History.

Formation and early years (1998–1999).

The band was formed in 1998, originally called The Elements. After discovering that another band had the same name, the members changed the name to Black Rebel Motorcycle Club, after Marlon Brando's motorcycle gang in the 1953 film "The Wild One".  Bassist Robert Levon Been and guitarist Peter Hayes met at high school in the San Francisco Bay Area city of Lafayette and formed a band, Hayes having recently left The Brian Jonestown Massacre. Been has said in interviews that Hayes had a turbulent home life and would park and sleep in his car outside the Been household. After about a year of doing this, Been and his father Michael persuaded Hayes to live with them. Later, the pair started looking for a drummer. They met Nick Jago, from Devon, England, who had moved to California to be with his parents after spending some time at Winchester School of Art, where he was studying fine art. The vocals are shared between Been and Peter Hayes.

"B.R.M.C." and "Take Them On, On Your Own" (2000–2003).

The band's first two records "B.R.M.C." (2001) and "Take Them On, On Your Own" (2003) were indebted to classic hard rock influenced by Led Zeppelin and also encompassed slower paced psychedelic rock, space rock, and noise pop influences from bands such as The Verve, Loop, Sonic Youth, Dinosaur Jr and The Jesus and Mary Chain. Their second album (recorded with producer Rik Simpson) has several songs such as "Generation" and "US Government" that are critical of the United States government.  Been used the pseudonym 'Robert Turner' on the first two records, in an attempt not to be linked to his father (Michael Been of The Call). He later dropped this identity when promoting "Howl". The senior Been later toured with Black Rebel Motorcycle Club as part of their sound crew.  In 2003, a concert in Leeds, West Yorkshire, England, had to be cancelled halfway through the set, after Leeds City Council officials suspected the 150-year-old floor of Leeds Town Hall might collapse. This led to the band sometimes being referred to as 'the band who broke the floor'. Problems with drummer Nick Jago began surfacing publicly at the 2003 NME Awards, when Jago remained on stage for nine minutes, completely silent, while accepting an award.

"Howl" (2004–2006).

After conflict with their record label, the band was dropped by Virgin Records in 2004. Jago's conflicts came to a head in Scotland, when Jago and Hayes came to blows after a tense gig. Before long, Jago quit. As such, Jago did not take part in the sessions for the band's third album, "Howl". Instead, he went through various rehab attempts, eventually rejoining the band in time to record one track, the ballad "Promise".  In 2005, the band signed to Echo in the UK, and RCA in the U.S. "Howl" was released to mostly favorable reviews. "Howl" had a stripped-down folk style, a departure from the earlier B.R.M.C. sound. Several of the songs on "Howl" are said to have been written long before the idea of B.R.M.C. was conceived. On tour for this album the band also employed a temporary fourth member, guitarist Spike Keating.

"Baby 81" and "The Effects of 333" (2007–2009).

By 2007, Nick Jago had rejoined BRMC. The band's fourth album, "Baby 81", was released on April 30, 2007 in the UK and Europe and May 1, 2007 in the U.S.  On June 6, 2007, BRMC performed in a concert that was streamed live on the internet via MSN Music.  In June 2008, Jago once again left BRMC's touring line-up, being replaced by The Raveonettes' touring drummer Leah Shapiro. Jago stated he "took it as I am fired again and to be honest with you I respect their decision". However, Hayes and Been issued a statement reading: "Nick won't be joining us for the upcoming European tour, but it's not true that he is fired. We just feel Nick needs time to sort out exactly what he wants right now. His heart and all his energy and attention is on his own solo project and he needs to see that through." However, in October 2015 Hayes admitted that "We were ready to be an international band that never toured the States again. Thank God, we got his (Jago) visa back and we were able to play together again until we fired him, but that’s a whole other story when things got even darker".  On October 27, 2008, the band announced via a MySpace bulletin that they would release their newest album independently. The album would be their first release through their own "Abstract Dragon" label. The album, titled, "The Effects of 333" is instrumental and was made available as a digital download through their music store on 3:33 A.M Pacific Time on November 1, 2008.  On November 10, 2009, BRMC released a live DVD through Vagrant Records. It was recorded in Glasgow, Berlin, and Dublin during the Baby 81 world tour.

"Beat the Devil's Tattoo" (2010–2011).

A song by BRMC, "Done All Wrong", appeared on to the 2009 film "".  BRMC's sixth studio album, "Beat the Devil's Tattoo" was released March 8, 2010 in the UK and Europe and March 9, 2010 in North America. The band went on a world tour that lasted from February to December.  On August 19, 2010, after the band's performance at the Pukkelpop Festival in Belgium, Robert's father Michael Been died backstage of a heart attack.  On November 1, 2010, the band released their second live DVD, called "Live in London", on their own website and at HMV stores in the UK. The DVD would also be for sale at the band's headlining shows throughout the tour. It was filmed in front of a sold-out London Forum on April 23, the same year. This is the last project Michael Been has worked on with the band, mixing it.  As of 2011, the band has started working on their 7th album, which was released in 2013. In between the recording sessions the band performed a South American tour and played their first shows in South Africa, as part of the Synergy Festival in Cape Town and China, in Beijing and Shanghai.  The band went on a brief successful three-show tour of small clubs in California to promote the album. These shows were at Slim's in San Francisco, The Catalyst in Santa Cruz, and The Troubador of Los Angeles on the December 19, 20 and 21, respectively. All three shows sold out and BRMC played to packed houses each night where the setlist ranged from classics to quite a bit of new material.

"Specter at the Feast" (2013–2016).

After the success of these first shows, the band announced several more shows across Europe with stops in the United Kingdom, Germany, and Italy among other countries. The last announced show was at the Austin Psych Fest on April 26, 2013.  On January 9, 2013, the band announced via Facebook the name of their seventh album called "Specter at the Feast" which was released on March 18 in the UK and Europe and on March 19 in U.S., Canada and worldwide.  It received mostly positive reviews; many critics noting that despite the band having been together for some time the album showed a mellower and moodier side with songs such as opener "Firewalker".  The band made the first single from the record available, a cover of The Call's 1989 hit "Let the Day Begin", as a free download on their website. The decision to record the song was a tribute to Robert's father Michael, who used his experience from The Call to help BRMC in the last couple of years before his death. The single became "Q" Magazine's track of the day. The same song also reached a worldwide audience when BBC's "Top Gear" used it for its 21st season trailer both on the live TV show and online. The band have also released the "Let the Day Begin" EP free, the EP consists of the single and the album track "Returning", made available for streaming on the official website.  The band continued to show a willingness to tour despite obstacles. During the 2013 tour, the organisers of the Harvest festival in Australia decided to abandon the multi-city event, of which BRMC were one of the lead acts, only a few months ahead of the performances. BRMC was the first band to announce it would still visit the country and play its own shows. Several sold out.  On October 2, 2014, the band announced they were in the studio mixing the audio for a forthcoming live album and DVD recorded in Paris during the Specter at the Feast tour.

"Wrong Creatures" (2017–present).

In May 2017, the band confirmed they were working on a new studio album to be released in the fall of 2017. On September 12, 2017, they announced the album, "Wrong Creatures", would be released on January 12, 2018. The announcement was accompanied by the release of the first track, "Little Thing Gone Wild".

Band members.

Current members  Former members

Black Rebel Motorcycle Club (sometimes abbreviated to BRMC) is an American rock band from San Francisco, California. The group originally consisted of Peter Hayes (vocals, guitar, harmonica), Robert Levon Been (vocals, bass, guitar), and Nick Jago (drums). Jago departed the band in 2008 and was subsequently replaced by Leah Shapiro.

Black Rebel Motorcycle Club (zkráceně BRMC) je americká kapela ze San Francisca. Kapela v současné době hraje ve složení: Peter Hayes (zpěv, kytara, harmonika), Robert Levon Been (zpěv, basa, kytara) a Leah Shapiro (bicí). Bývalý bubeník Nick Jago opustil kapelu v roce 2008 a věnuje se svému sólovému projektu.


Discovery and naming.

"H. huangi".

The type species, "Heyuannia huangi", was named and described by Lü Junchang in 2002. The generic name refers to the city of Heyuan. The specific name honours Huang Dong, the director of the Heyuan Museum. The holotype, HYMV1-1, was discovered in Guangdong near Huangsha in layers of the Dalangshan Formation. It consists of a partial skeleton, including the skull. Six further skeletons were assigned as paratypes or referred to the species. Multiple other fossils have been found, including one which may retain possible reproductive organs. Thousands of eggs have also been uncovered at the site, some of them belonging to the genus and likely laid by "Heyuannia".

"H. yanshini".

"H. yanshini" was first described and named by Rinchen Barsbold in 1981, as a new genus and species "Ingenia yanshini". The name "Ingenia" derives from the Ingen Khoboor Depression of Bayankhongor Province, Mongolia, from whence it was collected, while the specific name "yanshini" was chosen in honour of academician Aleksandr Leonidovich Yanshin (1911–1999), who was adviser and mentor to Rinchen Barsbold during his time at the Paleontological Institute in St. Petersburg, Russia.  The generic name "Ingenia" was preoccupied by the generic name of "Ingenia mirabilis" (Gerlach, 1957), a tripyloidid nematode. Thus, an alternative generic name, "Ajancingenia", was proposed by Jesse Easter in 2013. The replacement generic name is derived also from "ajanc" (аянч; a traveler in Mongolian), as a Western allusion to sticking one's thumb out for hitchhiking, in reference to the first manual ungual of "Ajancingenia" which is twice as large as the second.

Description.

"Heyuannia" is a medium-sized oviraptorid. Gregory S. Paul in 2010 estimated its length at 1.5 metres, the weight at twenty kilograms. Its toothless skull is relatively short with a steep snout. It had very short arms and digits, and its first digit was reduced.

Classification.

