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Archaeopteryx

Archaeopteryx (lit. 'old-wing'), sometimes referred to by its German name, "Urvogel" (lit. Primeval Bird) is a genus of bird-like dinosaurs. The name derives from the ancient Greek (archaīos), meaning "ancient", and  (ptéryx), meaning "feather" or "wing". Between the late 19th century and the early 21st century, Archaeopteryx was generally accepted by palaeontologists and popular reference books as the oldest known bird (member of the group Avialae). Older potential avialans have since been identified, including Anchiornis, Xiaotingia, and Aurornis.

Archaeopteryx lived in the Late Jurassic around 150 million years ago, in what is now southern Germany, during a time when Europe was an archipelago of islands in a shallow warm tropical sea, much closer to the equator than it is now. Similar in size to a Eurasian magpie, with the largest individuals possibly attaining the size of a raven, the largest species of Archaeopteryx could grow to about 0.5 m in length. Despite their small size, broad wings, and inferred ability to fly or glide, Archaeopteryx had more in common with other small Mesozoic dinosaurs than with modern birds. In particular, they shared the following features with the dromaeosaurids and troodontids: jaws with sharp teeth, three fingers with claws, a long bony tail, hyperextensible second toes ("killing claw"), feathers (which also suggest warm-bloodedness), and various features of the skeleton.

These features make Archaeopteryx a clear candidate for a transitional fossil between non-avian dinosaurs and avian dinosaurs (birds). Thus, Archaeopteryx plays an important role, not only in the study of the origin of birds, but in the study of dinosaurs. It was named from a single feather in 1861, the identity of which has been controversial. That same year, the first complete specimen of Archaeopteryx was announced. Over the years, eleven more fossils of Archaeopteryx have surfaced. Despite variation among these fossils, most experts regard all the remains that have been discovered as belonging to a single species, although this is still debated.

Most of these twelve fossils include impressions of feathers. Because these feathers are of an advanced form (flight feathers), these fossils are evidence that the evolution of feathers began before the Late Jurassic. The type specimen of Archaeopteryx was discovered just two years after Charles Darwin published On the Origin of Species. Archaeopteryx seemed to confirm Darwin's theories and has since become a key piece of evidence for the origin of birds, the transitional fossils debate, and confirmation of evolution. Archaeopteryx was long considered to be the beginning of the evolutionary tree of birds. However, in recent years, the discovery of several small, feathered dinosaurs has created a mystery for palaeontologists, raising questions about which animals are the ancestors of modern birds and which are their relatives.

History of discovery
Over the years, twelve body fossil specimens of Archaeopteryx have been found. All of the fossils come from the limestone deposits, quarried for centuries, near Solnhofen, Germany. These quarries excavate sediments from the Solnhofen Limestone formation and related units. The initial specimen was the first dinosaur to be discovered with feathers. The initial discovery, a single feather, was unearthed in 1860 or 1861 and described in 1861 by Hermann von Meyer. It is currently located at the Natural History Museum of Berlin. Though it was the initial holotype, there were indications that it might not have been from the same animal as the body fossils. In 2019 it was reported that laser imaging had revealed the structure of the quill (which had not been visible since some time after the feather was described), and that the feather was inconsistent with the morphology of all other Archaeopteryx feathers known, leading to the conclusion that it originated from another dinosaur. This conclusion was challenged in 2020 as being unlikely; the feather was identified on the basis of morphology as most likely having been an upper major primary covert feather.

The first skeleton, known as the London Specimen (BMNH 37001), was unearthed in 1861 near Langenaltheim, Germany, and perhaps given to local physician Karl Häberlein in return for medical services. He then sold it for £700 (roughly £83,000 in 2020 ) to the Natural History Museum in London, where it remains. Missing most of its head and neck, it was described in 1863 by Richard Owen as Archaeopteryx macrura, allowing for the possibility it did not belong to the same species as the feather. In the subsequent fourth edition of his On the Origin of Species, Charles Darwin described how some authors had maintained "that the whole class of birds came suddenly into existence during the eocene period; but now we know, on the authority of Professor Owen, that a bird certainly lived during the deposition of the upper greensand; and still more recently, that strange bird, the Archaeopteryx, with a long lizard-like tail, bearing a pair of feathers on each joint, and with its wings furnished with two free claws, has been discovered in the oolitic slates of Solnhofen. Hardly any recent discovery shows more forcibly than this how little we as yet know of the former inhabitants of the world."

The Greek word archaīos means 'ancient, primeval'. Ptéryx primarily means 'wing', but it can also be just 'feather'. Meyer suggested this in his description. At first he referred to a single feather which appeared to resemble a modern bird's remex (wing feather), but he had heard of and been shown a rough sketch of the London specimen, to which he referred as a "Skelett eines mit ähnlichen Federn bedeckten Tieres" ("skeleton of an animal covered in similar feathers"). In German, this ambiguity is resolved by the term Schwinge which does not necessarily mean a wing used for flying. Urschwinge was the favoured translation of Archaeopteryx among German scholars in the late nineteenth century. In English, 'ancient pinion' offers a rough approximation to this.

