title: Matthew Judon

text: Matthew Judon (born August 15, 1992) is an American football linebacker for the New England Patriots of the National Football League (NFL). He played college football at Grand Valley State, where he set the Division II record for sacks, and was selected by the Baltimore Ravens in the fifth round of the 2016 NFL Draft. During his five seasons with the Ravens, Judon received two consecutive Pro Bowl selections. He joined the Patriots in 2021 and earned Pro Bowl honors for a third consecutive season.


title: Matthew Judon

text: Judon received an invitation to the East–West Shrine Game, but was unable to play after an arthroscopy discovered what was characterized as a "tweaked meniscus". He was one of sixty-five defensive linemen to receive an invitation to the NFL combine and the first player from Grand Valley State to receive an invite in two years and opted to attend. Judon showed athleticism and strength, finishing top among defensive linemen in the 40-yard dash (fifth), bench press (fifth), and vertical jump (fourth). On March 15, 2016, he participated at Grand Valley State's pro day, along with four other teammates. Team representatives and scouts from 26 NFL teams attended his pro day as Judon ran positional drills and opted to stand on his combine numbers. He had an impressive workout and raised his draft stock, receiving much praise from scouts who attended. Throughout the pre-draft process, Judon had private workouts and meetings with the Carolina Panthers, New England Patriots, Arizona Cardinals, New Orleans Saints, Tampa Bay Buccaneers, and Philadelphia Eagles . At the conclusion of the pre-draft process, he was projected to be a fourth round pick by NFL draft experts and scouts. Although he showed a great combination of strength and athleticism, his fourth round grade was mainly due to teams being skeptical over his ability to transfer his skills to the professional game since he played Division II football in college and concerns over his history of injuries. He was ranked as the 14th best defensive end prospect by NFLDraftScout.com.


title: Matthew Judon

text: The Baltimore Ravens selected Judon in the fifth round (146th overall) of the 2016 NFL Draft. He was the third edge rusher the Ravens drafted in 2016, behind Boise State's Kamalei Correa (second round, 42nd overall) and BYU's Bronson Kaufusi (third round, 70th overall).


title: Matthew Judon

text: On May 5, 2016, the Baltimore Ravens signed Judon to a four-year, $2.59 million contract with a signing bonus of $255,736.


title: Matthew Judon

text: The Baltimore Ravens opted to make Judon an outside linebacker since their 3-4 scheme would better suit him at that position over defensive end. He competed with Terrell Suggs, Elvis Dumervil, Albert McClellan,


title: Matthew Judon

text: Za'Darius Smith, Kamalei Correa, Chris Carter, and Victor Ochi throughout training camp for a job as a starting outside linebacker. Head coach John Harbaugh named him the backup weakside linebacker behind veterans Terrell Suggs and Za'Darius Smith to begin the regular season.


title: Matthew Judon

text: He made his professional regular season debut in the Baltimore Ravens' season-opener against the Buffalo Bills and assisted on one tackle in their 13–7 victory. Judon was inactive for Weeks 4-5 despite playing well in the first three games as the Ravens decided to play Elvis Dumervil who had recovered from his foot injury. On October 23, 2016, Judon recorded three combined tackles and made two sacks on New York Jets' quarterbacks Ryan Fitzpatrick and Geno Smith in their 24–16 loss. His first career sack on Geno Smith in the second quarter caused Smith to tear his ACL and miss the remainder of the season. During a Week 14 matchup at the New England Patriots, Judon recorded a season-high five combined tackles in their 30–23 loss. He finished the season with 27 combined tackles (12 solo), four sacks, and two pass deflections in 14 games and zero starts. Judon played minimally due to a lot of depth at the position and the Ravens staff wanting to develop.


title: Matthew Judon

text: He competed with Albert McClellan, Terrell Suggs, Za'Darius Smith, Tyus Bowser, Boseko Lokombo, and Tim Williams throughout training camp for the vacant starting outside linebacker job left by the departure of Elvis Dumervil in free agency. On August 26, 2017, he recorded four solo tackles and sacked Buffalo Bills' quarterback Tyrod Taylor in their 13–9 victory. Judon was named the Baltimore Ravens' starting strongside linebacker, beating out rookie Tyus Bowser, to begin the season.


title: Matthew Judon

text: Judon made his first career start in the Baltimore Ravens' season-opener at the Cincinnati Bengals and made one solo tackle and defended a pass in the Ravens' 20–0 victory. During a Week 2 against the Cleveland Browns, Judon recovered a fumble by quarterback DeShone Kizer, that help set up the Ravens' offense on an eventual touchdown scoring drive in the 24–10 victory. On October 15, 2017, Judon recorded a career-high 14 combined tackles (12 solo) and sacked Chicago Bears' quarterback Mitchell Trubisky twice in their 27–24 loss. On November 19, 2017, he collected seven combined tackles, two sacks, and forced a fumble during the Ravens' 23–0 win against the Green Bay Packers, earning him AFC Defensive Player of the Week. He finished the season playing in all 16 games with 12 starts, recording 60 combined tackles (50 solo), eight sacks, three passes defensed and two forced fumbles. His eight sacks finished second on the team behind Terrell Suggs' 11 sacks.


title: Matthew Judon

text: In 2018, Judon played in 16 games with eight starts, finishing tied for second on the team with seven sacks, along with 44 combined tackles, three passes defensed, and a forced fumble.


title: Matthew Judon

text: In week 11 against the Houston Texans, Judon recorded a team high 7 tackles and 2 sacks on Deshaun Watson, one of which was a strip sack on that was recovered by teammate Jaylon Ferguson, in the 41–7 win.


title: Matthew Judon

text: In week 14 against the Buffalo Bills, Judon sacked Josh Allen 1.5 times, including a strip sack which was recovered by Jihad Ward during the 24–17 win which clinched a playoff berth.


title: Matthew Judon

text: In week 17 against the Pittsburgh Steelers, Judon recorded a strip sack on Devlin Hodges which was recovered by teammate Michael Pierce during the 28–10 win.


title: Matthew Judon

text: The Ravens placed the franchise tag on Judon on March 13, 2020. On May 28, 2020, Judon signed the one-year, $16.808 million franchise tender. In Week 4 against the Washington Football Team, Judon recorded his first two sacks of the season on Dwayne Haskins during the 31–17 win.


title: Matthew Judon

text: In Week 8 against the Pittsburgh Steelers, Judon was ejected from the game after making contact with an official. He was placed on the reserve/COVID-19 list by the team on November 3, 2020, and activated two days later. He was placed back on the COVID-19 list on November 30, and activated again on December 9. In Week 15 against the Jacksonville Jaguars, Judon recorded a sack on Gardner Minshew in the endzone for a safety during the 40–14 win.


title: Matthew Judon

text: On March 19, 2021, Judon signed a four-year, $56 million contract with the New England Patriots. Judon surpassed his career high in sacks by Week 11, earning him Pro Bowl honors for a third consecutive season.


title: Matthew Judon

text: In Week 5, Judon had two sacks in a 29-0 win over the Detroit Lions, earning AFC Defensive Player of the Week. Judon surpassed his career high in sacks by Week 11 against the New York Jets, recording 1.5 sacks and reaching 13 on the year.


title: Matthew Judon

text: Judon is one of ten children. At Grand Valley State, he wore the number 9 to honor his nine siblings. When the NFL changed uniform rules to allow defensive linemen to wear single-digit numbers in 2021, he chose it for his uniform number with the Patriots.


title: Maktoum bin Mohammed Al Maktoum

text: Sheikh Maktoum bin Mohammed bin Rashid Al Maktoum (; born 24 November 1983) is the Minister of Finance of the United Arab Emirates, Deputy Ruler of Dubai and Chairman of Dubai Media Incorporated. He was named as deputy ruler in February 2008 when his elder brother Hamdan was made crown prince. He served as deputy ruler alongside his uncle Sheikh Hamdan bin Rashid Al Maktoum until the latter's death in March 2021. Since then, he has been the sole deputy ruler under his father Mohammed bin Rashid Al Maktoum's reign. In September 2021, he was appointed Deputy Prime Minister and Finance Minister of the UAE.


title: Maktoum bin Mohammed Al Maktoum

text: Maktoum bin Mohammed bin Rashid Al Maktoum is also the Chairman of Dubai Knowledge Park, formerly known as Dubai Knowledge Village, inaugurated in 2003.


title: Maktoum bin Mohammed Al Maktoum

text: Maktoum was born on 24 November 1983 in Dubai. He is the third son of Dubai's ruler, Sheikh Mohammed bin Rashid Al Maktoum with his wife Sheikha Hind bint Maktoum bin Juma Al Maktoum. While he is his mother's third son, he is his father's tenth child and fourth son. He completed his high school at Rashid School for Boys, Dubai, and graduated from the American University in Dubai with a bachelor's degree in Business Administration in 2005. He attended numerous training courses in the Dubai School of Government, as well as Harvard University.


title: Maktoum bin Mohammed Al Maktoum

text: Sheikh Maktoum chairs the Board of Directors of Dubai Media Incorporated and serves as the Chairman of Dubai Technology and Media Free Zone Authority (TECOM Investments). Sheikh Maktoum has accompanied the President of the United Arab Emirates, Sheikh Khalifa bin Zayed Al Nahyan, to numerous conferences, summits and official visits. He has also accompanied Sheikh Mohammed to several Gulf, Arab and international political and economic conferences.


title: Maktoum bin Mohammed Al Maktoum

text: On 15 May 2019, he married Maryam bint Butti Al Maktoum, on the same day that his brothers Hamdan and Ahmad also married. On 6 June 2019, he and his brothers celebrated the royal wedding together at the Dubai World Trade Center. Together with his wife, he has a daughter named Hind bint Maktoum bin Mohammed bin Rashid Al Maktoum. She was born on 24 November 2020; her father's thirty-seventh birthday. Their second daughter Latifa was born in January 2022.


title: Maktoum bin Mohammed Al Maktoum

text: In 2021, Mohammed bin Rashid Al Maktoum, the ruler of Dubai, assigned Maktoum bin Mohammed bin Rashid Al Maktoum to supervise the financial markets and stock exchanges in Dubai. In November 2021, Maktoum bin Mohammed listed Dubai's road toll system Salik on the Dubai Financial Market.


title: Maktoum bin Mohammed Al Maktoum

text: He was appointed Chairman of the Dubai Culture and Arts Authority (DCAA) in 2015. The DCAA is also known as Dubai Culture and is tasked with managing the heritage of Dubai.


title: Maktoum bin Mohammed Al Maktoum

text: In November 2021, Maktoum formed the Dubai Markets Supervisory Committee, which he chairs, to develop strategy and policy for the Dubai Financial Market.