"Heyuannia" was assigned by Lü to the Oviraptoridae in 2002. Its exact placement within this group is uncertain. Later analyses either resulted in a position in the Oviraptorinae or the Ingeniinae. According to Lü the morphology of the shoulder girdle of "Heyuannia" supports the hypothesis that oviraptosaurians were secondarily flightless birds.  The following cladogram follows the 2017 phylogenetic analysis by Funston and colleagues:

Paleobiology.

Preservation of the pigments biliverdin and protoporphyrin in eggshells belonging to "Heyuannia" indicate that they were blue-green in color. This coloration allowed for both camouflage and sexual signalling, also seen in American robins and ratites. The arrangement of the eggshells suggests a partially open nest arrangement for "Heyuannia", and also indicates that it engaged in increased parental care.

Heyuannia ("from Heyuan") is a genus of oviraptorid dinosaur that lived during the Late Cretaceous Period in China. It was the first oviraptorid found in that country; most others were found in neighbouring Mongolia. Two species are known: "H. huangi", named by Lü Junchang in 2002; and "H. yanshini", originally named as a separate genus "Ingenia" by Rinchen Barsbold in 1981 (and renamed to "Ajancingenia" in 2013 due to the preoccupation of "Ingenia").

Heyuannia („pocházející z Che-jüanu“) byl rod teropodního oviraptorosaurního dinosaura, žijícího na území východní Asie (provincie Kuang-tung v jihovýchodní Číně) v období pozdní svrchní křídy (asi před 70 až 66 miliony let).


History.

The concept of diffusion was first studied by the French sociologist Gabriel Tarde in late 19th century and by German and Austrian anthropologists and geographers such as Friedrich Ratzel and Leo Frobenius. The study of diffusion of innovations took off in the subfield of rural sociology in the midwestern United States in the 1920s and 1930s. Agriculture technology was advancing rapidly, and researchers started to examine how independent farmers were adopting hybrid seeds, equipment, and techniques. A study of the adoption of hybrid corn seed in Iowa by Ryan and Gross (1943) solidified the prior work on diffusion into a distinct paradigm that would be cited consistently in the future. Since its start in rural sociology, Diffusion of Innovations has been applied to numerous contexts, including medical sociology, communications, marketing, development studies, health promotion, organizational studies, knowledge management, conservation biology and complexity studies, with a particularly large impact on the use of medicines, medical techniques, and health communications. In organizational studies, its basic epidemiological or internal-influence form was formulated by H. Earl Pemberton, such as postage stamps and standardized school ethics codes.  In 1962, Everett Rogers, a professor of rural sociology, published his seminal work: "Diffusion of Innovations". Rogers synthesized research from over 508 diffusion studies across the fields that initially influenced the theory: anthropology, early sociology, rural sociology, education, industrial sociology and medical sociology. Using his synthesis, Rogers produced a theory of the adoption of innovations among individuals and organizations. "Diffusion of Innovations" and Rogers' later books are among the most often cited in diffusion research. His methodologies are closely followed in recent diffusion research, even as the field has expanded into, and been influenced by, other methodological disciplines such as social network analysis and communication.

Elements.

The key elements in diffusion research are:

Characteristics of innovations.

Studies have explored many characteristics of innovations. Meta-reviews have identified several characteristics that are common among most studies. These are in line with the characteristics that Rogers initially cited in his reviews.  Potential adopters evaluate an innovation on its relative advantage (the perceived efficiencies gained by the innovation relative to current tools or procedures), its compatibility with the pre-existing system, its complexity or difficulty to learn, its trialability or testability, its potential for reinvention (using the tool for initially unintended purposes), and its observed effects. These qualities interact and are judged as a whole. For example, an innovation might be extremely complex, reducing its likelihood to be adopted and diffused, but it might be very compatible with a large advantage relative to current tools. Even with this high learning curve, potential adopters might adopt the innovation anyway.  Studies also identify other characteristics of innovations, but these are not as common as the ones that Rogers lists above. The fuzziness of the boundaries of the innovation can impact its adoption. Specifically, innovations with a small core and large periphery are easier to adopt. Innovations that are less risky are easier to adopt as the potential loss from failed integration is lower. Innovations that are disruptive to routine tasks, even when they bring a large relative advantage, might not be adopted because of added instability. Likewise, innovations that make tasks easier are likely to be adopted. Closely related to relative complexity, knowledge requirements are the ability barrier to use presented by the difficulty to use the innovation. Even when there are high knowledge requirements, support from prior adopters or other sources can increase the chances for adoption.

Characteristics of individual adopters.

Like innovations, adopters have been determined to have traits that affect their likelihood to adopt an innovation. A bevy of individual personality traits have been explored for their impacts on adoption, but with little agreement. Ability and motivation, which vary on situation unlike personality traits, have a large impact on a potential adopter's likelihood to adopt an innovation. Unsurprisingly, potential adopters who are motivated to adopt an innovation are likely to make the adjustments needed to adopt it. Motivation can be impacted by the meaning that an innovation holds; innovations can have symbolic value that encourage (or discourage) adoption. First proposed by Ryan and Gross (1943), the overall connectedness of a potential adopter to the broad community represented by a city. Potential adopters who frequent metropolitan areas are more likely to adopt an innovation. Finally, potential adopters who have the power or agency to create change, particularly in organizations, are more likely to adopt an innovation than someone with less power over his choices.  Complementary to the diffusion framework, behavioral models such as Technology acceptance model (TAM) and Unified theory of acceptance and use of technology (UTAUT) are frequently used to understand individual technology adoption decisions in greater details.

Characteristics of organizations.

Organizations face more complex adoption possibilities because organizations are both the aggregate of its individuals and its own system with a set of procedures and norms. Three organizational characteristics match well with the individual characteristics above: tension for change (motivation and ability), innovation-system fit (compatibility), and assessment of implications (observability). Organizations can feel pressured by a tension for change. If the organization's situation is untenable, it will be motivated to adopt an innovation to change its fortunes. This tension often plays out among its individual members. Innovations that match the organization's pre-existing system require fewer coincidental changes and are easy to assess and more likely to be adopted. The wider environment of the organization, often an industry, community, or economy, exerts pressures on the organization, too. Where an innovation is diffusing through the organization's environment for any reason, the organization is more likely to adopt it. Innovations that are intentionally spread, including by political mandate or directive, are also likely to diffuse quickly.  Unlike individual decisions where behavioral models (e.g. TAM and UTAUT) can be used to complement the diffusion framework and reveal further details, these models are not directly applicable to organizational decisions. However, research suggested that simple behavioral models can still be used as a good predictor of organizational technology adoption when proper initial screening procedures are introduced.

Process.

Diffusion occurs through a five–step decision-making process. It occurs through a series of communication channels over a period of time among the members of a similar social system. Ryan and Gross first identified adoption as a process in 1943. Rogers' five stages (steps): awareness, interest, evaluation, trial, and adoption are integral to this theory. An individual might reject an innovation at any time during or after the adoption process. Abrahamson examined this process critically by posing questions such as: How do technically inefficient innovations diffuse and what impedes technically efficient innovations from catching on? Abrahamson makes suggestions for how organizational scientists can more comprehensively evaluate the spread of innovations. In later editions of "Diffusion of Innovation", Rogers changes his terminology of the five stages to: knowledge, persuasion, decision, implementation, and confirmation. However, the descriptions of the categories have remained similar throughout the editions.

Decisions.

Two factors determine what type a particular decision is:  Based on these considerations, three types of innovation-decisions have been identified.

Rate of adoption.

The rate of adoption is defined as the relative speed at which participants adopt an innovation. Rate is usually measured by the length of time required for a certain percentage of the members of a social system to adopt an innovation. The rates of adoption for innovations are determined by an individual's adopter category. In general, individuals who first adopt an innovation require a shorter adoption period (adoption process) when compared to late adopters.  Within the adoption curve at some point the innovation reaches critical mass. This is when the number of individual adopters ensures that the innovation is self-sustaining.

Adoption strategies.

Rogers outlines several strategies in order to help an innovation reach this stage, including when an innovation adopted by a highly respected individual within a social network and creating an instinctive desire for a specific innovation. Another strategy includes injecting an innovation into a group of individuals who would readily use said technology, as well as providing positive reactions and benefits for early adopters.

Diffusion vs adoption.

Adoption is an individual process detailing the series of stages one undergoes from first hearing about a product to finally adopting it. Diffusion signifies a group phenomenon, which suggests how an innovation spreads.

Adopter categories.

Rogers defines an adopter category as a classification of individuals within a social system on the basis of innovativeness. In the book "Diffusion of Innovations", Rogers suggests a total of five categories of adopters in order to standardize the usage of adopter categories in diffusion research. The adoption of an innovation follows an S curve when plotted over a length of time. The categories of adopters are: innovators, early adopters, early majority, late majority and laggards In addition to the gatekeepers and opinion leaders who exist within a given community, change agents may come from outside the community. Change agents bring innovations to new communities– first through the gatekeepers, then through the opinion leaders, and so on through the community.

Failed diffusion.

Failed diffusion does not mean that the technology was adopted by no one. Rather, failed diffusion often refers to diffusion that does not reach or approach 100% adoption due to its own weaknesses, competition from other innovations, or simply a lack of awareness. From a social networks perspective, a failed diffusion might be widely adopted within certain clusters but fail to make an impact on more distantly related people. Networks that are over-connected might suffer from a rigidity that prevents the changes an innovation might bring, as well. Sometimes, some innovations also fail as a result of lack of local involvement and community participation.  For example, Rogers discussed a situation in Peru involving the implementation of boiling drinking water to improve health and wellness levels in the village of Los Molinas. The residents had no knowledge of the link between sanitation and illness. The campaign worked with the villagers to try to teach them to boil water, burn their garbage, install latrines and report cases of illness to local health agencies. In Los Molinas, a stigma was linked to boiled water as something that only the "unwell" consumed, and thus, the idea of healthy residents boiling water prior to consumption was frowned upon. The two-year educational campaign was considered to be largely unsuccessful. This failure exemplified the importance of the roles of the communication channels that are involved in such a campaign for social change. An examination of diffusion in El Salvador determined that there can be more than one social network at play as innovations are communicated. One network carries information and the other carries influence. While people might hear of an innovation's uses, in Rogers' Los Molinas sanitation case, a network of influence and status prevented adoption.