Since then, twelve specimens have been recovered:

The Berlin Specimen (HMN 1880/81) was discovered in 1874 or 1875 on the Blumenberg near Eichstätt, Germany, by farmer Jakob Niemeyer. He sold this precious fossil for the money to buy a cow in 1876, to innkeeper Johann Dörr, who again sold it to Ernst Otto Häberlein, the son of K. Häberlein. Placed on sale between 1877 and 1881, with potential buyers including O. C. Marsh of Yale University's Peabody Museum, it eventually was bought for 20,000 Goldmark by the Berlin's Natural History Museum, where it now is displayed. The transaction was financed by Ernst Werner von Siemens, founder of the company that bears his name. Described in 1884 by Wilhelm Dames, it is the most complete specimen, and the first with a complete head. In 1897 it was named by Dames as a new species, A. siemensii; though often considered a synonym of A. lithographica, several 21st century studies have concluded that it is a distinct species which includes the Berlin, Munich, and Thermopolis specimens. Composed of a torso, the Maxberg Specimen (S5) was discovered in 1956 near Langenaltheim; it was brought to the attention of professor Florian Heller in 1958 and described by him in 1959. The specimen is missing its head and tail, although the rest of the skeleton is mostly intact. Although it was once exhibited at the Maxberg Museum in Solnhofen, it is currently missing. It belonged to Eduard Opitsch, who loaned it to the museum until 1974. After his death in 1991, it was discovered that the specimen was missing and may have been stolen or sold.

The Haarlem Specimen (TM 6428/29, also known as the Teylers Specimen) was discovered in 1855 near Riedenburg, Germany, and described as a Pterodactylus crassipes in 1857 by Meyer. It was reclassified in 1970 by John Ostrom and is currently located at the Teylers Museum in Haarlem, the Netherlands. It was the very first specimen found, but was incorrectly classified at the time. It is also one of the least complete specimens, consisting mostly of limb bones, isolated cervical vertebrae, and ribs. In 2017 it was named as a separate genus Ostromia, considered more closely related to Anchiornis from China. The Eichstätt Specimen (JM 2257) was discovered in 1951 near Workerszell, Germany, and described by Peter Wellnhofer in 1974. Currently located at the Jura Museum in Eichstätt, Germany, it is the smallest known specimen and has the second-best head. It is possibly a separate genus (Jurapteryx recurva) or species (A. recurva).

The Solnhofen Specimen (unnumbered specimen) was discovered in the 1970s near Eichstätt, Germany, and described in 1988 by Wellnhofer. Currently located at the Bürgermeister-Müller-Museum in Solnhofen, it originally was classified as Compsognathus by an amateur collector, the same mayor Friedrich Müller after which the museum is named. It is the largest specimen known and may belong to a separate genus and species, Wellnhoferia grandis. It is missing only portions of the neck, tail, backbone, and head.

The Munich Specimen (BSP 1999 I 50, formerly known as the Solenhofer-Aktien-Verein Specimen) was discovered on 3 August 1992 near Langenaltheim and described in 1993 by Wellnhofer. It is currently located at the Paläontologisches Museum München in Munich, to which it was sold in 1999 for 1.9 million Deutschmark. What was initially believed to be a bony sternum turned out to be part of the coracoid, but a cartilaginous sternum may have been present. Only the front of its face is missing. It has been used as the basis for a distinct species, A. bavarica, but more recent studies suggest it belongs to A. siemensii.

An eighth, fragmentary specimen was discovered in 1990 in the younger Mörnsheim Formation at Daiting, Suevia. Therefore, it is known as the Daiting Specimen, and had been known since 1996 only from a cast, briefly shown at the Naturkundemuseum in Bamberg. The original was purchased by palaeontologist Raimund Albertsdörfer in 2009. It was on display for the first time with six other original fossils of Archaeopteryx at the Munich Mineral Show in October 2009. The Daiting Specimen was subsequently named Archaeopteryx albersdoerferi by Kundrat et al. (2018). After a lengthy period in a closed private collection, it was moved to the Museum of Evolution at Knuthenborg Safaripark (Denmark) in 2022, where it has since been on display and also been made available for researchers. Another fragmentary fossil was found in 2000. It is in private possession and, since 2004, on loan to the Bürgermeister-Müller Museum in Solnhofen, so it is called the Bürgermeister-Müller Specimen; the institute itself officially refers to it as the "Exemplar of the families Ottman & Steil, Solnhofen". As the fragment represents the remains of a single wing of Archaeopteryx, it is colloquially known as "chicken wing". Long in a private collection in Switzerland, the Thermopolis Specimen (WDC CSG 100) was discovered in Bavaria and described in 2005 by Mayr, Pohl, and Peters. Donated to the Wyoming Dinosaur Center in Thermopolis, Wyoming, it has the best-preserved head and feet; most of the neck and the lower jaw have not been preserved. The "Thermopolis" specimen was described on 2 December 2005 Science journal article as "A well-preserved Archaeopteryx specimen with theropod features"; it shows that Archaeopteryx lacked a reversed toe—a universal feature of birds—limiting its ability to perch on branches and implying a terrestrial or trunk-climbing lifestyle. This has been interpreted as evidence of theropod ancestry. In 1988, Gregory S. Paul claimed to have found evidence of a hyperextensible second toe, but this was not verified and accepted by other scientists until the Thermopolis specimen was described. "Until now, the feature was thought to belong only to the species' close relatives, the deinonychosaurs." The Thermopolis Specimen was assigned to Archaeopteryx siemensii in 2007. The specimen is considered to represent the most complete and best-preserved Archaeopteryx remains yet. The discovery of an eleventh specimen was announced in 2011; it was described in 2014. It is one of the more complete specimens, but is missing much of the skull and one forelimb. It is privately owned and has yet to be given a name. Palaeontologists of the Ludwig Maximilian University of Munich studied the specimen, which revealed previously unknown features of the plumage, such as feathers on both the upper and lower legs and metatarsus, and the only preserved tail tip.

