternatively has been called "An American Elegy" and "God's Gone A.W.O.L.". According to Steinman's blog, this project was "guided" by Steven Rinkoff. This project has not performed or been active in public since 2006.


title: Jim Steinman

text: In January 2012, it was announced that Steinman was working with Terry Jones of Monty Python fame on a heavy metal version of "The Nutcracker". In February of the same year, it was announced that he would be inducted into the Songwriters Hall of Fame on June 14. On April 10, 2012, Amherst College announced that Steinman would receive an honorary degree at the college's 191st commencement on May 20. However, honorary degrees are awarded only in person, and Steinman "had to cancel due to unforeseen circumstances". On April 17, 2013, the college announced that Steinman would speak at a "conversation" on campus that will be open to the public on May 25, and would receive an honorary degree, a doctorate of humane letters, at the college's 192nd commencement on May 26. In April 2013, Meat Loaf said that he and Steinman will collaborate on three new songs to be included on Meat Loaf's album "Braver Than We Are", which was (at the time) to be released in 2015. In 2016, Jim Steinman was inducted into the Long Island Music Hall of Fame.


title: Jim Steinman

text: Meat Loaf's album "Braver Than We Are" was released in Europe on September 9, 2016, and in North America on September 16, 2016. It contains ten songs composed by Steinman. Jim Steinman wrote either nothing or almost nothing specifically for this album. Paul Crook produced this album. Like Desmond Child's "", this album was made separately from the production team of Jim Steinman and Steven Rinkoff. Rob Evan was the first singer to perform the songs "Only When I Feel" and "Speaking in Tongues", in 2005 and 2006. The track "Going All The Way" is a mixture of some previously released material, some previously leaked material, and a little bit of material neither previously released nor previously leaked. Part of "Going All the Way" is in the song "Braver Than We Are/Say A Prayer" from "Dance of the Vampires". Part of it is in a leaked demo of Karine Hannah singing, titled "Braver Than We Are". A small minority of it is not in the leaked demo of Karine Hannah singing or in "Dance of the Vampires". "Loving You's a Dirty Job (But Somebody's Got To Do It)" is a cover of the released recording of Bonnie Tyler and Todd Rundgren. "More" is a cover of the released recording of The Sisters of Mercy. The tracks "Who Needs The Young", "Souvenirs", "Godz", "Skull of Your Country", and "Train of Love" are all covers of unreleased recordings that Steinman made in the 1970s. Recordings from the 1970s of all of those songs have been in circulation among fans on the internet.


title: Jim Steinman

text: In February 2017, Steinman's "Bat Out of Hell The Musical" opened for previews at the Manchester Opera House in Manchester, England, then officially premiered at the same venue, then continuing on to the London Coliseum in June. This musical was based on multiple projects, including Steinman's "Neverland" musical from the 1970s, the hit albums "Bat Out of Hell", "", and on assorted other recordings from Steinman's career. This musical did not contain any songs that had not been performed in public by the summer of the year 2006, though two songs - "Not Allowed to Love" and "What Part of My Body Hurts the Most" had never been released on any albums or singles at that point. The musical performed at Toronto's Ed Mirvish Theatre, then finished in January 2018 to make a return to London in 2018, this time the Dominion Theatre. A German version of the show was produced by Stage Entertainment, and ran at Oberhausen's Metronom Theatre from November 2018 to September 2019. The Oberhausen production featured Willemijn Verkaik in the role of Sloane on launch, but she left the show at the end of March 2019. Steinman had also set an American tour of the musical to take place starting in late 2018 through 2019 but it was cancelled after its 3-week run in the first city Toronto was complete. The musical began a limited six week run in New York City's Center Theatre from August 1 to September 8, 2019.


title: Jim Steinman

text: A cast recording album for "Bat Out Of Hell: The Musical" co-produced by Steinman, Steven Rinkoff, and Michael Reed was released in October 2017 on the BOOH Label, which was created specifically for this album. The album was first distributed in Canada to coincide with the show's run in Toronto, then later was released again via Ghostlight Records in July 2018, both as a worldwide digital release and on CD for sale in the UK to coincide with the show's run at the Dominion Theatre, London. The cast album features the vocals of the show's cast in Manchester, with Andrew Polec and Christina Bennington leading in their roles as Strat and Raven, Rob Fowler and Sharon Sexton as Falco and Sloane, and Danielle Steers and Dom Hartley-Harris as Zahara and Jagwire. Of this original cast, only Andrew Polec, Christina Bennington and Danielle Steers remained with the show from opening in Manchester in 2017 through to complete the NYC run in 2019.


title: Jim Steinman

text: In 2017, Velvet Valve Records was preparing to release music with Karine Hannah singing. In March 2017, Velvet Valve Records digitally released a recording of Hannah singing "Braver Than We Are". This recording is different from the recording of Hannah singing "Braver Than We Are" from the early 2000s. Plans to release an album with Hannah after the single, possibly to be titled "Renegade Angel", were abandoned.


title: Jim Steinman

text: Responding to an interviewer's assertion that his songs are tragic, Steinman said he has "never been stomped on literally. Figuratively, I am stomped on every day ... anyway, that is the way I feel sometimes. I've never had my heart broken the way you are talking about. I've never been dumped... but probably because I don't allow myself to be dumped."


title: Jim Steinman

text: At the time of his death, Steinman lived in Ridgefield, Connecticut. According to the "New York Times", Steinman lived alone in his 6000 square foot house described as a "majestic museum of the self, attached to a quaint cottage in the woods of Ridgefield. He spent years expanding and reimagining the house, transforming it into an embodiment of his own eccentric, complicated personality."


title: Jim Steinman

text: Steinman had a stroke in 2004 and temporarily lost the ability to speak. He had another stroke four years prior to his death.


title: Jim Steinman

text: Per the death certificate from the Connecticut Department of Health, Steinman died from kidney failure at a hospital in Danbury, Connecticut, on April 19, 2021, at age 73. Upon Steinman's death, rock writer Paul Stenning said he left a "tremendous legacy", referring to him as "the greatest ever composer of symphonic rock" and citing him as an influence on a variety of bands across many genres.


title: Jim Steinman

text: His frequent collaborator Meat Loaf reacted to Steinman's death by saying, "We didn't "know" each other, we "were" each other."


title: Estuary

text: An estuary is a partially enclosed coastal body of brackish water with one or more rivers or streams flowing into it, and with a free connection to the open sea. Estuaries form a transition zone between river environments and maritime environments and are an example of an ecotone. Estuaries are subject both to marine influences such as tides, waves, and the influx of saline water, and to fluvial influences such as flows of freshwater and sediment. The mixing of seawater and freshwater provides high levels of nutrients both in the water column and in sediment, making estuaries among the most productive natural habitats in the world.


title: Estuary

text: Most existing estuaries formed during the Holocene epoch with the flooding of river-eroded or glacially scoured valleys when the sea level began to rise about 10,000–12,000 years ago. Estuaries are typically classified according to their geomorphological features or to water-circulation patterns. They can have many different names, such as bays, harbors, lagoons, inlets, or sounds, although some of these water bodies do not strictly meet the above definition of an estuary and could be fully saline.


title: Estuary

text: Many estuaries suffer degeneration from a variety of factors including soil erosion, deforestation, overgrazing, overfishing and the filling of wetlands. Eutrophication may lead to excessive nutrients from sewage and animal wastes; pollutants including heavy metals, polychlorinated biphenyls, radionuclides and hydrocarbons from sewage inputs; and diking or damming for flood control or water diversion.