title: Maktoum bin Mohammed Al Maktoum

text: Also in November 2021, he launched the Future District Fund, worth AED 1 billion, to invest in technology start-ups and incentivizing technology companies to list in the Dubai Financial Market. The Fund's set target was to establish 1,000 companies within five years of its setup. Maktoum appointed Sharif El-Badawi as CEO of the Future District Fund.


title: Maktoum bin Mohammed Al Maktoum

text: In October 2021, Maktoum bin Mohammed bin Rashid Al Maktoum, along with his father and three brothers, launched the Hatta Master Development Plan to develop the Hatta region as a business and tourism hub.


title: Maktoum bin Mohammed Al Maktoum

text: The Sheikh Maktoum bin Mohammed bin Rashid Al Maktoum Cambridge ICT Awards recognize outstanding academic achievements among students in the UAE based on Cambridge IGCSE, AS Level and A Level examinations. The awards also honor inspirational teachers.


title: John Wood (English actor)

text: John Wood (5 July 1930 – 6 August 2011) was an English actor, known for his performances in Shakespeare and his lasting association with Tom Stoppard. In 1976, he received a Tony Award for Best Actor in a Play for his performance in Stoppard's "Travesties". He was nominated for two other Tony Awards for his roles in "Sherlock Holmes" (1975) and "Rosencrantz and Guildenstern Are Dead" (1968).


title: John Wood (English actor)

text: In 2007, Wood was appointed a Commander of the Order of the British Empire in the Queen's New Year Honours List. Wood also appeared in "WarGames", "The Purple Rose of Cairo", "Orlando", "Shadowlands", "The Madness of King George", "Richard III", "Sabrina", and "Chocolat".


title: John Wood (English actor)

text: Wood was born on 5 July 1930 in Derbyshire. He was educated at Bedford School. He did his national service as a lieutenant with the Royal Artillery. During his time of service, he was invalided out after being accidentally shot in the back. Later during his service, he was almost killed during a Jeep accident.


title: John Wood (English actor)

text: He studied law at Jesus College, Oxford where he was president of the Oxford University Dramatic Society. He had seen John Gielgud as Angelo in Peter Brook's (1950) and Stratford-Upon-Avon production of "Measure for Measure." After seeing the productions Wood stated"," "and suddenly knew what I wanted to do". During the Mansfield College Gardens production of "Twelfth Night" he played the role of Malvolio alongside Maggie Smith starring as Viola. "Oxford Mail" described his performance as "looking as lean, lanky and statuesque as Don Quixote."


title: John Wood (English actor)

text: He directed and starred in a student production of "Richard III" where he invited one of the leading critics of the time, Harold Hobson, to the performance. He told Hobson that he would be "wanting in his duties" to ignore a Richard III that was "finer than Olivier's". Out of curiosity, Hobson went to the performance and reported that he had seen "something not to be missed." Hobson described Wood's performance saying, "He had a sardonic, amused condescension and visible superiority complex", and the critic foresaw "a considerable future". Wood graduated from Oxford in 1953.


title: John Wood (English actor)

text: In 1954, he joined the Old Vic company performing a number of small roles over the span of two years as the company staged the complete First Folio of Shakespeare plays. Wood dismissively described these roles as "the cheapest way of getting a Shakespearean costume on stage", although Kenneth Tynan thought his Lennox to Paul Rogers' Macbeth "cut like a razor through the stubble of fustian". Other roles included Bushy and Exton in "Richard II", Sir Oliver Martext in "As You Like It", Pistol in "The Merry Wives of Windsor" , and Helenus in "Troilus and Cressida ."


title: John Wood (English actor)

text: Wood made his West End debut as Don Quixote in Peter Hall's staging of Tennessee Williams's "Camino Real" (Phoenix, 1957). He then joined George Devine's English Stage Company, which at the time was about to change the course of new British drama at the Royal Court. Wood read scripts, co-directed a Sunday production, and appeared in Nigel Dennis's "The Making of Moo" (1957). Wood returned to the West End in Peter Hall's production of "The Brouhaha" (Aldwych, 1958), in which he had only a small part; but as Peter Sellers's understudy he played a leading role 15 times.


title: John Wood (English actor)

text: Despairing of a successful career, he rejected several offers from Hall in the early 1960s to join the newly formed Royal Shakespeare Company. Where he chose to appear on television in "A Tale of Two Cities" and "Barnaby Rudge," along with other production. He returned to the West End in 1961 as Henry Albertson in the whimsical off-Broadway musical, "The Fantasticks", at the Apollo. Most of the next six years were spent in a variety of films and TV programs. Three of his last TV performances were in short plays written by Tom Stoppard for "Thirty Minute Theatre": "Teeth" (February 1967), "Another Moon Called Earth" (28 June 1967), and "The Bird Who Knew Too Much" (February 1967), an episode of "The Avengers".


title: John Wood (English actor)

text: His association with Stoppard brought him back to the stage. In his New York debut Wood played Guildenstern in the Broadway premiere of Stoppard's "Rosencrantz and Guildenstern Are Dead". Wood's performance as Guildenstern earned a Tony nomination. While in America, he starred in two Jerry Lewis films, "One More Time" and "Which Way to the Front?". Wood recalled of Lewis: "He taught me never to be afraid to take a risk. There was only one response, laughter, to the most horrific, cruel thing you can imagine."


title: John Wood (English actor)

text: He returned to England to play Frederick the Great in Romulus Linney's "The Sorrows of Frederick" at the Birmingham Rep in 1970. The same year he had his first real London success in Harold Pinter's revival of James Joyce's "Exiles". His performance as Richard Rowan, a self-tortured author with a need to be deceived by his wife, won the Bancroft Gold Medal award in 1970 for Most Promising Actor.


title: John Wood (English actor)

text: Wood joined the Royal Shakespeare Company at the Aldwych Theatre in 1971 under Peter Hall, where he remained for several seasons. In 1971, he played Yakov Bardin in Maxim Gorky's "Enemies". His 1972 performance as Brutus in "Julius Caesar" was his breakthrough performance. At the RSC he also played Sir Fopling Flutter in George Etherege's Restoration comedy "The Man of Mode", Mark in Jean Genet's "The Balcony", and a narcissistic Saturninus in "Titus Andronicus". After the two Roman plays, Wood was acclaimed "the most intellectually exciting actor in Britain" by Sheridan Morley.


title: John Wood (English actor)

text: He made a "spindly, lecherous and slightly manic husband" in John Mortimer's "Collaborators" (Garrick, 1973) alongside Glenda Jackson. Returning to the RSC he took the title role in William Gillette's 1899 drama "Sherlock Holmes". The RSC took the production to Broadway in late 1974, attracting his second Tony nomination in 1975. It was the start of a seven year period alternating between London and New York City.


title: John Wood (English actor)

text: Before transferring to America, Wood took on the role of the diplomat Henry Carr in the 1974 premiere of Tom Stoppard's "Travesties". Stoppard wrote the part of Carr specifically for Wood, meaning Trevor Nunn was able to secure "Travesties" for the RSC. As Carr, Wood alternated between the dual roles of a querulous geriatric and his younger snobbish self remembering his encounters with James Joyce, Tristan Tzara, and Lenin in 1917 Zurich. Wood was awarded the Evening Standard Best Actor award. "Travesties" transferred to Broadway at the Ethel Barrymore Theatre in 1975, and Wood won a Tony Award in 1976 and a Drama Desk Award for his performance.


title: John Wood (English actor)

text: At the RSC in 1976 with Tom Conti, Bob Hoskins, T.P. McKenna, and Zoë Wanamaker, he took the lead as General Bugoyne, in George Bernard Shaw's "The Devil's Disciple." He also had the title role in "the ideal midlife crisis play", as Chekhov's "Ivanov". In 1977, he took the role of the lunatic Ivanov, who imagines he owns an orchestra, in Tom Stoppard and André Previn's political oratorio "Every Good Boy Deserves Favour", directed by Trevor Nunn at the Royal Festival Hall. In autumn 1977 he played the title role in a Broadway production of "Tartuffe" (translated by Richard Wilbur) at Circle in the Square Theatre. In 1978, Wood was in the Broadway success, "Deathtrap" in which he originated the role of Sidney Bruhl, a murderous playwright. Explaining his decision to take the part (a more commercial and contemporary venture than he was normally associated with), Wood told "Newsweek", "I just wanted to get onstage in ordinary pants and do one-liners." His performance won the 1978 Outer Critics Circle Outstanding Actor in a Play award. Wood returned to London as Richard III in a 1979 National Theatre production of the Shakespeare play, but his performance received mixed reviews. At the National Theatre at the same time he was also in Arthur Schnitzler's "Undiscovered Country." Wood returned to Broadway in November 1981, taking over for Ian McKellen as Salieri in Peter Shaffer's "Amadeus" until spring 1982.


title: John Wood (English actor)

text: From 1983 and 1986, he acted in a variety of Hollywood films, including "WarGames" (1983), "The Purple Rose of Cairo" (1984), "Ladyhawke" (1985), and "Jumpin' Jack Flash" (1986). He then played the Player in the 1987 New York revival of "Rosencrantz and Guildenstern Are Dead". Wood then returned to England and the RSC for three towering roles over the next three years. In 1988 he played an acclaimed a successful Prospero in Nicholas Hyner's production of "The Tempest". The critic Irving Wardle said that Wood, "lit up the text like an electric storm, and simply had no rival as a source of nervous energy on a stage." Michael Billington wrote that Wood's Prospero "struck me as the best I had ever seen". His Solness in Adrian Noble's 1989 production of Ibsen's "The Master Builder" was as critically lauded. In the same 1989 RSC season he played Sheridan Whiteside in "The Man Who Came to Dinner" directed by Gene Saks.


title: John Wood (English actor)

text: His King Lear in Nicholas Hytner's 1990 production was called his "crowning achievement" with one of his most compelling performances, in which Michael Billington claimed, "No actor has also brought out King Lear's emotional anarchy: I've never forgotten how Wood, having issued the most terrifying threats to Goneril, suddenly rushed up to embrace her.". His performance won the Evening Standard award for Best Actor of 1991. In that RSC season, he also played Don Armado in Terry Hands production of "Love's Labour's Lost".


title: John Wood (English actor)

text: Thereafter, Wood appeared in far fewer plays but returned to playing character roles in films and television. This included "Shadowlands" (1993), Nicholas Hytner's "The Madness of King George" (1994), "Sabrina" (1995), and Ian McKellen's fascist-themed "Richard III" (1995). He also played Baron de Charlus in the 1997 radio adaptation of Harold Pinter's screenplay of Marcel Proust's "A la Recherche du Temps Perdu".