A twelfth specimen had been discovered by an amateur collector in 2010 at the Schamhaupten quarry, but the finding was only announced in February 2014. It was scientifically described in 2018. It represents a complete and mostly articulated skeleton with skull. It is the only specimen lacking preserved feathers. It is from the Painten Formation and somewhat older than the other specimens.

The existence of a thirteenth specimen (the Chicago specimen) was announced in 2024 by the Field Museum in Chicago, US. One of two specimens in an institution outside Europe, the specimen was originally identified in a private collection in Switzerland, and had been acquired by these collectors in 1990, prior to Germany's 2015 ban on exporting Archaeopteryx specimens. The specimen was acquired by the Field Museum in 2022, and went on public display in 2024 following two years of preparation. The specimen is to be studied by famed paleornithologist Jingmai O'Connor.

Authenticity
Beginning in 1985, an amateur group including astronomer Fred Hoyle and physicist Lee Spetner, published a series of papers claiming that the feathers on the Berlin and London specimens of Archaeopteryx were forged. Their claims were repudiated by Alan J. Charig and others at the Natural History Museum in London. Most of their supposed evidence for a forgery was based on unfamiliarity with the processes of lithification; for example, they proposed that, based on the difference in texture associated with the feathers, feather impressions were applied to a thin layer of cement, without realizing that feathers themselves would have caused a textural difference. They also misinterpreted the fossils, claiming that the tail was forged as one large feather, when visibly this is not the case. In addition, they claimed that the other specimens of Archaeopteryx known at the time did not have feathers, which is incorrect; the Maxberg and Eichstätt specimens have obvious feathers.

They also expressed disbelief that slabs would split so smoothly, or that one half of a slab containing fossils would have good preservation, but not the counterslab. These are common properties of Solnhofen fossils, because the dead animals would fall onto hardened surfaces, which would form a natural plane for the future slabs to split along and would leave the bulk of the fossil on one side and little on the other.

Finally, the motives they suggested for a forgery are not strong, and are contradictory; one is that Richard Owen wanted to forge evidence in support of Charles Darwin's theory of evolution, which is unlikely given Owen's views toward Darwin and his theory. The other is that Owen wanted to set a trap for Darwin, hoping the latter would support the fossils so Owen could discredit him with the forgery; this is unlikely because Owen wrote a detailed paper on the London specimen, so such an action would certainly backfire.

Charig et al. pointed to the presence of hairline cracks in the slabs running through both rock and fossil impressions, and mineral growth over the slabs that had occurred before discovery and preparation, as evidence that the feathers were original. Spetner et al. then attempted to show that the cracks would have propagated naturally through their postulated cement layer, but neglected to account for the fact that the cracks were old and had been filled with calcite, and thus were not able to propagate. They also attempted to show the presence of cement on the London specimen through X-ray spectroscopy, and did find something that was not rock; it was not cement either, and is most probably a fragment of silicone rubber left behind when moulds were made of the specimen. Their suggestions have not been taken seriously by palaeontologists, as their evidence was largely based on misunderstandings of geology, and they never discussed the other feather-bearing specimens, which have increased in number since then. Charig et al. reported a discolouration: a dark band between two layers of limestone – they say it is the product of sedimentation. It is natural for limestone to take on the colour of its surroundings and most limestones are coloured (if not colour banded) to some degree, so the darkness was attributed to such impurities. They also mention that a complete absence of air bubbles in the rock slabs is further proof that the specimen is authentic.

Description
Most of the specimens of Archaeopteryx that have been discovered come from the Solnhofen limestone in Bavaria, southern Germany, which is a Lagerstätte, a rare and remarkable geological formation known for its superbly detailed fossils laid down during the early Tithonian stage of the Jurassic period, approximately 150.8–148.5million years ago.

Archaeopteryx was roughly the size of a raven, with broad wings that were rounded at the ends and a long tail compared to its body length. It could reach up to 0.5 m in body length and 0.7 m in wingspan, with an estimated mass of 0.5 to 1 kg. Archaeopteryx feathers, although less documented than its other features, were very similar in structure to modern-day bird feathers. Despite the presence of numerous avian features, Archaeopteryx had many non-avian theropod dinosaur characteristics. Unlike modern birds, Archaeopteryx had small teeth, as well as a long bony tail, features which Archaeopteryx shared with other dinosaurs of the time.