title: Estuary

text: The word "estuary" is derived from the Latin word "aestuarium" meaning tidal inlet of the sea, which in itself is derived from the term "aestus", meaning tide. There have been many definitions proposed to describe an estuary. The most widely accepted definition is: "a semi-enclosed coastal body of water, which has a free connection with the open sea, and within which seawater is measurably diluted with freshwater derived from land drainage". However, this definition excludes a number of coastal water bodies such as coastal lagoons and brackish seas.


title: Estuary

text: A more comprehensive definition of an estuary is "a semi-enclosed body of water connected to the sea as far as the tidal limit or the salt intrusion limit and receiving freshwater runoff; however the freshwater inflow may not be perennial, the connection to the sea may be closed for part of the year and tidal influence may be negligible". This broad definition also includes fjords, lagoons, river mouths, and tidal creeks. An estuary is a dynamic ecosystem having a connection to the open sea through which the sea water enters with the rhythm of the tides. The effects of tides on estuaries can show nonlinear effects on the movement of water which can have important impacts on the ecosystem and waterflow. The seawater entering the estuary is diluted by the fresh water flowing from rivers and streams. The pattern of dilution varies between different estuaries and depends on the volume of freshwater, the tidal range, and the extent of evaporation of the water in the estuary.


title: Estuary

text: Drowned river valleys are also known as coastal plain estuaries. In places where the sea level is rising relative to the land, sea water progressively penetrates into river valleys and the topography of the estuary remains similar to that of a river valley. This is the most common type of estuary in temperate climates. Well-studied estuaries include the Severn Estuary in the United Kingdom and the Ems Dollard along the Dutch-German border.


title: Estuary

text: The width-to-depth ratio of these estuaries is typically large, appearing wedge-shaped (in cross-section) in the inner part and broadening and deepening seaward. Water depths rarely exceed . Examples of this type of estuary in the U.S. are the Hudson River, Chesapeake Bay, and Delaware Bay along the Mid-Atlantic coast, and Galveston Bay and Tampa Bay along the Gulf Coast.


title: Estuary

text: Bar-built estuaries are found in a place where the deposition of sediment has kept pace with rising sea levels so that the estuaries are shallow and separated from the sea by sand spits or barrier islands. They are relatively common in tropical and subtropical locations.


title: Estuary

text: These estuaries are semi-isolated from ocean waters by barrier beaches (barrier islands and barrier spits). Formation of barrier beaches partially encloses the estuary, with only narrow inlets allowing contact with the ocean waters. Bar-built estuaries typically develop on gently sloping plains located along tectonically stable edges of continents and marginal sea coasts. They are extensive along the Atlantic and Gulf coasts of the U.S. in areas with active coastal deposition of sediments and where tidal ranges are less than . The barrier beaches that enclose bar-built estuaries have been developed in several ways:


title: Estuary

text: Fjords were formed where Pleistocene glaciers deepened and widened existing river valleys so that they become U-shaped in cross-sections. At their mouths there are typically rocks, bars or sills of glacial deposits, which have the effects of modifying the estuarine circulation.


title: Estuary

text: Fjord-type estuaries are formed in deeply eroded valleys formed by glaciers. These U-shaped estuaries typically have steep sides, rock bottoms, and underwater sills contoured by glacial movement. The estuary is shallowest at its mouth, where terminal glacial moraines or rock bars form sills that restrict water flow. In the upper reaches of the estuary, the depth can exceed . The width-to-depth ratio is generally small. In estuaries with very shallow sills, tidal oscillations only affect the water down to the depth of the sill, and the waters deeper than that may remain stagnant for a very long time, so there is only an occasional exchange of the deep water of the estuary with the ocean. If the sill depth is deep, water circulation is less restricted, and there is a slow but steady exchange of water between the estuary and the ocean. Fjord-type estuaries can be found along the coasts of Alaska, the Puget Sound region of western Washington state, British Columbia, eastern Canada, Greenland, Iceland, New Zealand, and Norway.


title: Estuary

text: These estuaries are formed by subsidence or land cut off from the ocean by land movement associated with faulting, volcanoes, and landslides. Inundation from eustatic sea-level rise during the Holocene Epoch has also contributed to the formation of these estuaries. are only a small number of tectonically produced estuaries; one example is the San Francisco Bay, which was formed by the crustal movements of the San Andreas fault system causing the inundation of the lower reaches of the Sacramento and San Joaquin rivers.


title: Estuary

text: In this type of estuary, river output greatly exceeds marine input and tidal effects have minor importance. Freshwater floats on top of the seawater in a layer that gradually thins as it moves seaward. The denser seawater moves landward along the bottom of the estuary, forming a wedge-shaped layer that is thinner as it approaches land. As a velocity difference develops between the two layers, shear forces generate internal waves at the interface, mixing the seawater upward with the freshwater. An example of a salt wedge estuary is the Mississippi River.


title: Estuary

text: As tidal forcing increases, river output becomes less than the marine input. Here, current induced turbulence causes mixing of the whole water column such that salinity varies more longitudinally rather than vertically, leading to a moderately stratified condition. Examples include the Chesapeake Bay and Narragansett Bay.


title: Estuary

text: Tidal mixing forces exceed river output, resulting in a well-mixed water column and the disappearance of the vertical salinity gradient. The freshwater-seawater boundary is eliminated due to the intense turbulent mixing and eddy effects. The lower reaches of Delaware Bay and the Raritan River in New Jersey are examples of vertically homogeneous estuaries.


title: Estuary

text: Inverse estuaries occur in dry climates where evaporation greatly exceeds the inflow of freshwater. A salinity maximum zone is formed, and both riverine and oceanic water flow close to the surface towards this zone. This water is pushed downward and spreads along the bottom in both the seaward and landward direction. An example of an inverse estuary is Spencer Gulf, South Australia.


title: Estuary

text: Estuary type varies dramatically depending on freshwater input, and is capable of changing from a wholly marine embayment to any of the other estuary types.


title: Estuary

text: The most important variable characteristics of estuary water are the concentration of dissolved oxygen, salinity and sediment load. There is extreme spatial variability in salinity, with a range of near-zero at the tidal limit of tributary rivers to 3.4% at the estuary mouth. At any one point, the salinity will vary considerably over time and seasons, making it a harsh environment for organisms. Sediment often settles in intertidal mudflats which are extremely difficult to colonize. No points of attachment exist for algae, so vegetation based habitat is not established. Sediment can also clog feeding and respiratory structures of species, and special adaptations exist within mudflat species to cope with this problem. Lastly, dissolved oxygen variation can cause problems for life forms. Nutrient-rich sediment from man-made sources can promote primary production life cycles, perhaps leading to eventual decay removing the dissolved oxygen from the water; thus hypoxic or anoxic zones can develop.


title: Estuary

text: Nitrogen is often the lead cause of eutrophication in estuaries in temperate zones. During a eutrophication event, biogeochemical feedback decreases the amount of available silica. These feedbacks also increase the supply of nitrogen and phosphorus, creating conditions where harmful algal blooms can persist. Given the now off-balance nitrogen cycle, estuaries can be driven to phosphorus limitation instead of nitrogen limitation. Estuaries can be severely impacted by an unbalanced phosphorus cycle, as phosphorus interacts with nitrogen and silica availability.