Heterophily and communication channels.

Lazarsfeld and Merton first called attention to the principles of homophily and its opposite, heterophily. Using their definition, Rogers defines homophily as "the degree to which pairs of individuals who interact are similar in certain attributes, such as beliefs, education, social status, and the like". When given the choice, individuals usually choose to interact with someone similar to themselves. Homophilous individuals engage in more effective communication because their similarities lead to greater knowledge gain as well as attitude or behavior change. As a result, homophilous people tend to promote diffusion among each other. However, diffusion requires a certain degree of heterophily to introduce new ideas into a relationship; if two individuals are identical, no diffusion occurs because there is no new information to exchange. Therefore, an ideal situation would involve potential adopters who are homophilous in every way, except in knowledge of the innovation.  Promotion of healthy behavior provides an example of the balance required of homophily and heterophily. People tend to be close to others of similar health status. As a result, people with unhealthy behaviors like smoking and obesity are less likely to encounter information and behaviors that encourage good health. This presents a critical challenge for health communications, as ties between heterophilous people are relatively weaker, harder to create, and harder to maintain. Developing heterophilous ties to unhealthy communities can increase the effectiveness of the diffusion of good health behaviors. Once one previously homophilous tie adopts the behavior or innovation, the other members of that group are more likely to adopt it, too.

The role of social systems.

Opinion leaders.

Not all individuals exert an equal amount of influence over others. In this sense opinion leaders are influential in spreading either positive or negative information about an innovation. Rogers relies on the ideas of Katz & Lazarsfeld and the two-step flow theory in developing his ideas on the influence of opinion leaders.  Opinion leaders have the most influence during the evaluation stage of the innovation-decision process and on late adopters. In addition opinion leaders typically have greater exposure to the mass media, more cosmopolitan, greater contact with change agents, more social experience and exposure, higher socioeconomic status, and are more innovative than others.  Research was done in the early 1950s at the University of Chicago attempting to assess the cost-effectiveness of broadcast advertising on the diffusion of new products and services. The findings were that opinion leadership tended to be organized into a hierarchy within a society, with each level in the hierarchy having most influence over other members in the same level, and on those in the next level below it. The lowest levels were generally larger in numbers and tended to coincide with various demographic attributes that might be targeted by mass advertising. However, it found that direct word of mouth and example were far more influential than broadcast messages, which were only effective if they reinforced the direct influences. This led to the conclusion that advertising was best targeted, if possible, on those next in line to adopt, and not on those not yet reached by the chain of influence.  Research on actor-network theory (ANT) also identifies a significant overlap between the ANT concepts and the diffusion of innovation which examine the characteristics of innovation and its context among various interested parties within a social system to assemble a network or system which implements innovation.  Other research relating the concept to public choice theory finds that the hierarchy of influence for innovations need not, and likely does not, coincide with hierarchies of official, political, or economic status. Elites are often not innovators, and innovations may have to be introduced by outsiders and propagated up a hierarchy to the top decision makers.

Electronic communication social networks.

Prior to the introduction of the Internet, it was argued that social networks had a crucial role in the diffusion of innovation particularly tacit knowledge in the book "The IRG Solution – hierarchical incompetence and how to overcome it". The book argued that the widespread adoption of computer networks of individuals would lead to much better diffusion of innovations, with greater understanding of their possible shortcomings and the identification of needed innovations that would not have otherwise occurred. The social model proposed by Ryan and Gross is expanded by Valente who uses social networks as a basis for adopter categorization instead of solely relying on the system-level analysis used by Ryan and Gross. Valente also looks at an individual's personal network, which is a different application than the organizational perspective espoused by many other scholars.  Recent research by Wear shows, that particularly in regional and rural areas, significantly more innovation takes place in communities which have stronger inter-personal networks.

Organizations.

Innovations are often adopted by organizations through two types of innovation-decisions: collective innovation decisions and authority innovation decisions. The collective decision occurs when adoption is by consensus. The authority decision occurs by adoption among very few individuals with high positions of power within an organization. Unlike the optional innovation decision process, these decision processes only occur within an organization or hierarchical group. Research indicated that, with proper initial screening procedures, even simple behavioral model can serve as a good predictor for technology adoption in many commercial organizations. Within an organization certain individuals are termed "champions" who stand behind an innovation and break through opposition. The champion plays a very similar role as the champion used within the efficiency business model Six Sigma. The process contains five stages that are slightly similar to the innovation-decision process that individuals undertake. These stages are: agenda-setting, matching, redefining/restructuring, clarifying and routinizing.

Extensions of the theory.

Policy.

Diffusion of Innovations has been applied beyond its original domains. In the case of political science and administration, policy diffusion focuses on how institutional innovations are adopted by other institutions, at the local, state, or country level. An alternative term is 'policy transfer' where the focus is more on the agents of diffusion and the diffusion of policy knowledge, such as in the work of Diane Stone. Specifically, policy transfer can be defined as "knowledge about how policies administrative arrangements, institutions, and ideas in one political setting (past or present) is used in the development of policies, administrative arrangements, institutions, and ideas in another political setting".  The first interests with regards to policy diffusion were focused in time variation or state lottery adoption, but more recently interest has shifted towards mechanisms (emulation, learning and coercion) or in channels of diffusion where researchers find that regulatory agency creation is transmitted by country and sector channels. At the local level, examining popular city-level policies make it easy to find patterns in diffusion through measuring public awareness. At the international level, economic policies have been thought to transfer among countries according to local politicians' learning of successes and failures elsewhere and outside mandates made by global financial organizations. As a group of countries succeed with a set of policies, others follow, as exemplified by the deregulation and liberalization across the developing world after the successes of the Asian Tigers. The reintroduction of regulations in the early 2000s also shows this learning process, which would fit under the stages of knowledge and decision, can be seen as lessons learned by following China's successful growth.

Technology.

Peres, Muller and Mahajan suggested that diffusion is "the process of the market penetration of new products and services that is driven by social influences, which include all interdependencies among consumers that affect various market players with or without their explicit knowledge".  Eveland evaluated diffusion from a phenomenological view, stating, "Technology is information, and exists only to the degree that people can put it into practice and use it to achieve values".  Diffusion of existing technologies has been measured using "S curves". These technologies include radio, television, VCR, cable, flush toilet, clothes washer, refrigerator, home ownership, air conditioning, dishwasher, electrified households, telephone, cordless phone, cellular phone, per capita airline miles, personal computer and the Internet. These data can act as a predictor for future innovations.  Diffusion curves for infrastructure reveal contrasts in the diffusion process of personal technologies versus infrastructure.

Consequences of adoption.

Both positive and negative outcomes are possible when an individual or organization chooses to adopt a particular innovation. Rogers states that this area needs further research because of the biased positive attitude that is associated with innovation. Rogers lists three categories for consequences: desirable vs. undesirable, direct vs. indirect, and anticipated vs. unanticipated.  In contrast Wejnert details two categories: public vs. private and benefits vs. costs.

Public versus private.

Public consequences comprise the impact of an innovation on those other than the actor, while private consequences refer to the impact on the actor. Public consequences usually involve collective actors, such as countries, states, organizations or social movements. The results are usually concerned with issues of societal well-being. Private consequences usually involve individuals or small collective entities, such as a community. The innovations are usually concerned with the improvement of quality of life or the reform of organizational or social structures.

Benefits versus costs.

Benefits of an innovation obviously are the positive consequences, while the costs are the negative. Costs may be monetary or nonmonetary, direct or indirect. Direct costs are usually related to financial uncertainty and the economic state of the actor. Indirect costs are more difficult to identify. An example would be the need to buy a new kind of pesticide to use innovative seeds. Indirect costs may also be social, such as social conflict caused by innovation. Marketers are particularly interested in the diffusion process as it determines the success or failure of a new product. It is quite important for a marketer to understand the diffusion process so as to ensure proper management of the spread of a new product or service.

Intended versus Unintended.

The diffusion of innovations theory has been used to conduct research on the unintended consequences of new interventions in public health. In the book multiple examples of the unintended negative consequences of technological diffusion are given. The adoption of automatic tomato pickers developed by Midwest agricultural colleges led to the adoption of harder tomatoes (disliked by consumers) and the loss of thousands of jobs leading to the collapse of thousands of small farmers. In another example, the adoption of snowmobiles in Saami reindeer herding culture is found to lead to the collapse of their society with widespread alcoholism and unemployment for the herders, ill-health for the reindeer (such as stress ulcers, miscarriages) and a huge increase in inequality.

Mathematical treatment.

The diffusion of an innovation typically follows an S shaped curve which often resembles a logistic function. Mathematical programming models such as the S-D model apply the diffusion of innovations theory to real data problems. In addition to that, agent-based models follow a more intuitive process by designing individual-level rules to model diffusion of ideas and innovations.

Complex systems models.