Because it displays features common to both birds and non-avian dinosaurs, Archaeopteryx has often been considered a link between them. In the 1970s, John Ostrom, following Thomas Henry Huxley's lead in 1868, argued that birds evolved within theropod dinosaurs and Archaeopteryx was a critical piece of evidence for this argument; it had several avian features, such as a wishbone, flight feathers, wings, and a partially reversed first toe along with dinosaur and theropod features. For instance, it has a long ascending process of the ankle bone, interdental plates, an obturator process of the ischium, and long chevrons in the tail. In particular, Ostrom found that Archaeopteryx was remarkably similar to the theropod family Dromaeosauridae.

Archaeopteryx had three separate digits on each fore-leg each ending with a "claw". Few birds have such features. Some birds, such as ducks, swans, Jacanas (Jacana sp.), and the hoatzin (Opisthocomus hoazin), have them concealed beneath their leg-feathers.

Plumage
Specimens of Archaeopteryx were most notable for their well-developed flight feathers. They were markedly asymmetrical and showed the structure of flight feathers in modern birds, with vanes given stability by a barb-barbule-barbicel arrangement. The tail feathers were less asymmetrical, again in line with the situation in modern birds and also had firm vanes. The thumb did not yet bear a separately movable tuft of stiff feathers.

The body plumage of Archaeopteryx is less well-documented and has only been properly researched in the well-preserved Berlin specimen. Thus, as more than one species seems to be involved, the research into the Berlin specimen's feathers does not necessarily hold true for the rest of the species of Archaeopteryx. In the Berlin specimen, there are "trousers" of well-developed feathers on the legs; some of these feathers seem to have a basic contour feather structure, but are somewhat decomposed (they lack barbicels as in ratites). In part they are firm and thus capable of supporting flight.

A patch of pennaceous feathers is found running along its back, which was quite similar to the contour feathers of the body plumage of modern birds in being symmetrical and firm, although not as stiff as the flight-related feathers. Apart from that, the feather traces in the Berlin specimen are limited to a sort of "proto-down" not dissimilar to that found in the dinosaur Sinosauropteryx: decomposed and fluffy, and possibly even appearing more like fur than feathers in life (although not in their microscopic structure). These occur on the remainder of the body—although some feathers did not fossilize and others were obliterated during preparation, leaving bare patches on specimens—and the lower neck.

There is no indication of feathering on the upper neck and head. While these conceivably may have been nude, this may still be an artefact of preservation. It appears that most Archaeopteryx specimens became embedded in anoxic sediment after drifting some time on their backs in the sea—the head, neck and the tail are generally bent downward, which suggests that the specimens had just started to rot when they were embedded, with tendons and muscle relaxing so that the characteristic shape (death pose) of the fossil specimens was achieved. This would mean that the skin already was softened and loose, which is bolstered by the fact that in some specimens the flight feathers were starting to detach at the point of embedding in the sediment. So it is hypothesized that the pertinent specimens moved along the sea bed in shallow water for some time before burial, the head and upper neck feathers sloughing off, while the more firmly attached tail feathers remained.

Colouration

In 2011, graduate student Ryan Carney and colleagues performed the first colour study on an Archaeopteryx specimen. Using scanning electron microscopy technology and energy-dispersive X-ray analysis, the team was able to detect the structure of melanosomes in the isolated feather specimen described in 1861. The resultant measurements were then compared to those of 87modern bird species, and the original colour was calculated with a 95% likelihood to be black. The feather was determined to be black throughout, with heavier pigmentation in the distal tip. The feather studied was most probably a dorsal covert, which would have partly covered the primary feathers on the wings. The study does not mean that Archaeopteryx was entirely black, but suggests that it had some black colouration which included the coverts. Carney pointed out that this is consistent with what is known of modern flight characteristics, in that black melanosomes have structural properties that strengthen feathers for flight. In a 2013 study published in the Journal of Analytical Atomic Spectrometry, new analyses of Archaeopteryx's feathers revealed that the animal may have had complex light- and dark-coloured plumage, with heavier pigmentation in the distal tips and outer vanes. This analysis of colour distribution was based primarily on the distribution of sulphate within the fossil. An author on the previous Archaeopteryx colour study argued against the interpretation of such biomarkers as an indicator of eumelanin in the full Archaeopteryx specimen. Carney and other colleagues also argued against the 2013 study's interpretation of the sulphate and trace metals, and in a 2020 study published in Scientific Reports demonstrated that the isolated covert feather was entirely matte black (as opposed to black and white, or iridescent) and that the remaining "plumage patterns of Archaeopteryx remain unknown".