title: Estuary

text: With an abundance of nutrients in the ecosystem, plants and algae overgrow and eventually decompose, which produce a significant amount of carbon dioxide. While releasing into the water and atmosphere, these organisms are also intaking all or nearly all of the available oxygen creating a hypoxic environment and unbalanced oxygen cycle. The excess carbon in the form of can lead to low pH levels and ocean acidification, which is more harmful for vulnerable coastal regions like estuaries.


title: Estuary

text: Eutrophication has been seen to negatively impact many plant communities in estuarine ecosystems. Salt marshes are a type of ecosystem in some estuaries that have been negatively impacted by eutrophication. Cordgrass vegetation dominates the salt marsh landscape. Excess nutrients allow the plants to grow at greater rates in above ground biomass, however less energy is allocated to the roots since nutrients is abundant. This leads to a lower biomass in the vegetation below ground which destabilizes the banks of the marsh causing increased rates of erosion. A similar phenomenon occurs in mangrove swamps, which are another potential ecosystem in estuaries. An increase in nitrogen causes an increase in shoot growth and a decrease in root growth. Weaker root systems cause a mangrove tree to be less resilient in seasons of drought, which can lead to the death of the mangrove. This shift in above ground and below ground biomass caused by eutrophication could hindered plant success in these ecosystems.


title: Estuary

text: Across all biomes, eutrophication often results in plant death but the impacts do not end there. Plant death alters the entire food web structure which can result in the death of animals within the afflicted biome. Estuaries are hotspots for biodiversity, containing a majority of commercial fish catch, making the impacts of eutrophication that much greater within estuaries. Some specific estuarine animals feel the effects of eutrophication more strongly than others. One example is the whitefish species from the European Alps. Eutrophication reduced the oxygen levels in their habitats so greatly that whitefish eggs could not survive, causing local extinctions. However, some animals, such as carnivorous fish, tend to do well in nutrient poor environments and can benefit from eutrophication. This can be seen in populations of bass or pikes.


title: Estuary

text: Eutrophication can affect many marine habitats which can lead to economic consequences. The commercial fishing industry relies upon estuaries for approximately 68 percent of their catch by value because of the great biodiversity of this ecosystem. During an algal bloom, fishermen have noticed a significant increase in the quantity of fish. A sudden increase in primary productivity causes spikes in fish populations which leads to more oxygen being utilized. It is the continued deoxygenation of the water that then causes a decline in fish populations. These effects can begin in estuaries and have a wide effect on the surrounding water bodies.  In turn, this can decrease fishing industry sales in one area and across the country. Production in 2016 from recreational and commercial fishing contributes billions of dollars to the United States’ gross domestic product (GDP). A decrease in production within this industry can affect any of the 1.7 million people the fishing industry employs yearly across the United States.


title: Estuary

text: Estuaries are incredibly dynamic systems, where temperature, salinity, turbidity, depth and flow all change daily in response to the tides. This dynamism makes estuaries highly productive habitats, but also make it difficult for many species to survive year-round. As a result, estuaries large and small experience strong seasonal variation in their fish communities. In winter, the fish community is dominated by hardy marine residents, and in summer a variety of marine and anadromous fishes move into and out of estuaries, capitalizing on their high productivity. Estuaries provide a critical habitat to a variety of species that rely on estuaries for life-cycle completion. Pacific Herring ("Clupea pallasii") are known to lay their eggs in estuaries and bays, surfperch give birth in estuaries, juvenile flatfish and rockfish migrate to estuaries to rear, and anadromous salmonids and lampreys use estuaries as migration corridors. Also, migratory bird populations, such as the black-tailed godwit, rely on estuaries.


title: Estuary

text: Two of the main challenges of estuarine life are the variability in salinity and sedimentation. Many species of fish and invertebrates have various methods to control or conform to the shifts in salt concentrations and are termed osmoconformers and osmoregulators. Many animals also burrow to avoid predation and to live in a more stable sedimental environment. However, large numbers of bacteria are found within the sediment which has a very high oxygen demand. This reduces the levels of oxygen within the sediment often resulting in partially anoxic conditions, which can be further exacerbated by limited water flow.


title: Estuary

text: Phytoplankton are key primary producers in estuaries. They move with the water bodies and can be flushed in and out with the tides. Their productivity is largely dependent upon the turbidity of the water. The main phytoplankton present are diatoms and dinoflagellates which are abundant in the sediment.


title: Estuary

text: It is important to remember that a primary source of food for many organisms on estuaries, including bacteria, is detritus from the settlement of the sedimentation.


title: Estuary

text: Of the thirty-two largest cities in the world in the early 1990s, twenty-two were located on estuaries.


title: Estuary

text: As ecosystems, estuaries are under threat from human activities such as pollution and overfishing. They are also threatened by sewage, coastal settlement, land clearance and much more. Estuaries are affected by events far upstream, and concentrate materials such as pollutants and sediments. Land run-off and industrial, agricultural, and domestic waste enter rivers and are discharged into estuaries. Contaminants can be introduced which do not disintegrate rapidly in the marine environment, such as plastics, pesticides, furans, dioxins, phenols and heavy metals.


title: Estuary

text: Such toxins can accumulate in the tissues of many species of aquatic life in a process called bioaccumulation. They also accumulate in benthic environments, such as estuaries and bay muds: a geological record of human activities of the last century. The elemental composition of biofilm reflect areas of the estuary impacted by human activities, and over time may shift the basic composition of the ecosystem, and the reversible or irreversible changes in the abiotic and biotic parts of the systems from the bottom up.


title: Estuary

text: For example, Chinese and Russian industrial pollution, such as phenols and heavy metals, has devastated fish stocks in the Amur River and damaged its estuary soil.


title: Estuary

text: Estuaries tend to be naturally eutrophic because land runoff discharges nutrients into estuaries. With human activities, land run-off also now includes the many chemicals used as fertilizers in agriculture as well as waste from livestock and humans. Excess oxygen-depleting chemicals in the water can lead to hypoxia and the creation of dead zones. This can result in reductions in water quality, fish, and other animal populations.


title: Estuary

text: Overfishing also occurs. Chesapeake Bay once had a flourishing oyster population that has been almost wiped out by overfishing. Oysters filter these pollutants, and either eat them or shape them into small packets that are deposited on the bottom where they are harmless. Historically the oysters filtered the estuary's entire water volume of excess nutrients every three or four days. Today that process takes almost a year, and sediment, nutrients, and algae can cause problems in local waters.


title: Gilles Deleuze

text: Gilles Louis René Deleuze ( , ; 18 January 1925 – 4 November 1995) was a French philosopher who, from the early 1950s until his death in 1995, wrote on philosophy, literature, film, and fine art. His most popular works were the two volumes of "Capitalism and Schizophrenia": "Anti-Oedipus" (1972) and "A Thousand Plateaus" (1980), both co-written with psychoanalyst Félix Guattari. His metaphysical treatise "Difference and Repetition" (1968) is considered by many scholars to be his magnum opus.


title: Gilles Deleuze

text: An important part of Deleuze's oeuvre is devoted to the reading of other philosophers: the Stoics, Leibniz, Hume, Kant, Nietzsche, and Bergson, with particular influence derived from Spinoza. A. W. Moore, citing Bernard Williams's criteria for a great thinker, ranks Deleuze among the "greatest philosophers". Although he once characterized himself as a "pure metaphysician", his work has influenced a variety of disciplines across the humanities, including philosophy, art, and literary theory, as well as movements such as post-structuralism and postmodernism.