title: John Wood (English actor)

text: In 1994, he played the East End gangster in Philip Ridley's "Ghost from a Perfect Place" at the Hampstead theatre. Wood returned to the National Theatre in 1997 for Richard Eyre's production of "The Invention of Love" by Tom Stoppard. Wood played the aging classical scholar and poet A.E. Housman in a role written specifically for him by Stoppard, and for which he received a nomination for an Olivier Award.


title: John Wood (English actor)

text: He played Spooner at the National Theatre in 2001 in Harold Pinter's, "No Man's Land". He last appeared on stage in 2005 at the National Theatre in both parts of "Henry IV". He was supposed to appear in the Robert Altman-directed "Resurrection Blues" by Arthur Miller at the Old Vic but had to withdraw because of illness. Wood made his last television appearance guesting on "Lewis" in 2007.


title: Break-even (economics)

text: The break-even point (BEP) in economics, business—and specifically cost accounting—is the point at which total cost and total revenue are equal, i.e. "even". There is no net loss or gain, and one has "broken even", though opportunity costs have been paid and capital has received the risk-adjusted, expected return. In short, all costs that must be paid are paid, and there is neither profit nor loss.


title: Break-even (economics)

text: The break-even point (BEP) or break-even level represents the sales amount—in either unit (quantity) or revenue (sales) terms—that is required to cover total costs, consisting of both fixed and variable costs to the company. Total profit at the break-even point is zero. It is only possible for a firm to pass the break-even point if the dollar value of sales is higher than the variable cost per unit. This means that the selling price of the goods must be higher than what the company paid for the good or its components for them to cover the initial price they paid (variable and fixed costs). Once they surpass the break-even price, the company can start making a profit.


title: Break-even (economics)

text: The break-even point is one of the most commonly used concepts of financial analysis, and is not only limited to economic use, but can also be used by entrepreneurs, accountants, financial planners, managers and even marketers. Break-even points can be useful to all avenues of a business, as it allows employees to identify required outputs and work towards meeting these.


title: Break-even (economics)

text: The break-even value is not a generic value as such and will vary dependent on the individual business. Some businesses may have a higher or lower break-even point. However, it is important that each business develop a break-even point calculation, as this will enable them to see the number of units they need to sell to cover their variable costs. Each sale will also make a contribution to the payment of fixed costs as well.


title: Break-even (economics)

text: For example, a business that sells tables needs to make annual sales of 200 tables to break-even. At present the company is selling fewer than 200 tables and is therefore operating at a loss. As a business, they must consider increasing the number of tables they sell annually in order to make enough money to pay fixed and variable costs.


title: Break-even (economics)

text: If the business does not think that they can sell the required number of units, they could consider the following options:


title: Break-even (economics)

text: 1. Reduce the fixed costs. This could be done through a number or negotiations, such as reductions in rent payments, or through better management of bills or other costs.


title: Break-even (economics)

text: 2. Reduce the variable costs, (which could be done by finding a new supplier that sells tables for less).


title: Break-even (economics)

text: Either option can reduce the break-even point so the business need not sell as many tables as before, and could still pay fixed costs.


title: Break-even (economics)

text: The main purpose of break-even analysis is to determine the minimum output that must be exceeded for a business to profit. It also is a rough indicator of the earnings impact of a marketing activity. A firm can analyze ideal output levels to be knowledgeable on the amount of sales and revenue that would meet and surpass the break-even point. If a business doesn't meet this level, it often becomes difficult to continue operation.


title: Break-even (economics)

text: The break-even point is one of the simplest, yet least-used analytical tools. Identifying a break-even point helps provide a dynamic view of the relationships between sales, costs, and profits. For example, expressing break-even sales as a percentage of actual sales can help managers understand when to expect to break even (by linking the percent to when in the week or month this percent of sales might occur).


title: Break-even (economics)

text: The break-even point is a special case of Target Income Sales, where Target Income is 0 (breaking even). This is very important for financial analysis. Any sales made past the breakeven point can be considered profit (after all initial costs have been paid)


title: Break-even (economics)

text: Break-even analysis can also provide data that can be useful to the marketing department of a business as well, as it provides financial goals that the business can pass on to marketers so they can try to increase sales.


title: Break-even (economics)

text: Break-even analysis can also help businesses see where they could re-structure or cut costs for optimum results. This may help the business become more effective and achieve higher returns. In many cases, if an entrepreneurial venture is seeking to get off of the ground and enter into a market it is advised that they formulate a break-even analysis to suggest to potential financial backers that the business has the potential to be viable and at what points.


title: Break-even (economics)

text: In the linear Cost-Volume-Profit Analysis model (where marginal costs and marginal revenues are constant, among other assumptions), the break-even point (BEP) (in terms of Unit Sales (X)) can be directly computed in terms of Total Revenue (TR) and Total Costs (TC) as:


title: Break-even (economics)

text: The quantity, formula_2, is of interest in its own right, and is called the Unit Contribution Margin (C): it is the marginal profit per unit, or alternatively the portion of each sale that contributes to Fixed Costs. Thus the break-even point can be more simply computed as the point where Total Contribution = Total Fixed Cost:


title: Break-even (economics)

text: To calculate the break-even point in terms of revenue (a.k.a. currency units, a.k.a. sales proceeds) instead of Unit Sales (X), the above calculation can be multiplied by Price, or, equivalently, the Contribution Margin Ratio (Unit Contribution Margin over Price) can be calculated:


title: Break-even (economics)

text: Margin of safety represents the strength of the business. It enables a business to know what is the exact amount it has gained or lost and whether they are over or below the break-even point. In break-even analysis, margin of safety is the extent by which actual or projected sales exceed the break-even sales.


title: Break-even (economics)

text: By inserting different prices into the formula, you will obtain a number of break-even points, one for each possible price charged. If the firm changes the selling price for its product, from $2 to $2.30, in the example above, then it would have to sell only 1000/(2.3 - 0.6)= 589 units to break even, rather than 715.


title: Break-even (economics)

text: To make the results clearer, they can be graphed. To do this, draw the total cost curve (TC in the diagram), which shows the total cost associated with each possible level of output, the fixed cost curve (FC) which shows the costs that do not vary with output level, and finally the various total revenue lines (R1, R2, and R3), which show the total amount of revenue received at each output level, given the price you will be charging.


title: Break-even (economics)

text: The break-even points (A,B,C) are the points of intersection between the total cost curve (TC) and a total revenue curve (R1, R2, or R3). The break-even quantity at each selling price can be read off the horizontal axis and the break-even price at each selling price can be read off the vertical axis. The total cost, total revenue, and fixed cost curves can each be constructed with simple formula. For example, the total revenue curve is simply the product of selling price times quantity for each output quantity. The data used in these formula come either from accounting records or from various estimation techniques such as regression analysis.


title: Berlin Trilogy

text: The Berlin Trilogy consists of three studio albums by English musician David Bowie: "Low", ""Heroes"" (both 1977) and "Lodger" (1979). The trilogy originated following Bowie's move from Los Angeles, California, to Europe to rid himself of worsening drug addiction. Influences included krautrock, the German music genre, and the recent ambient releases of English musician Brian Eno. After cancelling a proposed soundtrack album for "The Man Who Fell to Earth" (in which he starred), Bowie embarked on the Isolar tour and then moved to Europe. Before work began on the trilogy, Bowie co-wrote and produced Iggy Pop's debut solo album "The Idiot", which features a sound similar to that which Bowie would explore in the trilogy. He also collaborated with Pop for his second solo album "Lust for Life" before recording ""Heroes"". Both albums were released in 1977.


title: Berlin Trilogy

text: Bowie recorded the trilogy in collaboration with Eno and American producer Tony Visconti. The albums featured similar recording processes. Backing tracks were recorded first, followed by overdubs, with lyrics and vocals written and recorded last. King Crimson guitarists Robert Fripp and Adrian Belew contributed lead guitar to ""Heroes"" and "Lodger", respectively. "Consequence of Sound" considered the trilogy an "art rock trifecta". Both "Low" and ""Heroes"" experiment with electronic and ambient music. Both contain similar structures, featuring more conventional tracks on side one and instrumental pieces on side two. On the other hand, "Lodger", recorded following the Isolar II world tour, features a wide variety of musical styles, including new wave and reggae, with more accessible songs throughout; both sides are split thematically by the lyrics.


title: Berlin Trilogy

text: Bowie began referring to the three albums as a Berlin-centred trilogy during the promotion of "Lodger", although ""Heroes"" was the only instalment recorded completely in the city; "Low" was recorded mostly in France, while "Lodger" was recorded in Switzerland and New York City. Though considered significant in artistic terms, the trilogy has proven less successful commercially. Bowie would later call the trilogy's music his "DNA". Although the trilogy received mixed reviews on release, over time, it has garnered massive acclaim and proven highly influential. While "Low" provided a major influence on the post-punk genre, inspiring artists like Joy Division and Gary Numan, elements of "Lodger" have been identified as a precursor to world music. The American composer and pianist Philip Glass adapted the three albums into classical symphonies. They were remastered in 2017 as part of the "A New Career in a New Town (1977–1982)" box set.


title: Berlin Trilogy

text: In the summer of 1974, David Bowie developed a cocaine addiction. Over the following two years, his addiction worsened, affecting both his physical and mental state. He recorded both "Young Americans" (1975) and "Station to Station" (1976), and filmed "The Man Who Fell to Earth" (1976), while under the influence of the drug. He attributed his growing addiction to the city of Los Angeles, California, where he moved in the spring of 1975. His drug intake escalated so that decades later, he recalled almost nothing of the recording of "Station to Station", saying, "I know it was in L.A. because I've read it was." Although he enjoyed commercial success during this period, particularly with the singles "Fame" and "Golden Years", he was ready to rid himself of the drug culture of Los Angeles and get sober.


title: Berlin Trilogy

text: After abandoning a proposed soundtrack album for "The Man Who Fell to Earth", Bowie decided to move back to Europe. He began rehearsals for the Isolar tour to promote "Station to Station" in January 1976; the tour began on 2 February. While the tour was critically acclaimed, Bowie became a controversial figure during the tour. In his persona as the Thin White Duke, he made statements about Adolf Hitler and Nazi Germany that some interpreted as expressing sympathy for or even promoting fascism. He later blamed his erratic behaviour during this period on his addictions and precarious mental state, saying, "I was out of my mind, totally crazed." He later said: "It was a dangerous period for me. I was at the end of my tether physically and emotionally and had serious doubts about my sanity." At the conclusion of the Isolar tour on 18 May 1976, Bowie and his wife Angela moved to Switzerland.