Classification
Today, fossils of the genus Archaeopteryx are usually assigned to one or two species, A. lithographica and A. siemensii, but their taxonomic history is complicated. Ten names have been published for the handful of specimens. As interpreted today, the name A. lithographica only referred to the single feather described by Meyer. In 1954 Gavin de Beer concluded that the London specimen was the holotype. In 1960, Swinton accordingly proposed that the name Archaeopteryx lithographica be placed on the official genera list making the alternative names Griphosaurus and Griphornis invalid. The ICZN, implicitly accepting De Beer's standpoint, did indeed suppress the plethora of alternative names initially proposed for the first skeleton specimens, which mainly resulted from the acrimonious dispute between Meyer and his opponent Johann Andreas Wagner (whose Griphosaurus problematicus—'problematic riddle-lizard'—was a vitriolic sneer at Meyer's Archaeopteryx). In addition, in 1977, the Commission ruled that the first species name of the Haarlem specimen, crassipes, described by Meyer as a pterosaur before its true nature was realized, was not to be given preference over lithographica in instances where scientists considered them to represent the same species.

It has been noted that the feather, the first specimen of Archaeopteryx described, does not correspond well with the flight-related feathers of Archaeopteryx. It certainly is a flight feather of a contemporary species, but its size and proportions indicate that it may belong to another, smaller species of feathered theropod, of which only this feather is known so far. As the feather had been designated the type specimen, the name Archaeopteryx should then no longer be applied to the skeletons, thus creating significant nomenclatorial confusion. In 2007, two sets of scientists therefore petitioned the ICZN requesting that the London specimen explicitly be made the type by designating it as the new holotype specimen, or neotype. This suggestion was upheld by the ICZN after four years of debate, and the London specimen was designated the neotype on 3 October 2011. Below is a cladogram published in 2013 by Godefroit et al.

Species
It has been argued that all the specimens belong to the same species, A. lithographica. Differences do exist among the specimens, and while some researchers regard these as due to the different ages of the specimens, some may be related to actual species diversity. In particular, the Munich, Eichstätt, Solnhofen, and Thermopolis specimens differ from the London, Berlin, and Haarlem specimens in being smaller or much larger, having different finger proportions, having more slender snouts lined with forward-pointing teeth, and the possible presence of a sternum. Due to these differences, most individual specimens have been given their own species name at one point or another. The Berlin specimen has been designated as Archaeornis siemensii, the Eichstätt specimen as Jurapteryx recurva, the Munich specimen as Archaeopteryx bavarica, and the Solnhofen specimen as Wellnhoferia grandis.

In 2007, a review of all well-preserved specimens including the then-newly discovered Thermopolis specimen concluded that two distinct species of Archaeopteryx could be supported: A. lithographica (consisting of at least the London and Solnhofen specimens), and A. siemensii (consisting of at least the Berlin, Munich, and Thermopolis specimens). The two species are distinguished primarily by large flexor tubercles on the foot claws in A. lithographica (the claws of A. siemensii specimens being relatively simple and straight). A. lithographica also had a constricted portion of the crown in some teeth and a stouter metatarsus. A supposed additional species, Wellnhoferia grandis (based on the Solnhofen specimen), seems to be indistinguishable from A. lithographica except in its larger size.

Synonyms
If two names are given, the first denotes the original describer of the "species", the second the author on whom the given name combination is based. As always in zoological nomenclature, putting an author's name in parentheses denotes that the taxon was originally described in a different genus.
 * Archaeopteryx lithographica Meyer, 1861 [conserved name]
 * Archaeopterix lithographica Anon., 1861 [lapsus]
 * Griphosaurus problematicus Wagner, 1862 [rejected name 1961 per ICZN Opinion 607]
 * Griphornis longicaudatus Owen vide Woodward, 1862 [rejected name 1961 per ICZN Opinion 607]
 * Archaeopteryx macrura Owen, 1862 [rejected name 1961 per ICZN Opinion 607]
 * Archaeopteryx oweni Petronievics, 1917 [rejected name 1961 per ICZN Opinion 607]
 * Archaeopteryx recurva Howgate, 1984
 * Jurapteryx recurva (Howgate, 1984) Howgate, 1985
 * Wellnhoferia grandis Elżanowski, 2001
 * Archaeopteryx siemensii Dames, 1897
 * Archaeornis siemensii (Dames, 1897) Petronievics, 1917
 * Archaeopteryx bavarica Wellnhofer, 1993

"Archaeopteryx" vicensensis (Anon. fide Lambrecht, 1933) is a nomen nudum for what appears to be an undescribed pterosaur.

Phylogenetic position

Modern palaeontology has often classified Archaeopteryx as the most primitive bird. However, it is not thought to be a true ancestor of modern birds, but rather a close relative of that ancestor. Nonetheless, Archaeopteryx was often used as a model of the true ancestral bird. Several authors have done so. Lowe (1935) and Thulborn (1984) questioned whether Archaeopteryx truly was the first bird. They suggested that Archaeopteryx was a dinosaur that was no more closely related to birds than were other dinosaur groups. Kurzanov (1987) suggested that Avimimus was more likely to be the ancestor of all birds than Archaeopteryx. Barsbold (1983) and Zweers and Van den Berge (1997) noted that many maniraptoran lineages are extremely birdlike, and they suggested that different groups of birds may have descended from different dinosaur ancestors.