title: Gilles Deleuze

text: Gilles Deleuze was born into a middle-class family in Paris and lived there for most of his life. His mother was Odette Camaüer and his father, Louis, was an engineer. His initial schooling was undertaken during World War II, during which time he attended the Lycée Carnot. He also spent a year in "khâgne" at the Lycée Henri IV. During the Nazi occupation of France, Deleuze's brother, three years his senior, Georges, was arrested for his participation in the French Resistance, and died while in transit to a concentration camp. In 1944, Deleuze went to study at the Sorbonne. His teachers there included several noted specialists in the history of philosophy, such as Georges Canguilhem, Jean Hyppolite, Ferdinand Alquié, and Maurice de Gandillac. Deleuze's lifelong interest in the canonical figures of modern philosophy owed much to these teachers.


title: Gilles Deleuze

text: Deleuze passed the agrégation in philosophy in 1948, and taught at various lycées (Amiens, Orléans, Louis le Grand) until 1957, when he took up a position at the University of Paris. In 1953, he published his first monograph, "Empiricism and Subjectivity", on David Hume. This monograph was based on his 1947 DES ("") thesis, roughly equivalent to an M.A. thesis, which was conducted under the direction of Jean Hyppolite and Georges Canguilhem. From 1960 to 1964, he held a position at the Centre National de Recherche Scientifique. During this time he published the seminal "Nietzsche and Philosophy" (1962) and befriended Michel Foucault. From 1964 to 1969, he was a professor at the University of Lyon. In 1968, Deleuze defended his two DrE dissertations amid the ongoing May 68 demonstrations; he later published his two dissertations under the titles "Difference and Repetition" (supervised by Gandillac) and "Expressionism in Philosophy: Spinoza" (supervised by Alquié).


title: Gilles Deleuze

text: In 1969, he was appointed to the University of Paris VIII at Vincennes/St. Denis, an experimental school organized to implement educational reform. This new university drew a number of well-known academics, including Foucault (who suggested Deleuze's hiring) and the psychoanalyst Félix Guattari. Deleuze taught at Paris VIII until his retirement in 1987.


title: Gilles Deleuze

text: Deleuze's outlook on life was sympathetic to transcendental ideas, "nature as god" ethics, and the monist experience. Some of the important ideas he advocated for and found inspiration in include his personally coined expression pluralism = monism, as well as the concepts of Being and Univocity. His thoughts were shaped by Spinoza's leanings and inclinations; for Deleuze, Spinoza was the "prince" or even the “Christ” of philosophers.


title: Gilles Deleuze

text: According to James Miller, Deleuze portrayed little visible interest in actually "doing" many of the risky things he so vividly conjured up in his lectures and writing. Married, with two children, he outwardly lived the life of a conventional French professor. He kept his fingernails untrimmed because, as he once explained, he lacked "normal protective fingerprints", and therefore could not "touch an object, particularly a piece of cloth, with the pads of my fingers without sharp pain".


title: Gilles Deleuze

text: When once asked to talk about his life, he replied: "Academics' lives are seldom interesting." Deleuze concludes his reply to this critic thus:


title: Gilles Deleuze

text: Deleuze, who had suffered from respiratory ailments from a young age, developed tuberculosis in 1968 and underwent lung removal. He suffered increasingly severe respiratory symptoms for the rest of his life. In the last years of his life, simple tasks such as writing required laborious effort. Overwhelmed by his respiratory problems, he committed suicide on 4 November 1995, throwing himself from the window of his apartment.


title: Gilles Deleuze

text: Before his death, Deleuze had announced his intention to write a book entitled "La Grandeur de Marx" ("The Greatness of Marx"), and left behind two chapters of an unfinished project entitled "Ensembles and Multiplicities" (these chapters have been published as the essays "Immanence: A Life" and "The Actual and the Virtual"). He is buried in the cemetery of the village of Saint-Léonard-de-Noblat.


title: Gilles Deleuze

text: Deleuze's works fall into two groups: on the one hand, monographs interpreting the work of other philosophers (Baruch Spinoza, Gottfried Wilhelm Leibniz, David Hume, Immanuel Kant, Friedrich Nietzsche, Henri Bergson, Michel Foucault) and artists (Marcel Proust, Franz Kafka, Francis Bacon); on the other, eclectic philosophical tomes organized by concept (e.g., difference, sense, events, schizophrenia, economy, cinema, desire, philosophy). However, both of these aspects are seen by his critics and analysts as often overlapping, in particular, due to his prose and the unique mapping of his books that allow for multifaceted readings.


title: Gilles Deleuze

text: Deleuze's main philosophical project in the works he wrote prior to his collaborations with Guattari can be summarized as an inversion of the traditional metaphysical relationship between identity and difference. Traditionally, difference is seen as derivative from identity: e.g., to say that "X is different from Y" assumes some X and Y with at least relatively stable identities (as in Plato's forms). On the contrary, Deleuze claims that all identities are effects of difference. Identities are neither logically nor metaphysically prior to difference, Deleuze argues, "given that there exist differences of nature between things of the same genus." That is, not only are no two things ever the same, the categories we use to identify individuals in the first place derive from differences. Apparent identities such as "X" are composed of endless series of differences, where "X" = "the difference between x and xformula_1", and "xformula_1" = "the difference between...", and so forth. Difference, in other words, goes all the way down. To confront reality honestly, Deleuze argues, we must grasp beings exactly as they are, and concepts of identity (forms, categories, resemblances, unities of apperception, predicates, etc.) fail to attain what he calls "difference in itself." "If philosophy has a positive and direct relation to things, it is only insofar as philosophy claims to grasp the thing itself, according to what it is, in its difference from everything it is not, in other words, in its "internal difference"."


title: Gilles Deleuze

text: Like Kant, Deleuze considers traditional notions of space and time as unifying forms imposed by the subject. He, therefore, concludes that pure difference is non-spatiotemporal; it is an idea, what Deleuze calls "the virtual". (The coinage refers to Proust's definition of what is constant in both the past and the present: "real without being actual, ideal without being abstract.") While Deleuze's virtual ideas superficially resemble Plato's forms and Kant's ideas of pure reason, they are not originals or models, nor do they transcend possible experience; instead they are the conditions of actual experience, the internal difference in itself. "The concept they [the conditions] form is identical to its object." A Deleuzean idea or concept of difference is therefore not a wraith-like abstraction of an experienced thing, it is a real system of differential relations that creates actual spaces, times, and sensations.


title: Gilles Deleuze

text: Thus, Deleuze at times refers to his philosophy as a transcendental empiricism (), alluding to Kant. In Kant's transcendental idealism, experience only makes sense when organized by intuitions (namely, space and time) and concepts (such as causality). Assuming the content of these intuitions and concepts to be qualities of the world as it exists independently of our perceptual access, according to Kant, spawns seductive but senseless metaphysical beliefs (for example, extending the concept of causality beyond possible experience results in unverifiable speculation about a first cause). Deleuze inverts the Kantian arrangement: experience exceeds our concepts by presenting novelty, and this raw experience of difference actualizes an idea, unfettered by our prior categories, forcing us to invent new ways of thinking (see "Epistemology").