Complex network models can also be used to investigate the spread of innovations among individuals connected to each other by a network of peer-to-peer influences, such as in a physical community or neighborhood.  Such models represent a system of individuals as "nodes" in a network (or graph). The interactions that link these individuals are represented by the edges of the network and can be based on the probability or strength of social connections. In the dynamics of such models, each node is assigned a current state, indicating whether or not the individual has adopted the innovation, and model equations describe the evolution of these states over time.  In threshold models, the uptake of technologies is determined by the balance of two factors: the (perceived) usefulness (sometimes called utility) of the innovation to the individual as well as barriers to adoption, such as cost. The multiple parameters that influence decisions to adopt, both individual and socially motivated, can be represented by such models as a series of nodes and connections that represent real relationships. Borrowing from social network analysis, each node is an innovator, an adopter, or a potential adopter. Potential adopters have a threshold, which is a fraction of his neighbors who adopt the innovation that must be reached before he will adopt. Over time, each potential adopter views his neighbors and decides whether he should adopt based on the technologies they are using. When the effect of each individual node is analyzed along with its influence over the entire network, the expected level of adoption was seen to depend on the number of initial adopters and the network's structure and properties. Two factors emerge as important to successful spread of the innovation: the number of connections of nodes with their neighbors and the presence of a high degree of common connections in the network (quantified by the clustering coefficient). These models are particularly good at showing the impact of opinion leaders relative to others. Computer models are often used to investigate this balance between the social aspects of diffusion and perceived intrinsic benefit to the individuals.

Criticism.

Because there are more than four thousand articles across many disciplines published on Diffusion of Innovations, with a vast majority written after Rogers created a systematic theory, there have been few widely adopted changes to the theory. Although each study applies the theory in slightly different ways, this lack of cohesion has left the theory stagnant and difficult to apply with consistency to new problems.  Diffusion is difficult to quantify because humans and human networks are complex. It is extremely difficult, if not impossible, to measure what exactly causes adoption of an innovation. This is important, particularly in healthcare. Those encouraging adoption of health behaviors or new medical technologies need to be aware of the many forces acting on an individual and his or her decision to adopt a new behavior or technology. Diffusion theories can never account for all variables, and therefore might miss critical predictors of adoption. This variety of variables has also led to inconsistent results in research, reducing heuristic value.  Rogers placed the contributions and criticisms of diffusion research into four categories: pro-innovation bias, individual-blame bias, recall problem, and issues of equality. The pro-innovation bias, in particular, implies that all innovation is positive and that all innovations should be adopted. Cultural traditions and beliefs can be consumed by another culture's through diffusion, which can impose significant costs on a group of people. The one-way information flow, from sender to receiver, is another weakness of this theory. The message sender has a goal to persuade the receiver, and there is little to no reverse flow. The person implementing the change controls the direction and outcome of the campaign. In some cases, this is the best approach, but other cases require a more participatory approach. In complex environments where the adopter is receiving information from many sources and is returning feedback to the sender, a one-way model is insufficient and multiple communication flows need to be examined.

Diffusion of innovations is a theory that seeks to explain how, why, and at what rate new ideas and technology spread. Everett Rogers, a professor of communication studies, popularized the theory in his book "Diffusion of Innovations"; the book was first published in 1962, and is now in its fifth edition (2003). Rogers argues that diffusion is the process by which an innovation is communicated over time among the participants in a social system. The origins of the diffusion of innovations theory are varied and span multiple disciplines. Rogers proposes that four main elements influence the spread of a new idea: the innovation itself, communication channels, time, and a social system. This process relies heavily on human capital. The innovation must be widely adopted in order to self-sustain. Within the rate of adoption, there is a point at which an innovation reaches critical mass.

Difúze inovací je teorie, která vysvětluje jak, kdy, proč a jakou rychlostí se rozšiřují nové myšlenky a technologie. Tuto teorii zpopularizoval Everett Rogers ve své knize "Diffusion of Innovations" vydanou v roce 1962. Podle Rogerse existují čtyři prvky, které ovlivňují rozšíření myšlenky: inovace, způsoby komunikace, čas a sociální systém. Inovace musí být osvojena velkým množstvím lidí, aby mohla obstát.


Career.

He acted as the vice-president of the Riigikogu from 2007 to 2016 and Mayor of Tallinn from 2005 to 2007. As a mayor of Tallinn he initiated the European Green Capital Award programme.  In the 2015 Estonian parliamentary election, Ratas was re-elected to the parliament with 7,932 individual votes. In March he was elected as the second deputy speaker of the Riigikogu.  On 5 November 2016, Ratas was elected to succeed Edgar Savisaar as the leader of the Centre Party. After Taavi Rõivas' second cabinet split in November 2016 due to internal struggle, coalition talks began between Centre Party, Social Democratic Party, and Pro Patria and Res Publica Union. On 19 November, the three parties agreed on the conditions of Ratas' first cabinet. Ratas was sworn in as the prime minister of Estonia on 23 November.  After 2019 parliamentary election, Ratas turned down an offer from the liberal, election-winning Reform Party for coalition and instead entered into talks with the conservative Isamaa and the often-considered as far-right, EKRE. On 17 April, Riigikogu granted Ratas the authority to form the government and remain Prime Minister. These talks resulted in the formation of Ratas' second cabinet in April 2019.  During his tenure, the national budget of Estonia went into deficit after years of being in surplus. This drew widespread criticism, notably from the European Commission and the Estonian Central Bank.

Coalition formation controversy of 2019.

In the elections of 2019, the party of Ratas, the Estonian Centre Party, lost support while the oppositional, liberal Estonian Reform Party, gained support and became the largest party by parliament seats in Estonia. After the elections, Ratas turned down an offer by the Reform party for coalition talks and entered into talks with Isamaa and EKRE, the latter being widely considered a far-right party. Ratas had previously ruled out forming a coalition with EKRE during the election campaign because of its hostile views.  The subsequent reversal of his stance and the inclusion of EKRE by Ratas in coalition talks after the elections was met with local and international criticism. In a poll conducted after the start of the coalition talks, the party of Jüri Ratas further lost support.  The critics of the decision have claimed that Ratas is willing to sacrifice his party's values, the confidence of his voters and the stability and reputation of the country to keep his position as prime minister. Ratas has countered that his first duty is to look for ways to get his party included in the government to be able to work in the benefit of his voters and that the coalition would continue to firmly support the EU, NATO and would be sending out messages of tolerance.  Some key members and popular candidates of the party of Ratas have been critical of the decision, with Raimond Kaljulaid leaving the party in protest. Yana Toom, a member of the party and its representative in the European Parliament expressed criticism of the decision. Mihhail Kõlvart, popular among the Russian-speaking voters and the newly-elect mayor of Tallinn, has said the Centre party cannot govern with EKRE's approach.  The decision was also criticized by Guy Verhofstadt, leader of the ALDE group in the European Parliament where The Centre Party of Ratas is a member, suggesting that Ratas should break off coalition talks with the national-conservative EKRE. Ratas responded in the Estonian media that "Brussels should not dictate to us what our coalition should be like."  When on the third week of coalition talks, Martin Helme of EKRE accused gynaecologists of violating their Hippocratic Oath by performing abortions, Ratas demanded the party to stop accusing doctors – with this being the first public criticism of EKRE by Ratas after the start of the coalition talks.  On 17 April, Riigikogu voted in favor for granting Ratas the authority to form the government.

Personal life.

Ratas was born in Tallinn, Estonia. His father is Centre Party politician Rein Ratas. He attended secondary school in Nõmme. He graduated in Business Management from Tallinn University of Technology and obtained a Master ́s degree in Economic Sciences from the same university. He also holds a Bachelor ́s degree in Law from the University of Tartu.  Ratas is married, he has a daughter and three sons.  Ratas regards himself to be a believer and has completed the Alpha course at St. Olaf's Church. Although in the press he has been described as a baptist, he has denied this. Apart from the Estonian language, Ratas is fluent in English and has an understanding of Russian, Swedish and Portuguese.  His hobbies include chess, reading and horse riding.

Jüri Ratas (; born 2 July 1978) is an Estonian politician who has been Prime Minister of Estonia and Leader of the Centre Party since 2016. The current government of Ratas, active since April 2019, has been notable for its share of public scandals, resignations of ministers and the amount of public apologies from Ratas, mostly connected to the activities of the nationalist EKRE party, a coalition member. His tenure has also seen the national budget of Estonia going into deficit after years of being in surplus. According to a national poll conducted in November 2019, Ratas was the preferred person for the seat of the prime minister in the country for 36% of voters, thus scoring the highest result in the poll. In January 2020, his coalition was supported by a quarter of the electorate.

Jüri Ratas (* 2. července 1978 Tallinn) je estonský politik, lídr Estonské strany středu a od 23. listopadu 2016 estonský premiér.


History.

The party was established on 24 November 2016. Petr Robejšek took the title of "mentor", because the new leader was to be elected in 2016. The Realists criticised ANO 2011, which they called a "left leaning" party. The Realists were founded in response to Brexit and the victory of Donald Trump in the 2016 Presidential election in the United States. The party is ideologically close to the Civic Democratic Party and Dawn - National Coalition. The Realists registered as an official party in December 2016 as Party of Regions but changed its name to the Realists soon afterwards.  The Realists launched their campaign for the 2017 elections on 14 February 2017. Robejšek said that he hoped to win 20% of votes in the election.  Martin Lank, who was elected as a member of Dawn of Direct Democracy, joined the Realists on 25 May 2017. Robejšek stated that the party was prepared to accept other MPs if they decided to join the party and shared its views. Another MP from Dawn, Jana Hnyková, joined the Realists on 5 September 2017.  On 21 August 2017, the Realists announced Jiří Hynek as their presidential candidate in the 2018 election.  The Realists received 0.7% of votes in the 2017 legislative election, failing to reach the 5% electoral threshold. Party leaders refused to describe the result as a defeat, and Jiří Hynek stated that the Realists should prepare for the next election.  The party announced on 16 July 2019 that it would vote on whether to dissolve itself due to electoral defeats and passive regional organisations. The party announced on 22 July 2019 that its members had voted to dissolve the party.

Realists () is a defunct conservative party based in the Czech Republic. It was founded by Petr Robejšek in November 2016. Other members include Pavel Kohout, Antonín Fryč and Jiří Horecký. Robejšek stated that the party aims to succeed in the 2017 legislative election. The party said that it will defend Czech national interests and govern according to the Pareto principle.