The discovery of the closely related Xiaotingia in 2011 led to new phylogenetic analyses that suggested that Archaeopteryx is a deinonychosaur rather than an avialan, and therefore, not a "bird" under most common uses of that term. A more thorough analysis was published soon after to test this hypothesis, and failed to arrive at the same result; it found Archaeopteryx in its traditional position at the base of Avialae, while Xiaotingia was recovered as a basal dromaeosaurid or troodontid. The authors of the follow-up study noted that uncertainties still exist, and that it may not be possible to state confidently whether or not Archaeopteryx is a member of Avialae or not, barring new and better specimens of relevant species.

Phylogenetic studies conducted by Senter, et al. (2012) and Turner, Makovicky, and Norell (2012) also found Archaeopteryx to be more closely related to living birds than to dromaeosaurids and troodontids. On the other hand, Godefroit et al. (2013) recovered Archaeopteryx as more closely related to dromaeosaurids and troodontids in the analysis included in their description of Eosinopteryx brevipenna. The authors used a modified version of the matrix from the study describing Xiaotingia, adding Jinfengopteryx elegans and Eosinopteryx brevipenna to it, as well as adding four additional characters related to the development of the plumage. Unlike the analysis from the description of Xiaotingia, the analysis conducted by Godefroit, et al. did not find Archaeopteryx to be related particularly closely to Anchiornis and Xiaotingia, which were recovered as basal troodontids instead.

Agnolín and Novas (2013) found Archaeopteryx and (possibly synonymous) Wellnhoferia to be form a clade sister to the lineage including Jeholornis and Pygostylia, with Microraptoria, Unenlagiinae, and the clade containing Anchiornis and Xiaotingia being successively closer outgroups to the Avialae (defined by the authors as the clade stemming from the last common ancestor of Archaeopteryx and Aves). Another phylogenetic study by Godefroit, et al., using a more inclusive matrix than the one from the analysis in the description of Eosinopteryx brevipenna, also found Archaeopteryx to be a member of Avialae (defined by the authors as the most inclusive clade containing Passer domesticus, but not Dromaeosaurus albertensis or Troodon formosus). Archaeopteryx was found to form a grade at the base of Avialae with Xiaotingia, Anchiornis, and Aurornis. Compared to Archaeopteryx, Xiaotingia was found to be more closely related to extant birds, while both Anchiornis and Aurornis were found to be more distantly so.

Hu et al. (2018), Wang et al. (2018) and Hartman et al. (2019) found Archaeopteryx to have been a deinonychosaur instead of an avialan. More specifically, it and closely related taxa were considered basal deinonychosaurs, with dromaeosaurids and troodontids forming together a parallel lineage within the group. Because Hartman et al. found Archaeopteryx isolated in a group of flightless deinonychosaurs (otherwise considered "anchiornithids"), they considered it highly probable that this animal evolved flight independently from bird ancestors (and from Microraptor and Yi). The following cladogram illustrates their hypothesis regarding the position of Archaeopteryx:

The authors, however, found that the Archaeopteryx being an avialan was only slightly less likely than this hypothesis, and as likely as Archaeopterygidae and Troodontidae being sister clades.

Flight
As in the wings of modern birds, the flight feathers of Archaeopteryx were somewhat asymmetrical and the tail feathers were rather broad. This implies that the wings and tail were used for lift generation, but it is unclear whether Archaeopteryx was capable of flapping flight or simply a glider. The lack of a bony breastbone suggests that Archaeopteryx was not a very strong flier, but flight muscles might have attached to the thick, boomerang-shaped wishbone, the platelike coracoids, or perhaps, to a cartilaginous sternum. The sideways orientation of the glenoid (shoulder) joint between scapula, coracoid, and humerus—instead of the dorsally angled arrangement found in modern birds—may indicate that Archaeopteryx was unable to lift its wings above its back, a requirement for the upstroke found in modern flapping flight. According to a study by Philip Senter in 2006, Archaeopteryx was indeed unable to use flapping flight as modern birds do, but it may well have used a downstroke-only flap-assisted gliding technique. However, a more recent study solves this issue by suggesting a different flight stroke configuration for non-avian flying theropods.

Archaeopteryx wings were relatively large, which would have resulted in a low stall speed and reduced turning radius. The short and rounded shape of the wings would have increased drag, but also could have improved its ability to fly through cluttered environments such as trees and brush (similar wing shapes are seen in birds that fly through trees and brush, such as crows and pheasants). The presence of "hind wings", asymmetrical flight feathers stemming from the legs similar to those seen in dromaeosaurids such as Microraptor, also would have added to the aerial mobility of Archaeopteryx. The first detailed study of the hind wings by Longrich in 2006, suggested that the structures formed up to 12% of the total airfoil. This would have reduced stall speed by up to 6% and turning radius by up to 12%.

The feathers of Archaeopteryx were asymmetrical. This has been interpreted as evidence that it was a flyer, because flightless birds tend to have symmetrical feathers. Some scientists, including Thomson and Speakman, have questioned this. They studied more than 70 families of living birds, and found that some flightless types do have a range of asymmetry in their feathers, and that the feathers of Archaeopteryx fall into this range. The degree of asymmetry seen in Archaeopteryx is more typical for slow flyers than for flightless birds.