title: Gilles Deleuze

text: Simultaneously, Deleuze claims that being is univocal, i.e., that all of its senses are affirmed in one voice. Deleuze borrows the doctrine of "ontological univocity" from the medieval philosopher John Duns Scotus. In medieval disputes over the nature of God, many eminent theologians and philosophers (such as Thomas Aquinas) held that when one says that "God is good", God's goodness is only analogous to human goodness. Scotus argued to the contrary that when one says that "God is good", the goodness in question is exactly the same sort of goodness that is meant when one says "Jane is good". That is, God only differs from us in degree, and properties such as goodness, power, reason, and so forth are univocally applied, regardless of whether one is talking about God, a person, or a flea.


title: Gilles Deleuze

text: Deleuze adapts the doctrine of univocity to claim that being is, univocally, difference. "With univocity, however, it is not the differences which are and must be: it is being which is Difference, in the sense that it is said of difference. Moreover, it is not we who are univocal in a Being which is not; it is we and our individuality which remains equivocal in and for a univocal Being." Here Deleuze at once echoes and inverts Spinoza, who maintained that everything that exists is a modification of the one substance, God or Nature. For Deleuze, there is no one substance, only an always-differentiating process, an origami cosmos, always folding, unfolding, refolding. Deleuze summarizes this ontology in the paradoxical formula "pluralism = monism".


title: Gilles Deleuze

text: "Difference and Repetition" (1968) is Deleuze's most sustained and systematic attempt to work out the details of such a metaphysics, but his other works develop similar ideas. In "Nietzsche and Philosophy" (1962), for example, reality is a play of forces; in "Anti-Oedipus" (1972), a "body without organs"; in "What is Philosophy?" (1991), a "plane of immanence" or "chaosmos".


title: Gilles Deleuze

text: Deleuze's unusual metaphysics entails an equally atypical epistemology, or what he calls a transformation of "the image of thought". According to Deleuze, the traditional image of thought, found in philosophers such as Aristotle, René Descartes, and Edmund Husserl, misconceives thinking as a mostly unproblematic business. Truth may be hard to discover—it may require a life of pure theorizing, or rigorous computation, or systematic doubt—but thinking is able, at least in principle, to correctly grasp facts, forms, ideas, etc. It may be practically impossible to attain a God's-eye, neutral point of view, but that is the ideal to approximate: a disinterested pursuit that results in a determinate, fixed truth; an orderly extension of common sense. Deleuze rejects this view as papering over the metaphysical flux, instead claiming that genuine thinking is a violent confrontation with reality, an involuntary rupture of established categories. Truth changes what we think; it alters what we think is possible. By setting aside the assumption that thinking has a natural ability to recognize the truth, Deleuze says, we attain a "thought without image", a thought always determined by problems rather than solving them. "All this, however, presupposes codes or axioms which do not result by chance, but which do not have an intrinsic rationality either. It's just like theology: everything about it is quite rational if you accept sin, the immaculate conception, and the incarnation. Reason is always a region carved out of the irrational—not sheltered from the irrational at all, but traversed by it and only defined by a particular kind of relationship among irrational factors. Underneath all reason lies delirium, and drift."


title: Gilles Deleuze

text: "The Logic of Sense", published in 1969, is one of Deleuze's most peculiar works in the field of epistemology. Michel Foucault, in his essay "Theatrum Philosophicum" about the book, attributed this to how he begins with his metaphysics but approaches it through language and truth; the book is focused on "the simple condition that instead of denouncing metaphysics as the neglect of being, we force it to speak of extrabeing". In it, he refers to epistemological paradoxes: in the first series, as he analyzes Lewis Carroll's "Alice in Wonderland", he remarks that "the personal self requires God and the world in general. But when substantives and adjectives begin to dissolve, when the names of pause and rest are carried away by the verbs of pure becoming and slide into the language of events, all identity disappears from the self, the world, and God."


title: Gilles Deleuze

text: Deleuze's peculiar readings of the history of philosophy stem from this unusual epistemological perspective. To read a philosopher is no longer to aim at finding a single, correct interpretation, but is instead to present a philosopher's attempt to grapple with the problematic nature of reality. "Philosophers introduce new concepts, they explain them, but they don't tell us, not completely anyway, the problems to which those concepts are a response. [...] The history of philosophy, rather than repeating what a philosopher says, has to say what he must have taken for granted, what he didn't say but is nonetheless present in what he did say."


title: Gilles Deleuze

text: Likewise, rather than seeing philosophy as a timeless pursuit of truth, reason, or universals, Deleuze defines philosophy as the creation of concepts. For Deleuze, concepts are not identity conditions or propositions, but metaphysical constructions that define a range of thinking, such as Plato's ideas, Descartes's "cogito", or Kant's doctrine of the faculties. A philosophical concept "posits itself and its object at the same time as it is created." In Deleuze's view, then, philosophy more closely resembles practical or artistic production than it does an adjunct to a definitive scientific description of a pre-existing world (as in the tradition of John Locke or Willard Van Orman Quine).


title: Gilles Deleuze

text: In his later work (from roughly 1981 onward), Deleuze sharply distinguishes art, philosophy, and science as three distinct disciplines, each analyzing reality in different ways. While philosophy creates concepts, the arts create novel qualitative combinations of sensation and feeling (what Deleuze calls "percepts" and "affects"), and the sciences create quantitative theories based on fixed points of reference such as the speed of light or absolute zero (which Deleuze calls "functives"). According to Deleuze, none of these disciplines enjoy primacy over the others: they are different ways of organizing the metaphysical flux, "separate melodic lines in constant interplay with one another." For example, Deleuze does not treat cinema as an art representing an external reality, but as an ontological practice that creates different ways of organizing movement and time. Philosophy, science, and art are equally, and essentially, creative and practical. Hence, instead of asking traditional questions of identity such as "is it true?" or "what is it?", Deleuze proposes that inquiries should be functional or practical: "what does it do?" or "how does it work?"


title: Gilles Deleuze

text: In ethics and politics, Deleuze again echoes Spinoza, albeit in a sharply Nietzschean key. In a classical liberal model of society, morality begins from individuals, who bear abstract natural rights or duties set by themselves or a God. Following his rejection of any metaphysics based on identity, Deleuze criticizes the notion of an individual as an arresting or halting of differentiation (as the etymology of the word "individual" suggests). Guided by the naturalistic ethics of Spinoza and Nietzsche, Deleuze instead seeks to understand individuals and their moralities as products of the organization of pre-individual desires and powers.


title: Gilles Deleuze

text: In the two volumes of "Capitalism and Schizophrenia", "Anti-Oedipus" (1972) and "A Thousand Plateaus" (1980), Deleuze and Guattari describe history as a congealing and regimentation of "desiring-production" (a concept combining features of Freudian drives and Marxist labor) into the modern individual (typically neurotic and repressed), the nation-state (a society of continuous control), and capitalism (an anarchy domesticated into infantilizing commodification). Deleuze, following Karl Marx, welcomes capitalism's destruction of traditional social hierarchies as liberating but inveighs against its homogenization of all values to the aims of the market.


title: Gilles Deleuze

text: The first part of "Capitalism and Schizophrenia" undertakes a universal history and posits the existence of a separate socius (the social body that takes credit for production) for each mode of production: the earth for the tribe, the body of the despot for the empire, and capital for capitalism."


title: Gilles Deleuze

text: In his 1990 essay "Postscript on the Societies of Control" ("Post-scriptum sur les sociétés de contrôle"), Deleuze builds on Foucault's notion of the society of discipline to argue that society is undergoing a shift in structure and control. Where societies of discipline were characterized by discrete physical enclosures (such as schools, factories, prisons, office buildings, etc.), institutions and technologies introduced since World War II have dissolved the boundaries between these enclosures. As a result, social coercion and discipline have moved into the lives of individuals considered as "masses, samples, data, markets, or 'banks'." The mechanisms of modern societies of control are described as continuous, following and tracking individuals throughout their existence via transaction records, mobile location tracking, and other personally identifiable information.