title: Berlin Trilogy

text: After completing "Station to Station" in December 1975, Bowie began work on a soundtrack for "The Man Who Fell to Earth" with Paul Buckmaster, his collaborator on "Space Oddity" (1969). Bowie was expected to be wholly responsible for the film's music but found that "when I'd finished five or six pieces, I was then told that if I would care to submit my music along with some other people's ... and I just said 'Shit, you're not getting any of it.' I was so furious, I'd put "so" much work into it." "Station to Station" co-producer Harry Maslin argued Bowie was "burned out" and could not complete the work. The singer eventually collapsed, admitting later, "There were pieces of me laying all over the floor." One instrumental composed for the soundtrack evolved into "Subterraneans", later properly recorded for "Low"; the remaining material was scrapped. When Bowie presented his material for the film to Nicolas Roeg, the director decided it would not be suitable; Roeg preferred a more folksy sound. The soundtrack's eventual composer John Phillips described Bowie's material as "haunting and beautiful". Six months after Bowie's proposal was rejected, he sent Roeg a copy of "Low" with a note stating: "This is what I wanted to do for the soundtrack. It would have been a wonderful score."


title: Berlin Trilogy

text: While on the Isolar tour in May 1976, Bowie met ex–Roxy Music keyboardist and conceptualist Brian Eno backstage at a London concert. Although the two had occasional meetups since 1973, they had yet to become friends. Since leaving Roxy Music, Eno released two ambient solo albums in 1975—"Another Green World" and "Discreet Music"; Bowie listened to the latter regularly during the American leg of the tour. Biographers Marc Spitz and Hugo Wilcken later recognised "Another Green World" in particular as a major influence on the sound Bowie aimed to create for "Low"; Bowie biographer Christopher Sandford also cites Eno's "Taking Tiger Mountain (By Strategy)" (1974) as an influence on Bowie. Individually, the two became infatuated with the German music scene, including the acts Tangerine Dream, Neu!, Kraftwerk and Harmonia. While Eno had worked with Harmonia both in-studio and on stage, Bowie exhibited a krautrock influence on "Station to Station", particularly its title track. After the meetup, the two agreed to stay in touch.


title: Berlin Trilogy

text: After moving to Switzerland, Bowie booked studio time later in the summer at the Château d'Hérouville in Hérouville, France, where he made plans to write and produce an album for his old friend, singer Iggy Pop. Pop, who was also suffering from drug addiction, was ready to get sober and accepted Bowie's invitation to accompany him on the Isolar tour, and then move to Europe with him. After they relocated to the Château, Bowie travelled back to Switzerland, where he spent the next few weeks writing and devising plans for his next album.


title: Berlin Trilogy

text: Bowie composed a majority of the music for "The Idiot" (1977), while Pop wrote most of the lyrics, often in response to the music Bowie was creating. During its recording, Bowie developed a new process, where the backing tracks were recorded first, followed by overdubs, with lyrics and vocals written and recorded last. He heavily favoured this "three-phase" process, which he would use for the rest of his career. Because "The Idiot" was recorded before "Low", the album has been referred to as the unofficial beginning of Bowie's Berlin period, as its music featured a sound reminiscent of that which Bowie would explore in the Berlin Trilogy. Bowie and Tony Visconti co-mixed it at Hansa Studios in West Berlin.


title: Berlin Trilogy

text: Bowie became fascinated with Berlin, finding it a place of great escape. In love with the city, he and Pop decided to move there in a further attempt to kick their drug habits and escape the spotlight. Although "The Idiot" was completed by August 1976, Bowie wanted to be sure he had his own album in stores before its release. Château owner and "The Idiot" bassist Laurent Thibault opined that, "[Bowie] didn't want people to think he'd been inspired by Iggy's album, when in fact it was all the same thing."


title: Berlin Trilogy

text: Although reviewers consider "The Idiot" good in its own right, Pop's fans have criticised the album as unrepresentative of his repertoire and as evidence of his being "co-opted" by Bowie for his own ends. Bowie later admitted: "Poor [Iggy], in a way, became a guinea pig for what I wanted to do with sound. I didn't have the material at the time, and I didn't feel like writing at all. I felt much more like laying back and getting behind someone else's work, so that album was opportune, creatively." Biographer Chris O'Leary considers "The Idiot" a Bowie album just as much as a Pop one. Although the Berlin Trilogy is said to comprise "Low", ""Heroes"", and "Lodger", O'Leary argues the true Berlin Trilogy consists of "The Idiot", "Low", and ""Heroes"", with "Lust for Life" a "supplement" and "Lodger" an "epilogue".


title: Berlin Trilogy

text: The first album in the trilogy was "Low", most of which was recorded at the Château, with the sessions completing at Hansa in Berlin. At this point, Bowie was fully ready to move to Berlin but had already booked another month of studio time at the Château, so recording began there. Bowie and Visconti co-produced the album, with contributions from Eno. Visconti, who was absent for the recording of "Station to Station" because of conflicting schedules, was brought back to co-produce after mixing "The Idiot". Despite being widely perceived as a co-producer, Eno was not. Visconti commented: "Brian is a great musician, and was very integral to the making of [the Berlin Trilogy]. But he was not the producer." According to biographer Paul Trynka, Eno arrived late in the sessions, after all the backing tracks for side one were "essentially" finished.


title: Berlin Trilogy

text: "Low"s music delves into electronic, ambient, art rock and experimental rock. The tracks on "Low" emphasize tone and atmosphere, rather than guitar-based rock. German bands like Tangerine Dream, Neu! and Kraftwerk influence the music. Side one consists primarily of short, direct avant-pop song-fragments; side two comprises longer, mostly instrumental tracks. In 1977, Bowie said side one was about himself and his "prevailing moods" at the time while side two was about his musical observations living in Berlin. "Low" features a unique drum sound created by Visconti using an Eventide H910 Harmonizer. When Bowie asked him what it did, Visconti replied, "it fucks with the fabric of time". Visconti rigged the machine to Davis's snare drum and fed the results through his headphones, so he could hear the resultant sound.


title: Berlin Trilogy

text: Bowie's label, RCA Records, was shocked after hearing "Low". Fearing the album would perform poorly commercially, RCA delayed its original planned release date in November 1976, releasing it instead in January 1977. Upon release, it received little to no promotion from either RCA or Bowie. Bowie felt it was his "least commercial" record and rather than promote it, opted to tour as Pop's keyboardist instead. Despite the lack of promotion, "Low" was a commercial success. The success of the single "Sound and Vision" helped Bowie to persuade RCA to release "The Idiot", which they did in March 1977.


title: Berlin Trilogy

text: Although RCA was hoping he would tour to support "Low", Bowie toured with Pop as he promoted "The Idiot". The tour began on 1 March 1977 and ended on 16 April. Bowie was adamant about not taking the spotlight away from Pop, often staying behind his keyboard and not addressing the audience. Despite this, some reviewers believed Bowie was still in charge. Likewise, during interviews, Pop was often asked more about Bowie than his own work. As a result, Pop took a more direct approach when making "Lust for Life".


title: Berlin Trilogy

text: At the end of the tour, Bowie and Pop returned to the studio to record Pop's second solo album "Lust for Life" (1977). Bowie had less influence over "Lust for Life". Instead, he let Pop compose his own arrangements for the tracks, resulting in a sound more reminiscent of Pop's earlier work. Recording took place at Hansa by the Wall in West Berlin and was completed in two and a half weeks, from May to June 1977, and released in August. Although Bowie had told interviewers he planned to collaborate on a third project with Pop in 1978, "Lust for Life" would be the pair's last official collaboration until the mid-1980s.


title: Berlin Trilogy

text: As the second release of the Berlin Trilogy, ""Heroes"" (1977) expands on the material found on "Low". Like its predecessor, it delves into art rock and experimental rock, while continuing Bowie's work in the electronic and ambient genres. The songs emphasise tone and atmosphere rather than guitar-based rock. However, they have been described as more positive in both tone and atmosphere than the songs on "Low". Visconti would describe the album as "a very positive version of "Low"". It follows the same structure as its predecessor, with side one featuring more conventional tracks and side two featuring mostly instrumental tracks.


title: Berlin Trilogy

text: ""Heroes"" was the only instalment of the Berlin Trilogy recorded entirely in Berlin. Most of the same personnel on "Low" returned to record, with the addition of Bowie on piano, and guitarist Robert Fripp, formerly of the band King Crimson, who Bowie recruited at Eno's suggestion. On his arrival at the studio, Fripp sat down and recorded lead guitar parts for tracks he had never heard before. He received little guidance from Bowie, who had yet to write lyrics or melodies. Fripp completed his guitar parts in three days. Bowie was in a much healthier state of mind during the sessions compared to those for "Low". He and Visconti frequently travelled around Berlin. While there, Bowie began exploring other art forms and visiting galleries in Geneva and the Brücke Museum, becoming in Sandford's words: "a prolific producer and collector of contemporary art ... Not only did he become a well-known patron of expressionist art, locked in Clos des Mésanges he began an intensive self-improvement course in classical music and literature, and started work on an autobiography."


title: Berlin Trilogy

text: Eno played a greater role on ""Heroes"" than he had on "Low". He is credited as co-author on four of the ten songs, leading biographer Thomas Jerome Seabrook to call this album the "truer" collaboration. Eno acted as "assistant director" for Bowie, giving feedback to the musicians and suggesting new and unusual ways to approach the tracks. One way was using Eno's Oblique Strategies cards. According to O'Leary, these cards were "part-fortune cookie, part-"Monopoly" 'Chance' cards", intended to spark creative ideas. Bowie improvised lyrics while standing at the microphone, after seeing Pop do so for "The Idiot".


title: Berlin Trilogy

text: ""Heroes"" was released in October 1977 in the wake of the punk rock movement. RCA marketed the album with the slogan, "There's Old Wave. There's New Wave. And there's David Bowie ...". Like "Low", ""Heroes"" was commercially successful—more so in the UK than in the US. Bowie promoted ""Heroes"" extensively, conducting numerous interviews and performing on various television programmes, including "Marc", "Bing Crosby's Merrie Olde Christmas", and "Top of the Pops".