REALISTÉ (zkratka REAL, po založení krátkodobě STRANA REGIONŮ, zkratka SR) byla česká konzervativní pravicová politická strana založená 24. listopadu 2016 Michalem Morozem, která vznikla 15. prosince 2016. Deklarovaným cílem strany byla obhajoba českých národních zájmů a „realistická metoda vládnutí dle Paretova pravidla 20/80“. Ústřední postavou strany byl politolog Petr Robejšek, dlouhodobě žijící v Německu. Základním dokumentem strany byl tzv. Realistický kodex. Hlavním kritériem Realistů by podle Robejška měly být národní zájmy, mezi prioritami uvádí rodinu, bezpečnost, spravedlnost, odpovědnost a ochranu národního bohatství. Zakladatelé se rozhodli poprvé kandidovat ve sněmovních volbách v roce 2017, kde ovšem strana získala pouhých 0,71 %. Za stranu jednali dva tajemníci, Michal Moroz a prezident Asociace obranného a bezpečnostního průmyslu České republiky Jiří Hynek.


Plot.

Nadine Franklin, a seventeen-year-old high school junior in the suburbs of Portland, has tempestuous relationships with her popular older brother Darian and her image conscious mother Mona, and only felt close to her father Tom. Tom died of a heart attack when Nadine was thirteen, leaving her best friend Krista the only person keeping her buoyed.  At Nadine's home, Nadine and Krista get drunk while Darian throws a pool party. Nadine falls asleep and Krista goes downstairs and talks to Darian. The next morning Nadine finds Krista giving a handjob to a naked Darian in bed, straining their friendship. The next day they run into each other at school and Darian asks Krista out. Nadine feels desperately alone and turns to her classmate Erwin Kim, who has a crush on her, though Nadine is attracted to older student Nick Mossman.  Darian invites Krista to a house party, who insists Nadine join. There, Krista is introduced to other students, leaving Nadine on her own. After failed attempts at mingling, Nadine sits outside with another partygoer, who remarks how inferior Nadine seems compared to her brother, and Nadine leaves the party. She invites Erwin to an amusement park, where his attempt to kiss her is rejected. They still finish their date, and at the end of the night Nadine tells him he is a great guy.  At school, Krista confronts Nadine for ignoring her, and Nadine tells her that Darian does not care about her and will soon drop her, to which Krista retorts by saying he asked her to be his girlfriend and to prom, which is months away. Nadine makes her choose between herself and Darian. Krista does not want to choose. Feeling betrayed and alone, Nadine angrily ends their friendship.  Mr. Bruner becomes Nadine's source of support at school; she vents to him, and he humorously teases her by admitting that she is his favorite student. Nadine has become lost due to not seeing Krista and one night Erwin calls Nadine who hangs up on him. Nadine calls him back soon after and invites herself to go swimming in his pool, much to his excitement. Nadine learns that he is rich after showing up to his house and that he is an animation filmmaker and accepts his invitation to their school's short-film festival.  Driving to school, Mona and Nadine have a fight that leads to Mona bringing Nadine with her to work. There, they have an argument about her late father to which Mona tells Nadine that he would be extremely disappointed in the way she has turned out. Nadine angrily steals Mona's car and drives away. She writes a sexually explicit text to Nick, and accidentally sends it when trying to delete it.  Nadine confides in Mr. Bruner that she is going to kill herself out of humiliation from her text to Nick. She receives a reply from Nick asking her to hang out. Surprised and elated, she drives home to get ready for their date. She quickly sneaks out of the house before Mona realizes that she made a complete mess in her room and the bathroom. Mona calls Darian, telling him that Nadine is missing and Darian leaves to find her. On their date, Nick repeatedly attempts to have sex with Nadine in his car. Nadine rejects his advances as she was under the assumption that he genuinely wanted to spend time with her and get to know her. Embarrassed and heartbroken, Nadine runs away and calls Mr. Bruner, who drives her to his house where they wait with his wife and infant son until Darian arrives. Darian tells Nadine that he has been suffering from the pressures of taking care of the family in their father’s place, and because of this he feels trapped and only applied to colleges nearby. Darian confesses that the only person who makes him happy is Krista. Nadine confesses her own feelings of self-hatred, intensified by her envy of Darian. They hug, ending their feud.  As Nadine leaves for the film festival, she is met by Darian and Krista; the friends reconcile and agree to catch up later. Realizing that Mona is still worried she has run away, Nadine texts her that she is safe, and Mona decides to trust her word. Erwin's animated film is revealed to be a story about an alien boy who falls in love with a girl at high school but is rejected. Nadine apologizes to Erwin for taking so long to accept his love. Erwin is congratulated by his colleagues, and introduces Nadine, who greets them with a smile, finally opening up to others.

Production.

In 2011, screenwriter Kelly Fremon Craig sent a copy of her screenplay, "Besties", to producer James L. Brooks, hoping that Brooks would produce the film. Craig recalled, "I had written a spec version of this film, and had been just an insane fan of Jim's for years and years. He was the crazy longshot I took in the beginning! And one I never thought would actually work. But I sent him the script and he ended up taking on the project." "The Edge of Seventeen" is Craig's director debut. She also produced the film.  On August 4, 2015, Hailee Steinfeld was cast in the film to play the lead role, while Richard Sakai was also attached as a producer of the film. On September 24, 2015, Woody Harrelson and Kyra Sedgwick joined the film's cast, with Harrelson playing the role of a high school teacher and Sedgwick as the main character's mother. On October 6, 2015, Blake Jenner was cast in the film as Nadine's older brother, a popular and handsome soccer player who begins dating Nadine's best friend Krista. Hayden Szeto was cast in the film as Erwin Kim, Nadine's earnest classmate, who fumbles several attempts to win her affection through much of the story. Haley Lu Richardson joined the film to play the role of best friend Krista.  Principal photography on the film began on October 21, 2015, in Hollywood North, then in Anaheim, California. Filming also took place in the Metro Vancouver area, then at Guildford Park Secondary School and near Guildford Town Centre in Surrey, British Columbia. Port Moody was also shown, with the film festival taking place in City Hall. Filming wrapped on December 3, 2015.

Release.

"The Edge of Seventeen", distributed by STX Entertainment, was originally scheduled to be released on September 30, 2016, before being moved to November 18. Stage 6 Films and Sony Pictures Releasing International handle some distribution rights to the film outside the United States.

Home media.

The film was released on Blu-ray and DVD by Universal Home Entertainment on February 14, 2017.

Reception.

Box office.

"The Edge of Seventeen" grossed $14.4 million in the United States and Canada and $4.4 million in other territories for a total of $18.8 million, against a production budget of $9 million.  In North America, the film was released alongside the openings of "Fantastic Beasts and Where to Find Them" and "Bleed for This", as well as the wide expansions of "Moonlight" and "Billy Lynn's Long Halftime Walk", and was initially expected to gross around $8 million from 1,900 theaters. However, after grossing $1.8 million on its first day, weekend projections were lowered to $4–5 million; it ended up opening with $4.8 million, finishing number seven at the box office.

Critical response.

On review aggregator Rotten Tomatoes, the film has an approval rating of 94% based on 206 reviews, with an average rating of 7.91/10. The website's critical consensus reads, ""The Edge of Seventeen"s sharp script – and Hailee Steinfeld's outstanding lead performance – make this more than just another coming-of-age dramedy." On Metacritic, the film has a weighted average score of 77 out of 100, based on 38 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.

Spin-off.

In May 2018, it was announced that YouTube Premium began development for a spin-off web series based on the film that will be exclusive to their platform. Annabel Oakes is penning the pilot, while Fremon Craig will executive produce the series. In May 2020, it was confirmed by Oakes that the series had been cancelled.

The Edge of Seventeen is a 2016 American coming-of-age comedy-drama film written and directed by Kelly Fremon Craig, in her directorial debut. The film stars Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick, and Haley Lu Richardson. Principal photography began on October 21, 2015, in Vancouver and ended on December 3, 2015.

Hořkých sedmnáct (v anglickém originále The Edge of Seventeen) je americké komediální drama z roku 2016. Režie a scénáře se ujala Kelly Fremon Craig. Hlavní role hrají Hailee Steinfeld, Haley Lu Richardson, Hayden Szeto, Blake Jenner, Woody Harrelson a Kyra Sedgwick.


Plot.