In 2010, Robert L. Nudds and Gareth J. Dyke in the journal Science published a paper in which they analysed the rachises of the primary feathers of Confuciusornis and Archaeopteryx. The analysis suggested that the rachises on these two genera were thinner and weaker than those of modern birds relative to body mass. The authors determined that Archaeopteryx and Confuciusornis, were unable to use flapping flight. This study was criticized by Philip J. Currie and Luis Chiappe. Chiappe suggested that it is difficult to measure the rachises of fossilized feathers, and Currie speculated that Archaeopteryx and Confuciusornis must have been able to fly to some degree, as their fossils are preserved in what is believed to have been marine or lake sediments, suggesting that they must have been able to fly over deep water. Gregory Paul also disagreed with the study, arguing in a 2010 response that Nudds and Dyke had overestimated the masses of these early birds, and that more accurate mass estimates allowed powered flight even with relatively narrow rachises. Nudds and Dyke had assumed a mass of 250 g for the Munich specimen Archaeopteryx, a young juvenile, based on published mass estimates of larger specimens. Paul argued that a more reasonable body mass estimate for the Munich specimen is about 140 g. Paul also criticized the measurements of the rachises themselves, noting that the feathers in the Munich specimen are poorly preserved. Nudds and Dyke reported a diameter of 0.75 mm for the longest primary feather, which Paul could not confirm using photographs. Paul measured some of the inner primary feathers, finding rachises 1.25–1.4 mm across. Despite these criticisms, Nudds and Dyke stood by their original conclusions. They claimed that Paul's statement, that an adult Archaeopteryx would have been a better flyer than the juvenile Munich specimen, was dubious. This, they reasoned, would require an even thicker rachis, evidence for which has not yet been presented. Another possibility is that they had not achieved true flight, but instead used their wings as aids for extra lift while running over water after the fashion of the basilisk lizard, which could explain their presence in lake and marine deposits (see Origin of avian flight).

In 2004, scientists analysing a detailed CT scan of the braincase of the London Archaeopteryx concluded that its brain was significantly larger than that of most dinosaurs, indicating that it possessed the brain size necessary for flying. The overall brain anatomy was reconstructed using the scan. The reconstruction showed that the regions associated with vision took up nearly one-third of the brain. Other well-developed areas involved hearing and muscle coordination. The skull scan also revealed the structure of its inner ear. The structure more closely resembles that of modern birds than the inner ear of non-avian reptiles. These characteristics taken together suggest that Archaeopteryx had the keen sense of hearing, balance, spatial perception, and coordination needed to fly. Archaeopteryx had a cerebrum-to-brain-volume ratio 78% of the way to modern birds from the condition of non-coelurosaurian dinosaurs such as Carcharodontosaurus or Allosaurus, which had a crocodile-like anatomy of the brain and inner ear. Newer research shows that while the Archaeopteryx brain was more complex than that of more primitive theropods, it had a more generalized brain volume among Maniraptora dinosaurs, even smaller than that of other non-avian dinosaurs in several instances, which indicates the neurological development required for flight was already a common trait in the maniraptoran clade.

Recent studies of flight feather barb geometry reveal that modern birds possess a larger barb angle in the trailing vane of the feather, whereas Archaeopteryx lacks this large barb angle, indicating potentially weak flight abilities.

Archaeopteryx continues to play an important part in scientific debates about the origin and evolution of birds. Some scientists see it as a semi-arboreal climbing animal, following the idea that birds evolved from tree-dwelling gliders (the "trees down" hypothesis for the evolution of flight proposed by O. C. Marsh). Other scientists see Archaeopteryx as running quickly along the ground, supporting the idea that birds evolved flight by running (the "ground up" hypothesis proposed by Samuel Wendell Williston). Still others suggest that Archaeopteryx might have been at home both in the trees and on the ground, like modern crows, and this latter view is what currently is considered best supported by morphological characters. Altogether, it appears that the species was not particularly specialized for running on the ground or for perching. A scenario outlined by Elżanowski in 2002 suggested that Archaeopteryx used its wings mainly to escape predators by glides punctuated with shallow downstrokes to reach successively higher perches, and alternatively, to cover longer distances (mainly) by gliding down from cliffs or treetops.

In March 2018, scientists reported that Archaeopteryx was likely capable of a flight stroke cycle morphologically closer to the grabbing motion of maniraptorans and distinct from that of modern birds. This study on Archaeopteryx's bone histology identified biomechanical and physiological adaptations exhibited by modern volant birds that perform intermittent flapping, such as pheasants and other burst flyers.

Some researchers suggested that the feather sheaths of Archaeopteryx shows a center-out, flight related moulting strategy like modern birds. As it was a weak flier, this would have been extremely advantageous in preserving its maximum flight performance. Kiat and colleagues reinterpreted this purported moulting evidence to be problematic and equivocal at best, and considered that these structures more likely represents the calami traces of the fully grown feathers, though the original authors still remained by their conclusion.