title: Berlin Trilogy

text: After releasing ""Heroes"", Bowie spent much of 1978 on the Isolar II world tour, bringing the music of the first two Berlin Trilogy albums to almost a million people during 70 concerts in 12 countries. By now he had broken his drug addiction; biographer David Buckley writes Isolar II was "Bowie's first tour for five years in which he had probably not anaesthetised himself with copious quantities of cocaine before taking the stage. ... Without the oblivion that drugs had brought, he was now in a healthy enough mental condition to want to make friends." He played tracks from both "Low" and ""Heroes"" on the tour. Recordings from the tour were included on the live album "Stage", released later the same year, and again from a different venue in 2018 on "Welcome to the Blackout". During this time he also portrayed the lead role in the David Hemmings film "Just a Gigolo" (1978), set in pre-World War II Berlin.


title: Berlin Trilogy

text: It was around the time of "Lodger" (1979) that Bowie began framing his previous two albums as the beginning of a Berlin-centred trilogy, concluding with "Lodger", largely as a marketing technique to support the unusual new album. Compared to its two predecessors, "Lodger" abandons the electronic and ambient styles and the song/instrumental split that defined the two earlier works, in favour of more conventional song structures. Instead, "Lodger" features a variety of musical styles, including new wave, Middle Eastern music, reggae and krautrock. Some of its musical textures, particularly on "African Night Flight", have been cited by "The Quietus" as presaging the popularity of world music.


title: Berlin Trilogy

text: "Lodger" was recorded at Mountain Studios in Montreux, Switzerland, with additional recording at the Record Plant in New York City. Many of the same musicians from the previous records returned for the "Lodger" sessions; a new addition was future King Crimson guitarist Adrian Belew. The sessions saw a greater emphasis on Eno's Oblique Strategies cards: "Boys Keep Swinging" entailed band members swapping instruments, "Move On" used the chords from Bowie's 1972 composition "All the Young Dudes" played backwards, and "Red Money" took backing tracks from "The Idiot" track "Sister Midnight". Unlike ""Heroes"", most of "Lodger"s lyrics were written late; they were unknown during the Mountain sessions. The lyrics have been interpreted as covering two major themes—travel on side one and critiques of Western civilisation on side two. Biographer Nicholas Pegg writes of side one's theme of travel, that the songs revive a "perennial motif" prevailing throughout the Berlin Trilogy, highlighting the line, "I've lived all over the world, I've left every place" from the "Low" track "Be My Wife", pointing out the journey is both metaphorical and geographical.


title: Berlin Trilogy

text: "Lodger" was released in May 1979, almost two years after ""Heroes"". Buckley notes that music videos and artists who were influenced by the music on Bowie's prior releases of the Berlin Trilogy, like Gary Numan, were becoming popular. Although "Lodger" performed well commercially, Numan out-performed Bowie commercially throughout the year. According to Buckley, Numan's fame led indirectly to Bowie taking a more pop-oriented direction for his next studio album, "Scary Monsters (and Super Creeps)" (1980), his first release after the Berlin Trilogy.


title: Berlin Trilogy

text: The Berlin Trilogy initially received a mixed reception from music critics. "Low" divided critics; some, including "Rolling Stone" and "NME" were negative, while others, including "Billboard" and "Sounds" magazine, were positive. Initially, ""Heroes"" was the most well-received work of the trilogy, with "NME" and "Melody Maker" naming it their Album of the Year. "Lodger" was the least well-received, with "Rolling Stone" calling it one of Bowie's weakest releases to date. Although each album reached the top five on the UK charts, they proved less commercially successful than Bowie's earlier records. Buckley writes that with his next album, "Scary Monsters", Bowie achieved "the perfect balance" of creativity and mainstream success.


title: Berlin Trilogy

text: Considered by Wilcken to be ahead of its time, "Low" is now recognised as one of Bowie's greatest and most innovative records. "The Quietus" argues that Bowie created the blueprint "reinvention" album with "Low", a record from an artist at the peak of their popularity that confounded the listening public's expectations. Furthermore, it "challeng[ed] the idea of what an album could be, in its structure and in its ingredients", a feat that would not be achieved again until the release of Radiohead's "Kid A" (2000). "Billboard" similarly notes it was not until "Kid A" that rock and electronic would once again meet and move forward in such a mature fashion.


title: Berlin Trilogy

text: Although ""Heroes"" was the best-received work of the Berlin Trilogy on release, in subsequent decades critical and public opinion has typically shifted in favour of "Low" as the more ground-breaking record owing to its daring experimental achievements. Pegg writes the album is seen as an extension or refinement of its predecessor's achievements rather than a "definitive new work". It has, nonetheless, been regarded as one of Bowie's best and most influential works. Although regarded as the weakest of the Berlin Trilogy on release, "Lodger" has come to be considered one of Bowie's most underrated works.


title: Berlin Trilogy

text: Bowie would later describe the trilogy's music as his "DNA". "Consequence of Sound" characterised the trilogy as an "art rock trifecta". In 2017, Chris Gerard of "PopMatters" considered the trilogy, along with "Scary Monsters", among "the most vital and influential [albums] by anyone in the rock era". He found the albums to be the reason Bowie is "so profoundly revered", further describing them as "uncompromising and untethered artistic expressions with no commercial considerations limiting...scope". He concluded by praising these albums' abilities to take the listener into new worlds, "offer[ing] full immersion into another universe of sound and vision". Three years later, "Classic Rock History" ranked the Berlin Trilogy as Bowie's seventh greatest work, calling the three albums a "fascinating chapter" in Bowie's life.


title: Berlin Trilogy

text: Commentators regard the Berlin Trilogy as among the most innovative works of Bowie's career. When reviewing Bowie's 1995 album "Outside", Barry Walters of "Spin" compared its sound to that of the Berlin Trilogy, which he considered forerunners in the development of industrial rock, synth-pop and "ambient trance".


title: Berlin Trilogy

text: Both "Low" and "The Idiot" have been considered major influences on the post-punk genre. "Stylus Magazine" regards "Low" as a crucial influence on the post-rock genre, which would come to prominence among underground musicians nearly two decades after the album's release. Commentators have cited Joy Division, an English post-punk band formed in the months between the releases of "Low" and "The Idiot", as having been influenced by both albums. Joy Division themselves have acknowledged "Low"s influence on the band; their original name was "Warsaw", a reference to the "Low" track "Warszawa". The band's drummer, Stephen Morris, told "Uncut" magazine in 2001 that when they made their 1978 "An Ideal for Living" EP, the band asked the engineer to imitate "Low"s drum sound; they could not. Like Morris, many musicians, producers and engineers tried to imitate "Low"s drum sound. Visconti refused to explain how he did it, instead asking them how they thought it had been done. Commentators would later recognise an array of artists who were influenced by "Low", including the Human League, Cabaret Voltaire, Arcade Fire, Gary Numan, Devo, Ultravox, Orchestral Manoeuvres in the Dark, Magazine, Gang of Four and Wire. Robert Smith of the Cure and Trent Reznor of Nine Inch Nails have also acknowledged "Low"s influence on their respective records "Seventeen Seconds" (1980) and "The Downward Spiral" (1994).


title: Berlin Trilogy

text: Artists inspired by ""Heroes"" include Andy McCluskey of Orchestral Manoeuvres in the Dark, who referred to the "unconscious influence" of Bowie on his singing style, Vince Clarke, who called it a "rebellion inspiration", Ian Astbury of the Cult and Robyn Hitchcock. John Lennon and U2 have also acknowledged the album's influence when making their records "Double Fantasy" (1980) and "Achtung Baby" (1991), respectively.


title: Berlin Trilogy

text: "Lodger"s use of world music has been cited by Trynka as influencing Talking Heads and Spandau Ballet, while Spitz views it as influential on Talking Heads' "Remain in Light" (1980) and Paul Simon's "Graceland" (1986). In the 1990s, Britpop bands Blur and Oasis would use aspects of "Lodger" tracks in their own recordings, including the former's 1997 single "M.O.R." and the latter's 1996 single "Don't Look Back in Anger".


title: Berlin Trilogy

text: In 1992, the American composer and pianist Philip Glass composed a classical suite based on "Low", titled ""Low" Symphony". It was his first symphony and consisted of three movements, each based on three "Low" tracks. The Brooklyn Philharmonic Orchestra recorded the work at Glass's Looking Glass Studios in New York and his Point Music label released it in 1993. Speaking about the album, Glass said: "They were doing what few other people were trying to do – which was to create an art within the realm of popular music. I listened to it constantly." On his decision to create a symphony based on the record, Glass said: "In the question of Bowie and Eno's original "Low" LP, to me there was no doubt that both talent and quality were evident there... My generation was sick to death of academics telling us what was good and what wasn't." Glass used both original themes and themes from three of the record's instrumentals for the symphony. The ""Low" Symphony" acknowledges Eno's contributions on the original record. Portraits of Bowie, Eno and Glass appear on the album cover. Bowie was flattered by the symphony and gave it unanimous praise, as did Pegg.


title: Berlin Trilogy

text: In 1997, Glass adapted ""Heroes"" into a classical suite, titled ""Heroes" Symphony". The piece is separated into six movements; each is named after tracks on ""Heroes"". Like its predecessor, Glass acknowledged Eno's contributions as equal to Bowie's on the original album and credited the movements to the two equally. American choreographer Twyla Tharp developed ""Heroes" Symphony" into a ballet. Both the ballet and "Symphony" were greeted with acclaim. Glass described "Low" and ""Heroes"" as "part of the new classics of our time".


title: Berlin Trilogy

text: Bowie and Glass remained in contact until 2003 and discussed making a third symphony, which never came to fruition. After Bowie's death in 2016, Glass said the two had talked about adapting "Lodger" for the third symphony, adding "the idea has not totally disappeared". In January 2018, Glass announced the completion of a symphony based on "Lodger". The work is Glass's 12th Symphony; it premiered in Los Angeles in January 2019. Like Glass's other adaptations, the ""Lodger" Symphony" is separated into seven movements, each named after tracks on "Lodger". The symphony marked the completion of his trilogy of works based on the Berlin Trilogy.


title: Berlin Trilogy

text: The Berlin Trilogy, along with the live album "Stage" and "Scary Monsters", was remastered in 2017 for Parlophone's "A New Career in a New Town (1977–1982)" box set. Named after the "Low" track of the same name, it was released in CD, vinyl, and digital formats, as part of this compilation and then separately the following year. The box set also includes a new remix of "Lodger" by Visconti, which was approved by Bowie before his death in 2016.


title: Berlin Trilogy

text: Both "The Idiot" and "Lust for Life" were expanded and remastered in 2020 for the seven-disc deluxe box set "The Bowie Years". The set includes remastered versions of both albums along with outtakes, alternate mixes, and a 40-page booklet. The two original albums were also re-released individually, each paired with an additional album of live material to create separate stand-alone two-disc deluxe editions.