While stuck in Los Angeles traffic, aspiring actress Mia Dolan has a moment of road rage with Sebastian Wilder, a struggling jazz pianist. After a bad day at work, Mia's subsequent audition goes poorly when the casting director takes a call during an emotional scene. That night, Mia's roommates take her to a lavish party in the Hollywood Hills, promising her that someone in the crowd could jump-start her career; after her car is towed, she is forced to walk home in disappointment.  During a gig at a restaurant, Sebastian slips into a jazz improvisation despite warnings from the owner to only play traditional Christmas pieces. Mia overhears him playing as she passes by. Moved, she enters the restaurant to witness Sebastian being fired for his disobedience. As he storms out, Mia attempts to compliment him, but he brushes her off. Months later, Mia runs into Sebastian at a party where he plays in a 1980s pop cover band. After the gig, the two walk to their cars and lament wasting a lovely night together despite the clear chemistry between them.  Sebastian arrives at Mia's work, and she shows him around the Warner Bros. backlot, where she works as a barista, while explaining her passion for acting. Sebastian takes Mia to a jazz club, describing his passion for jazz and his desire to open his own club. Sebastian invites Mia to a screening of "Rebel Without a Cause"; Mia accepts, forgetting a commitment with her boyfriend Greg. Bored with the latter date, she goes to the theater and finds Sebastian as the film begins. The two conclude their evening with a romantic visit to the Griffith Observatory.  After more failed auditions, Mia decides, with Sebastian's encouragement, to write a one-woman play. Sebastian begins to perform regularly at a jazz club, and the two move in together. Sebastian's former classmate Keith invites him to be the keyboardist in his jazz fusion band, where he will enjoy a steady income. Although dismayed by the band's pop style, Sebastian signs on after overhearing Mia trying to convince her mother that Sebastian is working on his career. The band finds success, but Mia realizes that this is not the type of music Sebastian wants to perform.  During the band's first tour, Mia and Sebastian get into an argument; she accuses him of abandoning his dreams, while Sebastian claims she liked him more when he was unsuccessful. Two weeks later, Sebastian misses Mia's play due to a photo shoot he had forgotten about. The play is a disaster; few people attend, and Mia overhears dismissive comments about her performance. Unwilling to forgive Sebastian for missing the play and their previous argument, Mia ends their relationship and moves back home to Boulder City.  Sebastian receives a call from a prominent casting director who attended Mia's play and invites her to audition for an upcoming film. Sebastian drives to Boulder City and persuades Mia to attend. During the audition, Mia is asked simply to tell a story; in response, Mia sings a story about how her aunt (a theater actress who eventually died of alcoholism) inspired her to chase her dreams. Sebastian, confident the audition was a success, encourages Mia to devote herself to acting. The two profess they will always love each other but are uncertain of their future together.  Five years later, Mia is a famous actress and married to another man, David, with whom she has a daughter. One night, the couple stumble upon a jazz bar. Noticing the logo she had once designed, Mia realizes Sebastian has opened his own club. When Sebastian notices Mia in the crowd, he begins to play their love theme on the piano. A dream sequence unfolds in which the two imagine what might have been had their relationship thrived alongside their careers. Mia shares a poignant smile with Sebastian, then leaves with her husband.

Cast.

Cast list adapted from Fandango.

Production.

Pre-production.

As a drummer, Damien Chazelle has a predilection for musical films. He wrote the screenplay for "La La Land" in 2010, when the film industry seemed out of reach for him. His idea was "to take the old musical but ground it in real life where things don't always exactly work out," and to salute creative people who move to Los Angeles to chase their dreams. He conceived the film when he was a student at Harvard University with his classmate Justin Hurwitz. The two explored the concept in their senior thesis through a low-budget musical about a Boston jazz musician, "Guy and Madeline on a Park Bench." Chazelle was moved by the tradition of 1920s city symphony films, such as "Manhattan" (1921) and "Man with a Movie Camera" (1929), that paid tribute to cities. After graduating, both moved to Los Angeles in 2010 and continued writing the script, but made a few modifications, such as altering the location to Los Angeles instead of Boston.  Rather than trying to match L.A. to the charms of Paris or San Francisco, he focused on the qualities that make the city distinctive: the traffic, the sprawl, and the skylines. The style and tone of the film were inspired by Jacques Demy's "The Umbrellas of Cherbourg" and "The Young Girls of Rochefort", especially the latter, which was more dance and jazz-oriented. The film also makes visual allusions to Hollywood classics such as "Broadway Melody of 1940," "Singin' in the Rain," "The Band Wagon", and "An American in Paris." About "An American in Paris," Chazelle commented: "That's a movie that we just pillaged. It's an awesome example of how daring some of those old musicals really were." It shares some character development and themes with Chazelle's previous musical work, "Whiplash;" Chazelle said:  He said that both films reflect his own experiences as a filmmaker working his way up the Hollywood ladder. "La La Land" in particular is inspired by his experience of moving from the East Coast with preconceived notions of what L.A. would be like, "that it was all just strip malls and freeways."  Chazelle was unable to produce the film for years as no studio was willing to finance an original contemporary musical, with no familiar songs. It was also a jazz musical, which "The Hollywood Reporter" called an "extinct genre". He believed that since he and Hurwitz were unknown at that time, it might have made financiers dubious about the project's potential. Chazelle found producers through friends who introduced him to Fred Berger and Jordan Horowitz. With the two producers on board, the script went to Focus Features at a budget of around $1 million. The studio demanded alterations: the male lead was asked to be changed from a jazz pianist to a rock musician, the complicated opening number had to be altered, and the story's bittersweet ending needed to be dropped. Chazelle scrapped the project and moved on.  Chazelle later wrote "Whiplash", which was an easier concept to sell and a less risky investment. After "Whiplash" was well received by critics upon its premiere at the 2014 Sundance Film Festival in January, Chazelle continued his efforts to bring "La La Land" to the big screen. A year later, when "Whiplash" earned five Oscar nominations at the 87th Academy Awards, including Best Picture, and grossed nearly $50 million worldwide off a $3.3 million production budget, Chazelle and his project began to attract attention from studios.  Five years after Chazelle wrote the script, Summit Entertainment and Black Label Media, along with producer Marc Platt, agreed to invest in "La La Land" and distribute it. They had been impressed by the critical and commercial success of "Whiplash." Lionsgate's Patrick Wachsberger, who previously had worked on the "Step Up" franchise, pushed Chazelle to increase the film's budget since he felt high-quality musicals could not be made cheaply.

Casting.

Initially, Miles Teller and Emma Watson were slated to star in the leads. Watson dropped out because of a commitment to the 2017 musical adaptation of "Beauty and the Beast", while Teller departed via long contract negotiations. Conversely, Gosling turned down a role as the Beast in "Beauty and the Beast" in favor of "La La Land". Chazelle decided to make his characters somewhat older, with experience in struggling to make their dreams, rather than younger newcomers just arriving in Los Angeles.  Emma Stone plays Mia, a struggling actress in Los Angeles. Stone has loved musicals since she saw "Les Misérables" when she was eight years old, saying that "bursting into song has always been a real dream of mine", and that her favorite film is the 1931 Charlie Chaplin romantic comedy "City Lights". She studied pom dancing as a child, with a year of ballet. She moved to Hollywood with her mother at the age of 15 to pursue a career, and struggled constantly to get an audition during her first year. When she did, she often was turned away after singing or saying just one line. Stone drew from her own experiences for her character of Mia, and some were added into the film.  She met Chazelle in 2014 while she was making her Broadway debut in "Cabaret." Chazelle and Hurwitz saw her perform on a night when the actress had a cold. She met with Chazelle at Brooklyn Diner in New York City, where the director outlined his vision for the planned film. Stone gained confidence from performing in "Cabaret" to handle the demands of the film. In preparation for her role, Stone watched some of the musical movies that inspired Chazelle, including "The Umbrellas of Cherbourg" and Fred Astaire and Ginger Rogers collaborations. Stone accepted the offer because Chazelle was so passionate about the project.  Ryan Gosling plays Sebastian, a jazz pianist. Like Stone, Gosling drew from his own experiences as an aspiring artist. One incident was used for Mia. Gosling was performing a crying scene in an audition and the casting director took a phone call during it, talking about her lunch plans while he was emoting. Chazelle met with Gosling at a bar near the latter's home in Hollywood Hills, when Gosling was about to begin filming for "The Big Short."  Chazelle cast the two immediately after Summit bought the film. He said the two "feel like the closest thing that we have right now to an old Hollywood couple" as akin to Spencer Tracy and Katharine Hepburn, Fred Astaire and Ginger Rogers, Humphrey Bogart and Lauren Bacall, and Myrna Loy and William Powell. The film marked the third collaboration between Gosling and Stone, following "Crazy, Stupid, Love" (2011) and "Gangster Squad" (2013). Chazelle asked the two about their audition disasters when they were both trying to make it. Both learned how to sing and dance for the film's six original tunes.  The rest of the cast – J. K. Simmons, Sonoya Mizuno, Jessica Rothe, Callie Hernandez, Finn Wittrock, Rosemarie DeWitt, John Legend, Jason Fuchs, Meagen Fay – were announced between July and August 2015. Legend plays Keith, a long-time friend of Sebastian.  The film was choreographed by Mandy Moore. Rehearsals took place at a production office in Atwater Village, Los Angeles over the span of three to four months, beginning in May 2015. Gosling practiced piano in one room, Stone worked with Moore in another, and costume designer Mary Zophres had her own corner of the complex. Gosling, with no previous experience, had to learn how to play the piano, as no hand models were used. Moore emphasized working on emotion rather than technique, which Stone said was key when they filmed the Prius car scene. To help his cast and crew get their creative mode flowing, Chazelle held screenings on the soundstages every Friday night of classical films that had inspired him for the film, including "The Umbrellas of Cherbourg", "Singin' in the Rain", "Top Hat", and "Boogie Nights".

Filming.