title: Gilles Deleuze

text: But how does Deleuze square his pessimistic diagnoses with his ethical naturalism? Deleuze claims that standards of value are internal or immanent: to live well is to fully express one's power, to go to the limits of one's potential, rather than to judge what exists by non-empirical, transcendent standards. Modern society still suppresses difference and alienates people from what they can do. To affirm reality, which is a flux of change and difference, we must overturn established identities and so become all that we can become—though we cannot know what that is in advance. The pinnacle of Deleuzean practice, then, is creativity. "Herein, perhaps, lies the secret: to bring into existence and not to judge. If it is so disgusting to judge, it is not because everything is of equal value, but on the contrary, because what has value can be made or distinguished only by defying judgment. What expert judgment, in art, could ever bear on the work to come?"


title: Gilles Deleuze

text: Deleuze's studies of individual philosophers and artists are purposely heterodox. In "Nietzsche and Philosophy", for example, Deleuze claims that Nietzsche's "On the Genealogy of Morality" (1887) is an attempt to rewrite Kant's "Critique of Pure Reason" (1781), even though Nietzsche nowhere mentions the First Critique in the "Genealogy", and the "Genealogy"'s moral topics are far removed from the epistemological focus of Kant's book. Likewise, Deleuze claims that univocity is the organizing principle of Spinoza's philosophy, despite the total absence of the term from any of Spinoza's works. Deleuze once famously described his method of interpreting philosophers as "buggery ("enculage")", as sneaking behind an author and producing an offspring which is recognizably his, yet also monstrous and different.


title: Gilles Deleuze

text: The various monographs thus are not attempts to present what Nietzsche or Spinoza strictly intended, but re-stagings of their ideas in different and unexpected ways. Deleuze's peculiar readings aim to enact the creativity he believes is the acme of philosophical practice. A parallel in painting Deleuze points to is Francis Bacon's "Study after Velázquez"—it is quite beside the point to say that Bacon "gets Velasquez wrong". Similar considerations apply, in Deleuze's view, to his own uses of mathematical and scientific terms, "pace" critics such as Alan Sokal: "I'm not saying that Resnais and Prigogine, or Godard and Thom, are doing the same thing. I'm pointing out, rather, that there are remarkable similarities between scientific creators of functions and cinematic creators of images. And the same goes for philosophical concepts, since there are distinct concepts of these spaces."


title: Gilles Deleuze

text: Along with several French and Italian Marxist-inspired thinkers like Louis Althusser, Étienne Balibar, and Antonio Negri, he was one of the central figures in a great flowering of Spinoza studies in the late 20th and early 21st centuries continental philosophy (or the rise of French-inspired post-structuralist ) that was the second remarkable Spinoza revival in history, after highly significant Neo-Spinozism in German philosophy and literature of approximately the late 18th and early 19th centuries. A fervent Spinozist in many respects, Deleuze's preoccupation with and reverence for Spinoza are well known in contemporary philosophy.


title: Gilles Deleuze

text: From the 1930s onward, German philosopher Martin Heidegger wrote in a series of manuscripts and books on concepts of Difference, Identity, Representation, and Event; notably among these the "Beiträge zur Philosophie" "(Vom Ereignis)" (Written 1936-38; published posthumously 1989); none of the relevant texts were translated into French by Deleuze's death in 1995, excluding any strong possibility of appropriation. However, Heidegger's early work can be traced through mathematician Albert Lautman, who drew heavily from Heidegger's "Sein und Zeit" and "Vom Wesen des Grundes" (1928), which James Bahoh describes as having "...decisive influence on the twentieth century mathematician and philosopher [...] whose theory of dialectical Ideas Deleuze appropriated and modified for his own use." The similarities between Heidegger's later, post-turn, 1930-1976 thought and Deleuze's early works in the 60s and 70s are generally described by Deleuze-scholar Daniel W. Smith in the following way: ""Difference and Repetition" could be read as a response to "Being and Time" (for Deleuze, Being is difference, and time is repetition)."Bahoh continues in saying that: "...then "Beiträge" could be read as "Difference and Repetition"'s unknowing and anachronistic doppelgänger." Deleuze and Heidegger's philosophy is considered to converge on the topics of Difference and the Event. Where, for Heidegger, an evental being is constituted in part by difference as "...an essential dimension of the concept of event"; for Deleuze, being is difference, and difference "differentiates by way of events." In contrast, to this, however, Jussi Backman argues that, for Heidegger, being is united only insofar as it consists of and "is" difference, or rather as the movement of difference, not too dissimilar to Deleuze's later claims:"...the unity and univocity of being (in the sense of being), its 'selfsameness,' paradoxically consists exclusively in difference."This mutual apprehension of a differential, Evental ontology lead both thinkers into an extended critique of the representation characteristic to Platonic, Aristotelian, and Cartesian thought; as Joe Hughes states: ""Difference and Repetition" is a detective novel. It tells the story of what some readers of Deleuze might consider a horrendous crime [...]: the birth of representation." Heidegger formed his critiques most decisively in the concept of the fourfold ["German: das Geviert"], a non-metaphysical grounding for the thing (as opposed to "object") as "ungrounded, mediated, meaningful, and shared" united in an "event of appropriation" ["Ereignis"]. This evental ontology continues in "Identität und Differenz", where the fundamental concept expressed in "Difference and Repetition", of dethroning the primacy of identity, can be seen throughout the text. Even in earlier Heideggerian texts such as "Sein und Zeit", however, the critique of representation is "...cast in terms of the being of truth, or the processes of uncovering and covering (grounded in Dasein's existence) whereby beings come into and withdraw from phenomenal presence." In parallel, Deleuze's extended critique of representation (in the sense of detailing a "genealogy" of the antiquated beliefs as well) is given "...in terms of being or becoming as difference and repetition, together with genetic processes of individuation whereby beings come to exist and pass out of existence."


title: Gilles Deleuze

text: Time and space, for both thinkers, is also constituted in nearly identical ways. Time-space in the "Beiträge" and the three syntheses in "Difference and Repetition" both apprehend time as grounded in difference, whilst the distinction between the time-space of the world [Welt] and the time-space as the evental production of such a time-space is mirrored by Deleuze's categorization between the temporality of what is actual and temporality of the virtual in the first and the second/third syntheses respectively.


title: Gilles Deleuze

text: Another parallel can be found in their utilization of so-called "generative paradoxes," or rather problems whose fundamental problematic element is constantly outside the categorical grasp fond of formal, natural, and human sciences. For Heidegger, this is the Earth in the fourfold, something which has as one of its traits the behaviour of "resisting articulation," what he characterizes as a "strife"; for Deleuze, a similar example can be spotted in the paradox of regress, or of indefinite proliferation in the "Logic of Sense".