title: Prostitution in Turkey

text: Prostitution in Turkey is legal and regulated. The secularization of Turkish society allowed prostitution to achieve legal status during the early 20th century. Known as "general houses" ("genelevler") in the country, brothels must receive permits from the government to operate. In turn, the regulatory agencies issue identity cards to sex workers that give them rights to some free medical care and other social services. However, many local governments now have a policy of not issuing new registrations, and in some cities, such as Ankara and Bursa, brothels have been demolished by court order.


title: Prostitution in Turkey

text: According to the research of professor Donna M. Hughes the largest group of foreign women involved into prostitution in Turkey are Ukrainian sex-workers.


title: Prostitution in Turkey

text: By the early 1900s, the approximated number of registered prostitutes was 2,000. Within this population, a study done in 1919-1920 concluded that sixty percent of these women were non-Muslim and forty percent were Muslim; however, this number did not account for the prostitutes who were working illegally.


title: Prostitution in Turkey

text: Throughout the years, an increasing amount of women began to resort to prostitution as a means of financial income. Many women who resorted to prostitution did so due to being single mothers, homelessness, poverty, and to afford childcare services. While only registered and unmarried women over the age of eighteen can work in state-regulated brothels, those un-registered are forced to work outside the system. Thus, non-registered women had to work in illegal brothels, as streetwalkers, and sell sexual services from their homes.


title: Prostitution in Turkey

text: Promoting prostitution is punishable by two months to four years' imprisonment. The passport law forbids entry to Turkey for the purposes of prostitution.


title: Prostitution in Turkey

text: Brothels ("Genelev") are legal and licensed under health laws dealing with Sexually transmitted infections. Women need to be registered and acquire an ID card stating the dates of their health checks. It is mandatory for registered prostitutes to undergo regular health checks for sexually transmitted diseases, and the use of condoms is mandatory. The police are allowed to check the authenticity of registered prostitutes to determine whether they have been examined properly and to ensure they see the health authorities if they don't. However, men cannot register under this regulation. Most prostitutes, however, are unregistered, as local governments have made it policy not to issue new registrations.


title: Prostitution in Turkey

text: Though laws were enacted to regulate prostitution and the spread of venereal diseases, these laws harm sex workers more than benefit them. Sex workers must be tested for STDs twice a week at hospitals designated for registered sex workers. While no law incriminates illegal sex workers, they can still be subjected to a medical examination if caught by law enforcement. Although laws and policies regarding prostitution in Turkey aim to benefit public health, they fail to take into account the rights of sex workers. Despite strict regulations on health checks, the men who pay for sex are not subjected to any medical examination for STDs. This is likely due to the government’s efforts to keep brothels open for “men’s sexual needs.” The tolerance of male sexuality and the lack of medical examination, punishment, or any penalty for clients who buy sex fuel the growth of the sex business in Turkey.


title: Prostitution in Turkey

text: The sex trade in Turkey takes many forms, including escort prostitution, street prostitution, and prostitution conducted in brothels. More specifically, brothels ("Genelevs"), are state-run, with bodyguards appointed by the police. As of 2011, there were about 56 state-licensed brothels. It is estimated that the Turkish sex market includes about 100,000 Turkish sex workers (legal and illegal) and about 30,000 to 50,000 foreign sex workers. While the sex trade takes many forms, those who work as indoor prostitutes have more advantages than those who engage in street prostitution. This may be attributed to the fact that those who work outdoors are prone to be robbed, harassed, and sexually abused. While indoor prostitution poses a better option, to work indoors, women must be registered, unmarried, and over the age of eighteen.


title: Prostitution in Turkey

text: In addition, women once registered are unable to work outside of the sex industry unless they receive approval from the police. Although the state-run brothels were initially created to regulate the spread of venereal diseases, they now pose a threat to infringing the rights of sex workers. Once women register as sex workers, they are required to register their home address, allowing the police to raid their homes at any moment. Not only do they give up their privacy, but registered sex workers also live in a constant fear of their neighbors and family members finding out their profession, due to the stigma surrounding sex work in Turkey.


title: Prostitution in Turkey

text: A 2010 survey of registered sex workers revealed that 66% were single, 8% married, and 26% were previously married. And on average 25% of registered women completed primary school while only 10% completed middle school. Furthermore, a lack of childcare services and low income contributed to the reasons why many sex workers resorted to sex work. While sex workers are currently being portrayed by the media as "entrepreneurs" and "seekers of happiness," these statistics reveal how the majority of prostitutes were forced into the sex market as a result of various socio-economic factors.


title: Prostitution in Turkey

text: Turkey is considered a top 10 destination country for foreigners due to its lenient visa policy. And as a result of its geographical location, many citizens of neighboring countries are able to travel to Turkey. They can stay from thirty to ninety days, which in turn provides economic benefits to the country. According to the World Tourism Organization, Turkey ranked 7th in 2009 as a destination country for international tourism. However, the Turkish Passport Law “forbids individuals from entering the country solely for the purpose of prostitution” and it is illegal for unregistered workers and foreigners to perform any type of sex work.


title: Prostitution in Turkey

text: Data from 2001 to 2009 reveal that 24,750 voluntary sex workers were deported; of these deportees, 27% were diagnosed with STDs. Many of these migrant and foreign women who are in the sex industry are considered by law to be criminal offenders. Foreign women usually leave their countries in hopes of finding domestic labor to support themselves and their families; however, as a result of the stigmatization they face when arriving in Turkey, they resort to prostitution.


title: Prostitution in Turkey

text: Foreign and migrant sex workers have been painted in the media as the cause of the spread of venereal diseases such as HIV/AIDS. During the late 1980s and 1990s, as the HIV/AIDS crisis was at its peak, media coverage in Turkey portrayed many migrant sex workers as the reason why HIV/AIDS spread across national borders. Migrant and queer sex workers became associated with sexual objects/bodies that caused HIV/AIDS to spread to Turkey. This type of media caused a greater panic in Turkish citizens and the government, eventually leading to police raids of migrant workers' homes, mandatory STD tests, and deportation. Migrant workers to this day are both feared and hated. They are seen as individuals who came to Turkey to steal loyal Turkish husbands and employment.


title: Prostitution in Turkey

text: Generally, most transgender individuals in Turkey who are in the sex industry experience structural violence and by law are excluded from selling sex legally. Transgender sex workers are the most vulnerable and susceptible to violence and harassment as they are forced to work outside legal institutions. Thus, they typically engage in street prostitution, and many struggle with homelessness and poverty. According to the 2011 report by the Human Resource Development Foundation, there are about 4,000 transgender sex workers in Istanbul and a total of 8,000 to 10,000 trans-women in all major cities in Turkey. According to a study done by NIH in 2021, there are about 30,447 female sex workers and 15,780 transgender sex workers in Istanbul, Turkey. The Global Network of Sex Work Projects found that between 2008 and 2012, thirty-one transgender sex workers were killed in Turkey. According to another study, between 2009 and 2015, thirty-seven transgender homicides were committed. Turkey is known to have the highest transgender homicide rates in all of Europe. However, women who are trans and sex workers, are subjected to the most physical and sexual violence from both clients and police officers.


title: Prostitution in Turkey

text: Illegal prostitution is classified as operating a brothel without being licensed, being a prostitute without having health checkups, being a prostitute without having a license, or being a prostitute without being registered. Operating of illegal prostitution is punishable with a maximum of 1 year's imprisonment.


title: Prostitution in Turkey

text: Indoor prostitution in Turkey is regulated and legal, while escort services are both illegal and unregulated. Clients can go on websites that offer sexual services because these web pages have no age requirement to use them.This enables both clients and sex workers of all ages to use the website as they please. Escorts can work independently from the convenience of their homes or any location of their choosing. This also enables male and transgender sex workers who are not legally allowed to sell sex, to use such platforms to find clients.


title: Prostitution in Turkey

text: Strip clubs are also present in current Turkey. Strip clubs must also be licensed and strippers must be registered and have regular health checkups. All persons entering strip clubs must be at least 18 years old.


title: Prostitution in Turkey

text: In 2008, activists and sex workers in Turkey announced they were working on a project to establish Turkey's first sex workers' union.


title: Prostitution in Turkey

text: Turkey is a top destination for victims of human trafficking in relation to the sex trade, according to a report produced by the UNDOC. Source countries for identified victims of trafficking in 2008 included Turkmenistan, Uzbekistan, Armenia, Moldova, Kyrgyzstan, Russia, Georgia, Ukraine, Azerbaijan, Romania, Kazakhstan, Belarus, Bulgaria, and Indonesia. Notably, Russian organized crime syndicates engage in trafficking of women for prostitution, and Russian and Ukrainian women have turned up in many European countries, including Turkey. According to reports appearing in 2006, the country was quickly becoming one of the largest markets for sex slaves from former Soviet states: "Around 5,000 women, more than half from Moldova and Ukraine, are believed to be working as sex slaves across Turkey."


title: Prostitution in Turkey

text: The United States Department of State Office to Monitor and Combat Trafficking in Persons ranks Turkey as a 'Tier 2' country.


title: 16th arrondissement of Paris

text: The 16th arrondissement of Paris ("XVI arrondissement") is one of the 20 arrondissements of the capital city of France. In spoken French, this arrondissement is referred to as "seizième".


title: 16th arrondissement of Paris

text: The arrondissement includes part of the Arc de Triomphe, and a concentration of museums between the and the , complemented in 2014 by the Fondation Louis Vuitton.


title: 16th arrondissement of Paris

text: With its ornate 19th-century buildings, large avenues, prestigious schools, museums, and various parks, the arrondissement has long been known as one of French high society's favourite places of residence (comparable to London's Kensington and Chelsea or Berlin's Charlottenburg) to such an extent that the phrase () has been associated with great wealth in French popular culture. Indeed, the 16th arrondissement of Paris is France's third richest district for average household income, following the 7th, and , both adjacent.


title: 16th arrondissement of Paris

text: The 16th arrondissement hosts several large sporting venues, including: the , which is the stadium where football club plays its home matches; Stadium, where the French Open tennis championships are held; and , home to the rugby union club. The , the second-largest public park in Paris (behind only the ), is also located in this arrondissement.


title: 16th arrondissement of Paris

text: The land area of this arrondissement is 16.305 km ( or 4,029 acres), slightly more than half of which consists of the Bois de Boulogne park. Excluding the Bois de Boulogne, its land area is 7.846 km ( or 1,939 acres). It is the largest arrondissement in Paris in terms of land area.