From the beginning, Chazelle wanted the film's musical numbers to be filmed "head to toe" and performed in a single take, like those of the 1930s works of Fred Astaire and Ginger Rogers. He also wanted the film to emulate the widescreen, CinemaScope look of 1950s musicals such as "It's Always Fair Weather". Consequently, the movie was shot on celluloid film (not digitally) with Panavision equipment in CinemaScope's 2.55:1 aspect ratio, but not in true CinemaScope as that technology is no longer available.  Chazelle wanted Los Angeles to be the primary setting for his film, commenting that "there is something very poetic about the city I think, about a city that is built by people with these unrealistic dreams and people who kind of just put it all on the line for that." Principal photography on the film officially began in the city on August 10, 2015, and filming took place in more than 60 locations both in and near Los Angeles, including the Angels Flight trolley in downtown, houses in the Hollywood Hills, the Colorado Street Bridge, the Rialto Theatre in South Pasadena, the Warner Bros. studio lot, the Grand Central Market, Hermosa Beach's Lighthouse Café, Griffith Observatory, Griffith Park, Chateau Marmont, and the Watts Towers, with many scenes shot in one take. It took 40 days to complete shooting, finishing in mid-September 2015.  The opening pre-credits sequence was the first to be shot, and was filmed on a closed-off portion of two carpool direct connector ramps of the Judge Harry Pregerson Interchange, connecting the I-105 Carpool Lane to the I-110 Express Lanes, leading to Downtown Los Angeles. It was filmed in a span of two days, and required over 100 dancers. For this particular scene, Chazelle wanted to give a sense of how vast the city is. The scene was originally planned for a stretch of ground-level highway, until Chazelle decided to shoot it in the 105–110 interchange, which arcs in the air. Production designer David Wasco said, "I thought somebody was going to fall off and get killed." Not every portion of the highway was blocked. Chazelle compared the scene to the yellow brick road leading to the Emerald City in "The Wizard of Oz" (1939).  Chazelle scouted for "old L.A." locations that were in ruins, or were perhaps razed. One such example was the use of the Angels Flight trolley, built in 1901. The funicular had been closed in 2013 after a derailment. Attempts were made to repair and re-open the railway, but to no avail. However, the production team was able to secure permission to use it for a day. Chazelle and his crew then arranged to have it run for shooting (it was re-opened to the public in 2017). Mia works at a coffee shop on the Warner Bros. studio lot; Chazelle considered studio lots to be "monuments" of Hollywood. Production designer Wasco created numerous fake old film posters. Chazelle occasionally created names for them, deciding to use the title of his first feature, "Guy and Madeline on a Park Bench" (2009) for one poster, which reimagines it as a 1930s musical.  The six-minute-long Prius car scene had to be completed during the brief "magic hour" moment at sunset. It took eight takes and two days to shoot it. When Ryan Gosling and Emma Stone finally nailed it, "everybody just exploded," Stone said. Since Gosling and Stone were not primarily dancers, the two made a number of mistakes, especially during long uninterrupted single-take musical numbers. However, Chazelle was very sympathetic towards them, understanding their lack of experience and not minding their errors. While shooting Sebastian and Mia's first dance together, Stone stumbled over the back of a bench, but picked right up and kept on going with the scene.  The argument during the romantic dinner that Sebastian prepared for Mia was one of the scenes that was re-written more than any other. Gosling and Stone also helped create the dialogue of the scene to get it to be one of the more realistic scenes in a film filled with fantasy and fantastical elements.  Chazelle spent nearly a year editing the film with editor Tom Cross, as the two were primarily concerned with getting the tone right.

Music.

The songs and score for "La La Land" were composed and orchestrated by Justin Hurwitz, Chazelle's Harvard University classmate, who also worked on his two prior films. The lyrics were written by Pasek and Paul, except for "Start a Fire", which was written by John Legend, Hurwitz, Marius de Vries and Angelique Cinelu. A soundtrack album was released on December 9, 2016, by Interscope Records, featuring selections from Hurwitz's score and songs performed by the cast.

Release.

"La La Land" had its world premiere as the Venice Film Festival's opening night film on August 31, 2016. The film also screened at the Telluride Film Festival, the Toronto International Film Festival, beginning September 12, 2016, the BFI London Film Festival, the Middleburg Film Festival in late October 2016, the Virginia Film Festival, held at the University of Virginia on November 6, 2016, and the AFI Fest on November 15, 2016.  The film was originally set for a July 15, 2016, release; however, in March 2016, it was announced the film would be given a limited release starting December 2, 2016, before expanding on December 16, 2016. Chazelle stated that the change was because he felt that the release date was not right for the context of the film, and because he wanted to have a slow rollout beginning with the early fall film festivals. The film was later pushed back a week to December 9, 2016, with the wide release still being planned for December 16, 2016. Lionsgate opened the film in five locations on December 9, 2016, and expanded it to about 200 theaters on December 16, 2016, before going nationwide on December 25, 2016. The film went fully wide on January 6, 2017, with a release into select IMAX theaters a week later.  "La La Land" was released in the United Kingdom on January 12, 2017. The film was released in the Netherlands on December 22, 2016, and in Australia on December 26, with the rest of the territories planned for a release from mid-January 2017.

Home media.

Lionsgate released "La La Land" on Digital HD on April 11, 2017, and Blu-ray, Ultra HD Blu-ray and DVD on April 25, 2017.

Reception.

Box office.

"La La Land" grossed $151.1 million in the United States and Canada and $295 million in other territories for a worldwide total of $446.1 million, against a production budget of $30 million. "Deadline Hollywood" calculated the net profit of the film to be $68.25 million, when factoring together all expenses and revenues for the film, making it one of the top 20 most profitable releases of 2016.  "La La Land" began its theatrical release with a limited release in five theaters in Los Angeles and New York City on December 9. It made $881,107 in its opening weekend, giving the film a per-theater average of $176,221, the best average of the year. In its second week of limited release, the film expanded to 200 theaters and grossed $4.1 million, finishing 7th at the box office. It was an increase of 366% from the previous week and good for a per-theater of $20,510. The following week, the film had its wide expansion to 734 theaters, grossing $5.8 million for the weekend (including $4 million on Christmas Day and $9.2 million over the four days), and finishing 8th at the box office. On January 6, 2017, the weekend of the Golden Globes, the film expanded to 1,515 theaters and grossed $10 million over the weekend, finishing 5th at the box office. In its sixth week of release, the film grossed $14.5 million (a total of $16.9 million over the four-day weekend for Martin Luther King Jr. Day), finishing 2nd at the box office behind "Hidden Figures". After receiving its 14 Oscar nominations, the film expanded to 3,136 theaters on January 27, 2017 (an increase of 1,271 from the week before) and grossed $12.1 million (up 43% from its previous week's $8.4 million). During the weekend of February 24–26 (the weekend of the Academy Awards) the film grossed $4.6 million, exactly the same amount it grossed the previous weekend. The next week, following its six Oscar wins, the film grossed $3 million.

Critical response.

Critics praised the film's screenplay, direction, acting, score, and the chemistry of Gosling and Stone. The review aggregator Rotten Tomatoes gives the film an approval rating of 91% based on 443 reviews, with an average rating of 8.63/10. The website's critical consensus reads, ""La La Land" breathes new life into a bygone genre with thrillingly assured direction, powerful performances, and an irresistible excess of heart." On Metacritic, the film has a weighted average score of 94 out of 100, based on 54 critics, indicating "universal acclaim". It was the third- and sixth-highest scoring film released in 2016 on each respective site. Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, while PostTrak reported audiences gave an 81% overall positive score and a 93% "definite recommend".  Peter Travers of "Rolling Stone" gave "La La Land" four stars out of four, describing it as "a hot miracle" and complimenting its musical numbers, particularly the opening scene. He went on to name it his favorite movie of the year. Michael Phillips of the "Chicago Tribune" similarly lauded the opening sequence, in addition to highlighting Stone's performance, stating "she's reason enough to see "La La Land"." Despite being less enthusiastic about Gosling's dancing and the film's middle section, Phillips nevertheless gave the film four out of four stars, declaring it "the year's most seriously pleasurable entertainment". A.O. Scott of "The New York Times" praised the film, stating that it "succeeds both as a fizzy fantasy and a hard-headed fable, a romantic comedy and a showbiz melodrama, a work of sublime artifice and touching authenticity". Peter Bradshaw of "The Guardian" awarded the film five out of five stars, describing it as "a sun-drenched musical masterpiece." Tom Charity of "Sight & Sound" stated, "Chazelle has crafted that rare thing, a genuinely romantic comedy, and as well, a rhapsody in blue, red, yellow and green." Writing for "The Boston Globe" in December 2016, Ty Burr summarized the effectiveness of the film to relate to audiences stating: "...the movie traffics in the bittersweet happiness of treasuring things that are vanishing, like the unrealized future imagined in the climactic dance number, or those inky, star-filled dance floors that go on forever in old movies, or Hollywood musicals themselves. Or jazz: Sebastian has an early moment at a nightclub where he passionately sticks up for the music he loves. 'It's dying on the vine,' he says. 'And the world says 'Let it die. It had its time.' Well, not on my watch.' In that scene, he speaks for the director. By the end of 'La La Land,' he's speaking for all of us."  The film was criticized by some for its treatment of race and jazz. Kelly Lawler of "USA Today" noted that Gosling's character has been referred to as a "white savior" by some critics, due to "his quest (and eventual success) to save the traditionally black musical genre from extinction, seemingly the only person who can accomplish such a goal." The sentiment was also expressed by Ruby Lott-Lavigna of "Wired", Anna Silman of "New York", and Ira Madison III of MTV News. Rex Reed of the "New York Observer" also took aim at the film's intention to emulate the MGM musical classics, writing that "the old-fashioned screenplay, by the ambitious writer-director Damien Chazelle, reeks of mothballs", and that "the movie sags badly in the middle, like a worn-out mattress that needs new springs". The "South China Morning Post" remarked that aside from its racial treatment of jazz, much of the public criticism was towards the film being “a little dull”, the two leads' singing and dancing being considered unexceptional, and the lack of nuance in Stone's character, with Gosling's occasionally seen as insufferable.

Accolades.

"La La Land" received eleven nominations at the 70th British Academy Film Awards, more than any other film of 2016. The film won in the categories of Best Film, Best Director, Best Actress in a Leading Role (for Stone), Best Cinematography, and Best Film Music.  At the 74th Golden Globe Awards, "La La Land" received a leading seven nominations. The film won in all seven categories for which it was nominated, setting a record for the most Golden Globes won by a single film, namely Best Motion Picture – Musical or Comedy, Best Director, Best Actor – Comedy or Musical (for Gosling), Best Actress – Comedy or Musical (for Stone), Best Screenplay, Best Original Score, and Best Original Song ("City of Stars") breaking the record "One Flew Over the Cuckoo's Nest" set for the most wins.  At the 89th Academy Awards, "La La Land" received a leading six awards, including Best Director, Best Actress (for Stone), Best Cinematography, Best Original Score, Best Original Song ("City of Stars"), and Best Production Design. The film received a total of 14 nominations, tying the record for most nominations by a single film with "All About Eve" (1950) and "Titanic" (1997). Its other nominations were Best Picture, Best Actor (for Gosling), Best Original Screenplay, Best Film Editing, Best Costume Design, a second nomination for Best Original Song ("Audition (The Fools Who Dream)"), Best Sound Editing, and Best Sound Mixing.