title: Gilles Deleuze

text: In the 1960s, Deleuze's portrayal of Nietzsche as a metaphysician of difference rather than a reactionary mystic contributed greatly to the plausibility and popularity of "left-wing Nietzscheanism" as an intellectual stance. His books "Difference and Repetition" (1968) and "The Logic of Sense" (1969) led Michel Foucault to declare that "one day, perhaps, this century will be called Deleuzian." (Deleuze, for his part, said Foucault's comment was "a joke meant to make people who like us laugh, and make everyone else livid.") In the 1970s, the "Anti-Oedipus", written in a style by turns vulgar and esoteric, offering a sweeping analysis of the family, language, capitalism, and history via eclectic borrowings from Freud, Marx, Nietzsche, and dozens of other writers, was received as a theoretical embodiment of the anarchic spirit of May 1968. In 1994 and 1995, "L'Abécédaire de Gilles Deleuze", an eight-hour series of interviews between Deleuze and Claire Parnet, aired on France's Arte Channel.


title: Gilles Deleuze

text: In the 1980s and 1990s, almost all of Deleuze's books were translated into English. Deleuze's work is frequently cited in English-speaking academia (in 2007, e.g., he was the 11th most frequently cited author in English-speaking publications in the humanities, between Freud and Kant). Like his contemporaries Foucault, Jacques Derrida, and Jean-François Lyotard, Deleuze's influence has been most strongly felt in North American humanities departments, particularly in literary theory, where "Anti-Oedipus" and "A Thousand Plateaus" are oft regarded as major statements of post-structuralism and postmodernism, though neither Deleuze nor Guattari described their work in those terms. Likewise in the English-speaking academy, Deleuze's work is typically classified as continental philosophy.


title: Gilles Deleuze

text: Deleuze has attracted critics as well. The following list is not exhaustive and gives only the briefest of summaries.


title: Gilles Deleuze

text: Among French philosophers, Vincent Descombes argues that Deleuze's account of a difference that is not derived from identity (in "Nietzsche and Philosophy") is incoherent, and that his analysis of history in "Anti-Oedipus" is 'utter idealism', criticizing reality for falling short of a non-existent ideal of schizophrenic becoming. According to Pascal Engel, Deleuze's metaphilosophical approach makes it impossible to reasonably disagree with a philosophical system, and so destroys meaning, truth, and philosophy itself. Engel summarizes Deleuze's metaphilosophy thus: "When faced with a beautiful philosophical concept you should just sit back and admire it. You should not question it." Alain Badiou claims that Deleuze's metaphysics only apparently embraces plurality and diversity, remaining at bottom monist. Badiou further argues that, in practical matters, Deleuze's monism entails an ascetic, aristocratic fatalism akin to ancient Stoicism.


title: Gilles Deleuze

text: Other European philosophers have criticized Deleuze's theory of subjectivity. For example, Manfred Frank claims that Deleuze's theory of individuation as a process of bottomless differentiation fails to explain the unity of consciousness. Slavoj Žižek claims that Deleuze's ontology oscillates between materialism and idealism, and that the Deleuze of "Anti-Oedipus" ("arguably Deleuze's worst book"), the "political" Deleuze under the "'bad' influence" of Guattari, ends up, despite protestations to the contrary, as "the ideologist of late capitalism". Žižek also calls Deleuze to task for allegedly reducing the subject to "just another" substance and thereby failing to grasp the nothingness that, according to Lacan and Žižek, defines subjectivity. What remains worthwhile in Deleuze's oeuvre, Žižek finds, are precisely Deleuze's engagements with virtuality as the product of negativity.


title: Gilles Deleuze

text: English-speaking philosophers have also criticized aspects of Deleuze's work. Stanley Rosen objects to Deleuze's interpretation of Nietzsche's eternal return. Todd May argues that Deleuze's claim that difference is ontologically primary ultimately contradicts his embrace of immanence, i.e., his monism. However, May believes that Deleuze can discard the primacy-of-difference thesis, and accept a Wittgensteinian holism without significantly altering his practical philosophy. Peter Hallward argues that Deleuze's insistence that being is necessarily creative and always-differentiating entails that his philosophy can offer no insight into, and is supremely indifferent to, the material, actual conditions of existence. Thus Hallward claims that Deleuze's thought is literally other-worldly, aiming only at a passive contemplation of the dissolution of all identity into the theophanic self-creation of nature.


title: Gilles Deleuze

text: In "Fashionable Nonsense" (1997), physicists Alan Sokal and Jean Bricmont accuse Deleuze of abusing mathematical and scientific terms, particularly by sliding between accepted technical meanings and his own idiosyncratic use of those terms in his works. Sokal and Bricmont state that they don't object to metaphorical reasoning, including with mathematical concepts, but mathematical and scientific terms are useful only insofar as they are precise. They give examples of mathematical concepts being "abused" by taking them out of their intended meaning, rendering the idea into normal language reduces it to truism or nonsense. In their opinion, Deleuze used mathematical concepts about which the typical reader might be not knowledgeable, and thus served to display erudition rather than enlightening the reader. Sokal and Bricmont state that they only deal with the "abuse" of mathematical and scientific concepts and explicitly suspend judgment about Deleuze's wider contributions.


title: Gilles Deleuze

text: Other scholars in continental philosophy, feminist studies and sexuality studies have taken Deleuze's analysis of the sexual dynamics of sadism and masochism with a level of uncritical celebration following the 1989 Zone Books translation of the 1967 booklet on Leopold von Sacher-Masoch, "Le froid et le cruel" (Coldness and Cruelty). As sexuality historian Alison M. Moore notes, Deleuze's own value placed on difference is poorly reflected in this booklet which fails to differentiate between Masoch's own view of his desire and that imposed upon him by the pathologizing forms of psychiatric thought prevailing in the late nineteenth century which produced the concept of 'masochism' (a term Masoch himself emphatically rejected).


title: Ibn Khaldun

text: Ibn Khaldun (; , ; 27 May 1332 – 17 March 1406, 732-808 AH) was an Arab sociologist, philosopher, and historian widely acknowledged to be one of the greatest social scientists of the Middle Ages, who made major contributions in the areas of historiography, sociology, economics, and demography.


title: Ibn Khaldun

text: His best-known book, the "Muqaddimah" or "Prolegomena" ("Introduction"), which he wrote in six months as he states in his autobiography, influenced 17th-century and 19th-century Ottoman historians such as Kâtip Çelebi, Mustafa Naima and Ahmed Cevdet Pasha, who used its theories to analyze the growth and decline of the Ottoman Empire. Ibn Khaldun interacted with Tamerlane, the founder of the Timurid Empire.


title: Ibn Khaldun

text: Recently, Ibn Khaldun's works have been compared with those of influential European philosophers such as Niccolò Machiavelli, Giambattista Vico, David Hume, G. W. F. Hegel, Karl Marx, and Auguste Comte as well as the economists David Ricardo and Adam Smith, suggesting that their ideas found precedent (although not direct influence) in his. He has also been influential on certain modern Islamic thinkers (e.g. those of the traditionalist school), as well as on Reaganomics.


title: Ibn Khaldun

text: Ibn Khaldun's life is relatively well-documented, as he wrote an autobiography (, "") (""Presenting Ibn Khaldun and his Journey West and East"") in which numerous documents regarding his life are quoted word-for-word.


title: Ibn Khaldun

text: Abdurahman bin Muhammad bin Muhammad bin Muhammad bin Al-Hasan bin Jabir bin Muhammad bin Ibrahim bin Abdurahman bin Ibn Khaldun al-Hadrami, generally known as "Ibn Khaldūn" after a remote ancestor, was born in Tunis in AD 1332 (732 AH) into an upper-class Andalusian family of Arab descent, the family's ancestor was a Hadhrami who shared kinship with Waíl ibn Hujr, a companion of the Islamic prophet Muhammad. His family, which held many high offices in Al-Andalus, had emigrated to Tunisia after the fall of Seville to the Reconquista in AD 1248. Although some of his family members had held political office in the Tunisian Hafsid dynasty, his father and grandfather later withdrew from political life and joined a mystical order. His brother, Yahya Khaldun, was also a historian who wrote a book on the Abdalwadid dynasty and was assassinated by a rival for being the official historiographer of the court.