title: 16th arrondissement of Paris

text: The 16th arrondissement population peaked in 1962, when it had 227,418 inhabitants. At the last census (2009), the population was 169,372. The 16th arrondissement contains a great deal of business activity; in 1999 it hosted 106,971 jobs.


title: 16th arrondissement of Paris

text: The 16th arrondissement is commonly thought to be one of the richest parts of Paris (see Auteuil-Neuilly-Passy), and features some of the most expensive real estate in France including the famous Auteuil "villas", heirs to 19th century high society country houses, they are exclusive gated communities with huge houses surrounded by gardens, which is extremely rare in Paris. It is also the only arrondissement in Paris to be divided into two separate postal codes. The southern part of the arrondissement carries a postal code of 75016, while the northern part has the code of 75116.


title: 16th arrondissement of Paris

text: The 16th arrondissement is one of the strongest areas in the country for the French right. In 2017, it gave over 58% of its votes in the first round to right-wing candidate François Fillon; amidst a poor national result of only 20%. It then went on to vote for Emmanuel Macron by a landslide in the runoff.


title: 16th arrondissement of Paris

text: Four Fortune Global 500 have their head offices in this arrondissement: PSA Peugeot Citroën, Lafarge, and Veolia. In addition Lagardère and Technip have their headquarters in this arrondissement.


title: 16th arrondissement of Paris

text: In one of the opening scenes of the 1965 James Bond film "Thunderball", character Emilio Largo is seen arriving at the headquarters of "The International Brotherhood for the Assistance of Stateless Persons". This scene was shot on Avenue d'Eylau in the 16th arrondissement.


title: 16th arrondissement of Paris

text: The 1972 film "Last Tango in Paris" was filmed at various locations in the 16th arrondissement, with the apartment the characters stayed in being located in Passy.


title: 16th arrondissement of Paris

text: A notorious serial murder case, which generated an international media circus, centered in the 16th arrondissement during the Nazi occupation of France during World War II. The focal point of the case was French doctor Marcel Petiot, who in 1941 bought a house at 21 Rue le Sueur in "the heart of Paris's fashionable 16th arrondissement". On 11 March 1944, Petiot's neighbors complained to police of a foul stench in the area and of large amounts of smoke billowing from a chimney of the house. Fearing a chimney fire, the police summoned firemen, who entered the house and found a roaring fire in a coal stove in the basement. In the fire, and scattered in the basement, were human remains. Following an investigation, during which time Petiot attempted to evade capture, "the monster of rue Le Sueur" was ultimately arrested and went on trial on 19 March 1946, facing 135 criminal charges. He was convicted of 26 counts of murder and sentenced to death. On 25 May, Petiot was beheaded, after a stay of several days due to a problem in the release mechanism of the guillotine.


title: 16th arrondissement of Paris

text: The Université Paris-Dauphine is in the arrondissement, as well as Paris Institute of Technology, part of Paris Descartes University, one of Paris biggest public universities.


title: 16th arrondissement of Paris

text: The "École de langue japonaise de Paris" (パリ日本語補習校 "Pari Nihongo Hoshūkō"), a supplementary Japanese education programme, is held at the "École Maternelle et Primaire Saint Francois d'Eylau" in the 16th arrondissement. The school has its offices at the "Association Amicale des Ressortissants Japonais en France" (AARJF) in the 8th arrondissement.


title: Gustav Stresemann

text: Gustav Ernst Stresemann (; 10 May 1878 – 3 October 1929) was a German statesman who served as chancellor in 1923 (for 102 days) and as foreign minister from 1923 to 1929, during the Weimar Republic.


title: Gustav Stresemann

text: His most notable achievement was the reconciliation between Germany and France, for which he and French Prime Minister Aristide Briand received the Nobel Peace Prize in 1926. During a period of political instability and fragile, short-lived governments, he was the most influential cabinet member in most of the Weimar Republic's existence. During his political career, he represented three successive liberal parties; he was the dominant figure of the German People's Party during the Weimar Republic.


title: Gustav Stresemann

text: Stresemann was born on 10 May 1878 in 66 Köpenicker Straße in Southeast Berlin, the youngest of seven children. His father worked as a beer bottler and distributor, and also ran a small bar out of the family home, as well as renting rooms for extra money. The family was lower middle class, but relatively well-off for the neighbourhood, and had sufficient funds to provide Gustav with a high-quality education.


title: Gustav Stresemann

text: Stresemann was an excellent student, particularly excelling in German literature and poetry. At the age of 16, he joined the Andreas Gymnasium to study. His parents brought him up to have an interest in books — he was especially passionate about history, with his teacher, Mr. Wolff, commenting that he had an "almost sickly taste in history." He took an interest in Napoleon and Johann Wolfgang von Goethe, whom he later wrote about in his work "1924: Goethe und Napoleon: ein Vortrag". His mother, Mathilde, died in 1895. From December 1895, he wrote "Berlin letters" for the Dresdener Volks-Zeitung, often talking about politics and targeting Prussian conservatives. In an essay written when he left school, he noted that he would have enjoyed becoming a teacher, but he would only have been qualified to teach languages or the natural sciences, which were not his primary areas of interest. Due to this, he enrolled in university.


title: Gustav Stresemann

text: In April 1897, Stresemann enrolled at the University of Berlin, where he was convinced by a businessman to study political economy instead of literature. During his university years, Stresemann also became active in the Burschenschaften movement of student fraternities, and became editor, in April 1898, of the "Allgemeine Deutsche Universitäts-Zeitung", a newspaper run by Konrad Kuster, a leader in the liberal portion of the Burschenschaften. His editorials for the paper were often political, and dismissed most of the contemporary political parties as broken in one way or another. In these early writings, he set out views that combined liberalism with strident nationalism, a combination that would dominate his views for the rest of his life. In 1898, Stresemann left the University of Berlin, transferring to the University of Leipzig so that he could pursue a doctorate. He studied history and international Law, and took literature courses. Influenced by Dr. Martin Kriele, he also took courses in economics. In March 1899, he stopped being an editor for the "Allgemeine Deutsche Universitäts-Zeitung". He completed his studies in January 1901, submitting a thesis on the bottled beer industry in Berlin, which received a relatively high grade, but was a subject of mockery from colleagues. Stresemann's doctoral supervisor was the economist Karl Bücher.


title: Gustav Stresemann

text: In 1902, Stresemann founded the Saxon Manufacturers' Association. In 1903 he married Käte Kleefeld (1883–1970), daughter of a wealthy Jewish Berlin businessman, and the sister of Kurt von Kleefeld, the last person in Germany to be ennobled (in 1918). At that time he was also a member of Friedrich Naumann's National-Social Association. In 1906 he was elected to the Dresden town council. Though he had initially worked in trade associations, Stresemann soon became a leader of the National Liberal Party in Saxony. In 1907, he was elected to the Reichstag, where he soon became a close associate of party chairman Ernst Bassermann. However, his support of expanded social welfare programs did not sit well with some of the party's more conservative members, and he lost his post in the party's executive committee in 1912. Later that year he lost both his Reichstag and town council seats. He returned to business and founded the German-American Economic Association. In 1914 he returned to the Reichstag. He was exempted from war service due to poor health. With Bassermann kept away from the Reichstag by either illness or military service, Stresemann soon became the National Liberals' de facto leader. After Bassermann's death in 1917, Stresemann succeeded him as the party leader.


title: Gustav Stresemann

text: The evolution of his political ideas appears somewhat erratic. Initially, in the German Empire, Stresemann was associated with the left wing of the National Liberals. He initially believed in the maintenance of a balance of power between the British Empire, the United States, and Germany, whom he believed would be the world's economic superpowers in the future. Yet he also supported the Anglo-German naval arms race, believing that the expansion of the Imperial German Navy was necessary to protect German international trade.


title: Gustav Stresemann

text: During World War I, he gradually moved to the right, expressing his support of the Hohenzollern monarchy and Germany's expansionist goals. He believed that Germany would need to annex the Low Countries, Eastern Europe, parts of north-east France, and the French protectorate in Morocco in order to economically compete with the United States in the future. He was a vocal proponent of unrestricted submarine warfare. However, he still favoured an expansion of the social welfare programme, and also supported an end to the restrictive Prussian three-class franchise. In 1916, he visited Constantinople and learned about the Ottoman Empire's Armenian genocide, writing in his diary: "Armenian reduction 1–1 million." Stresemann recommended the recall of the German ambassador, Paul Wolff Metternich, accusing him of being too sympathetic to Armenians.


title: Gustav Stresemann

text: The collapse of the German Empire after its defeat in World War I and the German Revolution of 1918–1919 drove Stresemann into a mental and physical breakdown, which shocked him into totally abandoning his earlier militarism and annexationism. When the Allied powers' peace terms became known, including a crushing burden of paying reparations for the war, Constantin Fehrenbach denounced them and claimed "the will to break the chains of slavery would be implanted" into a generation of Germans. Stresemann said of this speech: "He was inspired in that hour by God to say what was felt by the German people. His words, spoken under Fichte's portrait, the final words of which merged into Deutschland, Deutschland über alles, made it an unforgettably solemn hour. There was in that sense a kind of uplifting grandeur. The impression left on all was tremendous".


title: Gustav Stresemann

text: After the war, Stresemann briefly joined the German Democratic Party, formed from a merger of the Progressives with the left wing of the National Liberals. However, he was quickly expelled for his association with the right wing. He then gathered the main body of the old National Liberal Party—including most of its centre and right factions—into the German People's Party (, DVP), with himself as chairman. Most of its support came from middle class and upper class Protestants. The DVP platform promoted Christian family values, secular education, lower tariffs, opposition to welfare spending and agrarian subsidies and hostility to "Marxism" (that is, the Communists, and also the Social Democrats).


title: Gustav Stresemann

text: The DVP was initially seen, along with the German National People's Party, as part of the "national opposition" to the Weimar Republic, particularly for its grudging acceptance of democracy and its ambivalent attitude towards the Freikorps and the Kapp Putsch in 1920. Beginning in 1919, Stresemann emphasized that Germany should try to regain its great-power status by leveraging the continued global economic influence and creditworthiness of its multinational corporations, pursuing peaceful economic expansion, and establishing friendly relations with the United States. By late 1920, Stresemann gradually moved to cooperation with the parties of the left and centre — possibly in reaction to political murders like that of Walther Rathenau. However, he remained a monarchist at heart.


title: Gustav Stresemann

text: On 13 August 1923, Stresemann was appointed chancellor and foreign minister of a grand coalition government in the so-called "year of crises" (1923). In social policy, a new system of binding arbitration was introduced in October 1923 in which an outside arbitrator had the final say in industrial disputes.