Best Picture Oscar gaffe.

During the Oscars ceremony, presenter Faye Dunaway incorrectly announced that "La La Land" had won Best Picture, reading from the card Warren Beatty opened, which was actually a duplicate of the Best Actress card for Emma Stone. After the cast and crew of "La La Land" took the stage, it took the show's producers more than two minutes and nearly three speeches to fix the mistake. The actual winner was "Moonlight".

German television prank.

In March 2017, "La La Land" was at the center of a prank involving Goldene Kamera, an annual German film and television award. German comedians Joko Winterscheidt and Klaas Heufer-Umlauf arranged for a Ryan Gosling impersonator to be awarded the "Best International Film" prize for "La La Land". Following the event, a speaker for television broadcaster ZDF asked for the trophy to be given back, stating that "La La Land" had won the prize and that the trophy would be given to the real Ryan Gosling. The incident, which became known as "GoslingGate", sparked criticism of the event's concept. Media critics argued that the "Best International Film" award had only been created in an effort to get Ryan Gosling on the show, with no regards for the movie's quality. The incident played a major role in the cancelation of the Goldene Kamera in 2019. In 2018, Winterscheidt and Heufer-Umlauf were awarded the Grimme Award for their media criticism.

La La Land is a 2016 American romantic comedy musical film written and directed by Damien Chazelle. It stars Ryan Gosling as a jazz pianist and Emma Stone as an aspiring actress, who meet and fall in love while pursuing their dreams in Los Angeles. John Legend, Rosemarie DeWitt, Finn Wittrock, and J. K. Simmons also star.

La La Land je americké romantické muzikálové komediální drama z roku 2016. Režie a scénáře se ujal Damien Chazelle. Hlavní role hrají Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt a J. K. Simmons. Film vypráví příběh muzikanta a začínající herečky, kteří se potkají a zamilují v Los Angeles. Jde o třetí film, ve kterém hrají Stone a Gosling zamilovaný pár – po snímcích "Bláznivá, zatracená láska" a "Gangster Squad – Lovci mafie".


Club career.

VfB Stuttgart.

An academy graduate of VfB Stuttgart, Werner represented the club at various youth levels. During the 2012–13 season, he was promoted to the U-19 side despite only being sixteen-years old at the time. He scored 24 goals for the campaign and was rewarded for his form when he won the Gold U-17 Fritz Walter Medal in 2013. He made his senior debut later that year in a 2013–14 UEFA Europa League qualifying phase match against PFC Botev Plovdiv. Upon doing so, he became the youngest player to ever play in an official match for Stuttgart at the age of 17 years, four months and 25 days, breaking the record previously held by Gerhard Poschner. In the following weeks he also became Stuttgart's youngest ever player in the Bundesliga and in the DFB Pokal, and youngest ever goalscorer after netting his first goal for the club against Eintracht Frankfurt. He broke another record on 10 November when he scored a brace in a 3–1 win over SC Freiburg, thereby becoming the youngest player in Bundesliga history to score two goals in one game.  On his 18th birthday Werner signed a professional contract until June 2018 with VfB Stuttgart. He went on to score 13 goals in 95 league appearances, during which time he became the youngest player to make 50 Bundesliga appearances in the competition's history. The record was later broken by Kai Havertz in 2018. Stuttgart were relegated in May 2016 which prompted him to join newly promoted club RB Leipzig the following month.

RB Leipzig.

On 11 June 2016, Werner agreed to a four-year contract with RB Leipzig for a reported transfer fee of €10 million, the largest in the club's history. On 26 September 2016, he became the youngest player to play in 100 Bundesliga matches when he appeared in a fixture against 1. FC Köln at the age of 20 years and 203 days. In doing so, he bettered the record previously held by Julian Draxler by 22 days, although he was again surpassed by Havertz in 2019. Werner ended the 2016–17 Bundesliga season with 21 goals, making him the leading German goalscorer in the division, and helped RB Leipzig qualify for the UEFA Champions League for the first time in the club's history.  In March 2018, in a match against his former club, Stuttgart, Werner became the youngest player to reach the milestone of 150 Bundesliga appearances, eclipsing the record previously held by Charly Körbel. Later that month he helped Leipzig defeat Bayern Munich for the first time ever when he scored the winning goal in a 2–1 victory. He ultimately went on to score 13 goals and record seven assists for the season.  On 7 October 2018, Werner scored two goals in a 6–0 league win over Nürnberg, the first of which was his 50th Bundesliga goal. The result was also RB Leipzig's biggest ever win in the competition. The following month, he scored a twice in a 3–0 league win over Hertha BSC and in doing so recorded the tenth competitive brace of his career. He reached the milestone of 10 league goals for the season on 16 December after scoring twice in a 4–1 win over Mainz 05. His double against Mainz was his fifth brace of the campaign, meaning that by that stage of season every time he scored in a match he went on to score a brace. On 27 January 2019, he made his 100th appearance for RB Leipzig when he started in a 4–0 league win over Fortuna Düsseldorf. He became the first player to score 50 Bundesliga goals for the club on 4 May when he scored once and assisted another in a 3–3 draw with Mainz.  Werner scored his first Bundesliga hat-trick in a 3–1 away victory against Borussia Mönchengladbach on August 30 2019. He made his 100th league appearance for the club on 5 October, during a 1–1 draw with Bayer Leverkusen. At the start of the following month, he scored another hat-trick and recorded three assists to guide Leipzig to an 8–0 win over Mainz, their biggest-ever win in the Bundesliga. On 23 November, he became the youngest ever player to reach the milestone of 200 Bundesliga appearances.

Chelsea.

On 18 June 2020, it was announced that Werner had completed a move to Premier League club Chelsea, who activated his £47.5 million release clause, signing a five year deal. He will join the club on 1 July.

International career.

Werner represented Germany at youth level, playing for the U15, U16, U17, U19 and U21 teams, scoring 34 goals in 48 matches overall. In 2010, he scored a hat-trick on his first appearance for Germany U15 in a match against Poland. Two years later, he was a part of the Germany team that finished runner-up in the 2012 UEFA European Under-17 Championship.  Werner was called up to the German senior squad in 2017 by head coach Joachim Löw for the friendly against England and the 2018 World Cup qualification match against Azerbaijan on 22 and 26 March 2017 respectively.  On 17 May 2017, Werner was named in Germany's squad for the 2017 FIFA Confederations Cup held in Russia. He appeared as a substitute for Sandro Wagner in the team's opening game of the tournament against Australia, before scoring his first two international goals when selected to start in Germany's final group match against Cameroon on 25 June. Four days later, Werner scored Germany's third goal in a 4–1 semi-final victory over Mexico. On 2 July 2017, Werner assisted Lars Stindl's tournament winning goal in the 2017 FIFA Confederations Cup Final against Chile. With three goals and two assists, Werner was awarded the tournament's Golden Boot.  On 4 June 2018, Werner was included in Germany's final 23-man squad for the 2018 FIFA World Cup. He made his first World Cup appearance on 17 June, starting in a 1–0 loss to Mexico in Germany's opening match. He featured in both of the remaining group stage fixtures but failed to score as Germany were eliminated at the group stage for the first time since 1938.

Career statistics.

International goals.

"Germany score listed first, score column indicates score after each Werner goal."

Honours.

International.

Germany

Individual.

Medals Other

Timo Werner (; born 6 March 1996) is a German professional footballer who plays as a striker for RB Leipzig and the Germany national team.

Timo Werner (* 6. března 1996, Stuttgart, Německo) je německý fotbalový útočník a mládežnický reprezentant, od roku 2016 hráč klubu RB Leipzig, v roce 2020 přestoupil do klubu Chelsea FC.


Club career.

Fluminense.

Born in Belford Roxo, Rio de Janeiro, Gerson finished his formation with Fluminense. On 28 August 2014, he was promoted to the main squad, being included in the club's 22-man list for that year's Copa Sudamericana.  On 12 November 2014, Gerson signed a new five-year deal with the club. He was subsequently linked to Barcelona, Atlético Madrid and Juventus throughout the year, but nothing came of it.  Gerson made his senior debut on 22 February 2015, coming on as a second-half substitute in a 0–1 home loss against Vasco for the Campeonato Carioca championship. He scored his first goal for the club on 8 March, netting his team's second in a 3–1 home win against Botafogo. He appeared in 12 matches during the tournament, scoring four goals. Gerson made his Série A debut on 9 May 2015, starting in a 1–0 home win against Joinville.

Roma.

After being linked to several top European clubs in the winter of 2015–16, Gerson sealed a move to Italian club Roma on 4 January for around €15 million.  On 27 November 2016, Gerson started his first game with Roma against Pescara.

Fiorentina (loan).

On 20 July 2018, Gerson joined Fiorentina on loan until 30 June 2019.

Flamengo.

On 12 July 2019 Gerson signed with Brazilian club Flamengo through 2023. The €11.8m (R$49.7m) transfer fee made Gerson the most expensive Brazilian player ever signed by a Brazilian club.

International career.

On 27 November 2014, Gerson was called up to the Brazil under-20s for the 2015 South American Youth Football Championship. He made his debut for the side on 15 January 2015, starting in a 2–1 win against Chile, and appeared in all matches during the tournament.  In November 2019 senior national team coach Tite stated that he was monitoring Gerson for a callup, having regretted not calling the player earlier that year.

Honours.

Club.

Fluminense  Flamengo

Gerson Santos da Silva (born 20 May 1997), simply known as Gerson, is a Brazilian footballer who plays for Flamengo as a midfielder.

Gerson Santos da Silva známý jako Gerson (* 20. května 1997, Rio de Janeiro, Brazílie) je brazilský fotbalový záložník a mládežnický reprezentant, od roku 2016 hráč italského klubu AS Řím.