title: Ibn Khaldun

text: In his autobiography, Khaldun traces his descent back to the time of Muhammad through an Arab tribe from the south of the Arabian Peninsula, specifically the Hadhramaut, which came to the Iberian Peninsula in the 8th century, at the beginning of the Islamic conquest: "And our ancestry is from Hadhramaut, from the Arabs of Arabian Peninsula, via Wa'il ibn Hujr also known as Hujr ibn 'Adi, from the best of the Arabs, well-known and respected." (p. 2429, Al-Waraq's edition).


title: Ibn Khaldun

text: However, the modern biographer Mohammad Enan emphasised the unclear origins of Ibn Khaldun relying on the fact that Ibn Khaldun's criticism of Arabs might be a valid reason to cast doubt on his Arab origin. On the other hand, Ibn Khaldun's insistence and attachment to his claim of Arab ancestry at a time of Berber dynasties domination is also a valid reason to believe his claim.


title: Ibn Khaldun

text: His family's high rank enabled Ibn Khaldun to study with prominent teachers in Maghreb. He received a classical Islamic education, studying the Quran, which he memorized by heart, Arabic linguistics; the basis for understanding the Qur'an, hadith, sharia (law) and fiqh (jurisprudence). He received certification (ijazah) for all of those subjects. The mathematician and philosopher Al-Abili of Tlemcen introduced him to mathematics, logic and philosophy, and he studied especially the works of Averroes, Avicenna, Razi and Tusi. At the age of 17, Ibn Khaldūn lost both his parents to the Black Death, an intercontinental epidemic of the plague that hit Tunis in 1348–1349.


title: Ibn Khaldun

text: Following family tradition, he strove for a political career. In the face of a tumultuous political situation in North Africa, that required a high degree of skill in developing and dropping alliances prudently to avoid falling with the short-lived regimes of the time. Ibn Khaldūn's autobiography is the story of an adventure, in which he spends time in prison, reaches the highest offices and falls again into exile.


title: Ibn Khaldun

text: At the age of 20, he began his political career in the chancellery of the Tunisian ruler Ibn Tafrakin with the position of "Kātib al-'Alāmah" (seal-bearer), which consisted of writing in fine calligraphy the typical introductory notes of official documents. In 1352, Abū Ziad, the sultan of Constantine, marched on Tunis and defeated it. Ibn Khaldūn, in any case unhappy with his respected but politically meaningless position, followed his teacher Abili to Fez. There, the Marinid sultan, Abū Inan Fares I, appointed him as a writer of royal proclamations, but Ibn Khaldūn still schemed against his employer, which, in 1357, got the 25-year-old a 22-month prison sentence. Upon the death of Abū Inan in 1358, Vizier al-Hasān ibn-Umar granted him freedom and reinstated him to his rank and offices. Ibn Khaldūn then schemed against Abū Inan's successor, Abū Salem Ibrahim III, with Abū Salem's exiled uncle, Abū Salem. When Abū Salem came to power, he gave Ibn Khaldūn a ministerial position, the first position to correspond with Ibn Khaldūn's ambitions.


title: Ibn Khaldun

text: The treatment that Ibn Khaldun received after the fall of Abū Salem through Ibn-Amar ʻAbdullah, a friend of Ibn Khaldūn's, was not to his liking, as he received no significant official position. At the same time, Amar successfully prevented Ibn Khaldūn, whose political skills he knew well, from allying with the Abd al-Wadids in Tlemcen. Ibn Khaldūn, therefore, decided to move to Granada. He could be sure of a positive welcome there since at Fez, he had helped the Sultan of Granada, the Nasrid Muhammad V, regain power from his temporary exile. In 1364, Muhammad entrusted him with a diplomatic mission to the king of Castile, Pedro the Cruel, to endorse a peace treaty. Ibn Khaldūn successfully carried out this mission and politely declined Pedro's offer to remain at his court and have his family's Spanish possessions returned to him.


title: Ibn Khaldun

text: In Granada, Ibn Khaldūn quickly came into competition with Muhammad's vizier, Ibn al-Khatib, who viewed the close relationship between Muhammad and Ibn Khaldūn with increasing mistrust. Ibn Khaldūn tried to shape the young Muhammad into his ideal of a wise ruler, an enterprise that Ibn al-Khatib thought foolish and a danger to peace in the country. History proved al-Khatib right, and at his instigation, Ibn Khaldūn was eventually sent back to North Africa. Al-Khatib himself was later accused by Muhammad of having unorthodox philosophical views and murdered despite an attempt by Ibn Khaldūn to intercede on behalf of his old rival.


title: Ibn Khaldun

text: In his autobiography, Ibn Khaldūn tells little about his conflict with Ibn al-Khatib and the reasons for his departure. Orientalist Muhsin Mahdi interprets that as showing that Ibn Khaldūn later realised that he had completely misjudged Muhammad V.


title: Ibn Khaldun

text: Back in Ifriqiya, the Hafsid sultan of Bougie, Abū ʻAbdallāh, who had been his companion in prison, received him with great enthusiasm and made Ibn Khaldūn his prime minister. Ibn Khaldūn carried out a daring mission to collect taxes among the local Berber tribes. After the death of Abū ʻAbdallāh in 1366, Ibn Khaldūn changed sides once again and allied himself with the Sultan of Tlemcen, Abū l-Abbas. A few years later, he was taken prisoner by Abu Faris Abdul Aziz, who had defeated the sultan of Tlemcen and seized the throne. He then entered a monastic establishment and occupied himself with scholastic duties until 1370. In that year, he was sent for to Tlemcen by the new sultan. After the death of ʻAbdu l-Azīz, he resided at Fez, enjoying the patronage and confidence of the regent.


title: Ibn Khaldun

text: Ibn Khaldūn's political skills and, above all, his good relationship with the wild Berber tribes were in high demand among the North African rulers, but he had begun to tire of politics and constantly switching allegiances. In 1375, he was sent by Abū Hammu, the ʻAbdu l Wadid Sultan of Tlemcen, on a mission to the Dawadida Arabs tribes of Biskra. After his return to the West, Ibn Khaldūn sought refuge with one of the Berber tribes in the west of Algeria, in the town of Qalat Ibn Salama. He lived there for over three years under their protection, taking advantage of his seclusion to write the "Muqaddimah" "Prolegomena", the introduction to his planned history of the world. In Ibn Salama, however, he lacked the necessary texts to complete the work. Therefore, in 1378, he returned to his native Tunis, which had meanwhile been conquered by Abū l-Abbas, who took Ibn Khaldūn back into his service. There, he devoted himself almost exclusively to his studies and completed his history of the world. His relationship with Abū l-Abbas remained strained, as the latter questioned his loyalty. That was brought into sharp contrast after Ibn Khaldūn presented him with a copy of the completed history that omitted the usual panegyric to the ruler. Under pretence of going on the Hajj to Mecca, something for which a Muslim ruler could not simply refuse permission, Ibn Khaldūn was able to leave Tunis and to sail to Alexandria.