title: Gustav Stresemann

text: On the 26 September 1923, Stresemann announced the end to the passive resistance against the Occupation of the Ruhr by the French and Belgians, in tandem with an Article 48 (of the Weimar Constitution) state of emergency proclamation by President Friedrich Ebert that lasted until February 1924. In October 1923, the Stresemann government used Article 48 to replace the illegally-elected SPD-Communist coalition government of Saxony on 29 October, and that of Thuringia on 6 November, by commissioners. By this time, Stresemann was convinced that accepting the republic and reaching an understanding with the Allies on the reparations issue was the only way for Germany to gain the breathing room it needed to rebuild its battered economy. He also wished to recover the Allied-occupied Rhineland, as he wrote to Wilhelm, the former German Crown Prince on 23 July 1923: "The most important objective of German politics is the liberation of German territory from French and Belgian occupation. First, we must remove the strangler from our throat".


title: Gustav Stresemann

text: Hyperinflation in the Weimar Republic reached its peak in November 1923. Since Germany was no longer able to pay the striking workers, more and more money was printed, which finally led to hyperinflation. Stresemann introduced a new currency, the Rentenmark, to end hyperinflation. He also persuaded the French to pull back from the Ruhr in return for a promise that reparations payments would resume. That was part of his larger strategy of "fulfillment." Although he, like nearly every other German politician, cursed the Treaty of Versailles as a "Diktat," he had come to believe that Germany would never win relief from its terms unless it made a good-faith effort to fulfill them. To his mind, this would convince the Allies that the reparations bill was truly beyond Germany's capacity. The effort paid off; the Allies began to take a look at reforming the reparations scheme.


title: Gustav Stresemann

text: In early November 1923, partly because of the reaction to the overthrowing of the SPD/KPD governments in Saxony and Thuringia, the Social Democrats withdrew from his reshuffled government and, after a motion of confidence, he was voted down on 23 November 1923, after which Stresemann and his cabinet resigned.


title: Gustav Stresemann

text: Stresemann remained as foreign minister in the government of his successor, Wilhelm Marx from the Centre Party. He remained foreign minister for the rest of his life in eight successive governments ranging from the centre-right to the centre-left. As foreign minister, Stresemann had numerous achievements. His first notable achievement was the Dawes Plan of 1924, which reduced Germany's overall reparations commitment and reorganized the Reichsbank. He appointed Hjalmar Schacht as the new President of the Reichstag, who implemented the Dawes Plan and ended Weimar hyperinflation despite his reservations over Germany's growing foreign debt under Stresemann's economic policies. The successful negotiation of the Dawes Plan provided hope for Streseman's foreign policy strategy emphasizing Germany's remaining economic soft power, since the creator of the plan Owen D. Young was the chairman of General Electric and a major trading partner with the German firm AEG.


title: Gustav Stresemann

text: After Sir Austen Chamberlain became British Foreign Secretary, Stresemann wanted a British guarantee to France and Belgium, as the Anglo-American guarantee had fallen due to the United States' refusal to ratify the Treaty of Versailles. Stresemann later wrote: "Chamberlain had never been our friend. His first act was to attempt to restore the old Entente through a three-power alliance of England, France and Belgium, directed against Germany. German diplomacy faced a catastrophic situation".


title: Gustav Stresemann

text: Stresemann conceived the idea that Germany would guarantee her western borders and pledge never to invade Belgium and France again, along with a guarantee from Britain that they would come to Germany's aid if attacked by France. Germany was in no position at the time to attack, as Stresemann wrote to the Crown Prince: "The renunciation of a military conflict with France has only a theoretical significance, in so far as there is no possibility of a war with France". Stresemann negotiated the Locarno Treaties with Britain, France, Italy, and Belgium. On the third day of negotiations, Stresemann explained Germany's demands to the French Foreign Secretary, Aristide Briand. As Stresemann recorded, Briand "almost fell off his sofa, when he heard my explanations". Stresemann said that Germany alone should not make sacrifices for peace; European countries should cede colonies to Germany; the disarmament control commission should leave Germany; the Anglo-French occupation of the Rhineland should be ended; and Britain and France should disarm as Germany had done. The Treaties were signed in October 1925 at Locarno. Germany officially recognized the post-World War I western border for the first time, was guaranteed peace with France, and was promised admission to the League of Nations and evacuation of the last Allied occupation troops from the Rhineland.


title: Gustav Stresemann

text: Stresemann was not willing to conclude a similar treaty with the Second Polish Republic: "There will be no Locarno of the east" he said in 1925. However, in 1925 he did sign arbitration agreements with both Poland and the First Czechoslovak Republic to ensure that any future conflict would be settled by impartial arbitration, rather than by the use of force. By 1929 his policy was “detente with Poland,” and strengthening good economic relationships.


title: Gustav Stresemann

text: After this reconciliation with the Versailles powers, Stresemann moved to improve relations with the Soviet Union. He said to Nikolay Krestinsky in June 1925, as recorded in his diary: "I had said I would not come to conclude a treaty with Russia so long as our political situation in the other direction was not cleared up, as I wanted to answer the question whether we had a treaty with Russia in the negative". The Treaty of Berlin signed in April 1926 reaffirmed and strengthened the Treaty of Rapallo signed in 1922. In September 1926, Germany was admitted to the League of Nations as permanent member of the Security Council. This was a sign that Germany was quickly becoming a normal state, and assured the Soviet Union of Germany's sincerity in the Treaty of Berlin.


title: Gustav Stresemann

text: Stresemann was co-winner of the Nobel Peace Prize in 1926 for these achievements. Gustav Stresemann's success owed much to his friendly personal character and his willingness to be pragmatic. He was close personal friends with many influential foreigners. The most noted was Briand, with whom he shared the Peace Prize.


title: Gustav Stresemann

text: Stresemann wrote to the Crown Prince: "All the questions which to-day preoccupy the German people can be transformed into as many vexations for the Entente by a skilful orator before the League of Nations". As Germany now had a veto on League resolutions, she could gain concessions from other countries on modifications on the Polish border or Anschluss with Austria, as other countries needed her vote. Germany could now act as "the spokesman of the whole German cultural community" and thereby provoke the German minorities in Czechoslovakia and Poland.


title: Gustav Stresemann

text: Germany signed the Kellogg-Briand Pact in August 1928. It renounced the use of violence to resolve international conflicts. Although Stresemann did not propose the pact, Germany's adherence convinced many people that Weimar Germany was a Germany that could be reasoned with. This new insight was instrumental in the Young Plan of February 1929, which led to more reductions in German reparations payment.


title: Gustav Stresemann

text: Stresemann was not, however, in any sense pro-French. His main preoccupation was how to free Germany from the burden of reparations payments to France, imposed by the Treaty of Versailles. His strategy for this was to forge close economic ties with the United States. The U.S. was Germany's main source of money and raw materials, and one of Germany's largest export markets for manufactured goods. Germany's economic recovery was thus in the interests of the U.S., and gave the U.S. an incentive to help Germany resolve the reparations burden. The Dawes and Young plans were the result of this strategy. New York bankers loaned large sums to Germany, which used the dollars to pay reparations to France and Britain, which in turn paid their war loans they owed to Washington. Stresemann also hoped to use the United States' new financial involvement in the German economy to incentivize the nation's financial and political institutions to support reform of reparations. This paid off in 1928 when Federal Reserve Chairman Benjamin Strong shepherded forward the Young Plan. Stresemann had a close relationship with Herbert Hoover, who was Secretary of Commerce in 1921-28 and President from 1929. This strategy worked remarkably well until it was derailed by the Great Depression after Stresemann's death.


title: Gustav Stresemann

text: During his period in the foreign ministry, Stresemann came more and more to accept the Republic, which he had at first rejected. By the mid-1920s, having contributed much to a (temporary) consolidation of the feeble democratic order, Stresemann was regarded as a "Vernunftrepublikaner" (republican by reason), someone who accepted the republic as the least of all evils but was in his heart still loyal to the monarchy. The conservative opposition criticized him for his supporting the republic and fulfilling too willingly the demands of the Western powers. Along with Matthias Erzberger and others, he was attacked as a "Erfüllungspolitiker" ("fulfillment politician"). Indeed, some of the more conservative members of his own People's Party never really trusted him.


title: Gustav Stresemann

text: In 1925, when he first proposed an agreement with France, he made it clear that in doing so he intended to "gain a free hand to secure a peaceful change of the borders in the East and [...] concentrate on a later incorporation of German territories in the East". In the same year, while Poland was in a state of political and economic crisis, Stresemann began a trade war against the country. Stresemann hoped for an escalation of the Polish crisis, which would enable Germany to regain territories ceded to Poland after World War I, and he wanted Germany to gain a larger market for its products there. So Stresemann refused to engage in any international cooperation that would have "prematurely" restabilized the Polish economy. In response to a British proposal, Stresemann wrote to the German ambassador in London: "[A] final and lasting recapitalization of Poland must be delayed until the country is ripe for a settlement of the border according to our wishes and until our own position is sufficiently strong". According to Stresemann's letter, there should be no settlement "until [Poland's] economic and financial distress has reached an extreme stage and reduced the entire Polish body politic to a state of powerlessness". Stresemann hoped to annex Polish territories in Greater Poland, take over whole eastern Upper Silesia and parts of Central Silesia and the entire so called Polish Corridor. Besides waging economic war on Poland, Streseman funded extensive propaganda efforts and plotted to collaborate with the Soviet Union against Polish statehood.


title: Gustav Stresemann

text: According to historian Gordon Craig: No German statesman since Bismarck's time had demonstrated, as brilliantly as he was to do, the ability to sense danger and to avoid it by seizing and retaining the initiative, the gift of maintaining perspective and a sense of relative values in the midst of a changing diplomatic situation, and the talent for being more stubborn than his partners in negotiation and for refusing to allow their importunities to force him to accept second-best solutions.


title: Gustav Stresemann

text: In 1928, Stresemann's poor health worsened after the mainstream national conservative parties lost seats to the SDP in the 1928 German federal election. He successfully negotiated a Grand Coalition government led by Chancellor Hermann Müller in which he remained Foreign Secretary, but was weakened in doing so.


title: Gustav Stresemann

text: Stresemann's Atlanticist foreign policy also began to show fractures after the Young Plan failed to reduce reparations annuities as far as hoped and refused to establish a linkage between Allied war debts to the United States and German reparations payments. He seemed to win a victory when his friend Hoover won the 1928 United States presidential election, but his administration enacted a protectionist trade policy to assist U.S. agriculture and signed the Smoot–Hawley Tariff Act. The new trade barriers lessened U.S. credit to Germany.