Growth

An histological study by Erickson, Norell, Zhongue, and others in 2009 estimated that Archaeopteryx grew relatively slowly compared to modern birds, presumably because the outermost portions of Archaeopteryx bones appear poorly vascularized; in living vertebrates, poorly vascularized bone is correlated with slow growth rate. They also assume that all known skeletons of Archaeopteryx come from juvenile specimens. Because the bones of Archaeopteryx could not be histologically sectioned in a formal skeletochronological (growth ring) analysis, Erickson and colleagues used bone vascularity (porosity) to estimate bone growth rate. They assumed that poorly vascularized bone grows at similar rates in all birds and in Archaeopteryx. The poorly vascularized bone of Archaeopteryx might have grown as slowly as that in a mallard (2.5micrometres per day) or as fast as that in an ostrich (4.2micrometres per day). Using this range of bone growth rates, they calculated how long it would take to "grow" each specimen of Archaeopteryx to the observed size; it may have taken at least 970 days (there were 375 days in a Late Jurassic year) to reach an adult size of 0.8–1 kg. The study also found that the avialans Jeholornis and Sapeornis grew relatively slowly, as did the dromaeosaurid Mahakala. The avialans Confuciusornis and Ichthyornis grew relatively quickly, following a growth trend similar to that of modern birds. One of the few modern birds that exhibit slow growth is the flightless kiwi, and the authors speculated that Archaeopteryx and the kiwi had similar basal metabolic rate.

Daily activity patterns
Comparisons between the scleral rings of Archaeopteryx and modern birds and reptiles indicate that it may have been diurnal, similar to most modern birds.

Palaeoecology
The richness and diversity of the Solnhofen limestones in which all specimens of Archaeopteryx have been found have shed light on an ancient Jurassic Bavaria strikingly different from the present day. The latitude was similar to Florida, though the climate was likely to have been drier, as evidenced by fossils of plants with adaptations for arid conditions and a lack of terrestrial sediments characteristic of rivers. Evidence of plants, although scarce, include cycads and conifers while animals found include a large number of insects, small lizards, pterosaurs, and Compsognathus.

The excellent preservation of Archaeopteryx fossils and other terrestrial fossils found at Solnhofen indicates that they did not travel far before becoming preserved. The Archaeopteryx specimens found were therefore likely to have lived on the low islands surrounding the Solnhofen lagoon rather than to have been corpses that drifted in from farther away. Archaeopteryx skeletons are considerably less numerous in the deposits of Solnhofen than those of pterosaurs, of which seven genera have been found. The pterosaurs included species such as Rhamphorhynchus belonging to the Rhamphorhynchidae, the group which dominated the ecological niche currently occupied by seabirds, and which became extinct at the end of the Jurassic. The pterosaurs, which also included Pterodactylus, were common enough that it is unlikely that the specimens found are vagrants from the larger islands 50 km to the north.

The islands that surrounded the Solnhofen lagoon were low lying, semi-arid, and sub-tropical with a long dry season and little rain. The closest modern analogue for the Solnhofen conditions is said to be Orca Basin in the northern Gulf of Mexico, although it is much deeper than the Solnhofen lagoons. The flora of these islands was adapted to these dry conditions and consisted mostly of low (3 m) shrubs. Contrary to reconstructions of Archaeopteryx climbing large trees, these seem to have been mostly absent from the islands; few trunks have been found in the sediments and fossilized tree pollen also is absent.

The lifestyle of Archaeopteryx is difficult to reconstruct and there are several theories regarding it. Some researchers suggest that it was primarily adapted to life on the ground, while other researchers suggest that it was principally arboreal on the basis of the curvature of the claws which has since been questioned. The absence of trees does not preclude Archaeopteryx from an arboreal lifestyle, as several species of bird live exclusively in low shrubs. Various aspects of the morphology of Archaeopteryx point to either an arboreal or ground existence, including the length of its legs and the elongation in its feet; some authorities consider it likely to have been a generalist capable of feeding in both shrubs and open ground, as well as along the shores of the lagoon. It most likely hunted small prey, seizing it with its jaws if it was small enough, or with its claws if it was larger.

title: Archaeopteryx


text:
Arthur Laurents

Arthur Laurents (July 14, 1917 – May 5, 2011) was an American playwright, theatre director, film producer and screenwriter. With a career spanning seven decades he received numerous accolades including two Tony Awards, a Drama Desk Award, and nominations for two Academy Awards, two BAFTA Awards, and a Golden Globe Award.

After writing scripts for radio shows after college and then training films for the U.S. Army during World War II, Laurents turned to writing for Broadway, producing a body of work that includes West Side Story (1957), Gypsy (1959), and Hallelujah, Baby! (1967), winning the Tony Award for Best Musical for the latter. He directed the musical La Cage aux Folles in 1983 and received the Tony Award for Best Direction of a Musical.

Laurents also worked as a screenwriter on Hollywood films such as Alfred Hitchcock's thriller Rope (1948), Anastasia (1956), Bonjour Tristesse (1958) and Sydney Pollack's romance The Way We Were (1973). He received two Academy Award nominations for Best Picture and Best Original Screenplay for the Herbert Ross drama film The Turning Point (1977).

Early life
Born Arthur Levine, Laurents was the son of middle-class Jewish parents, his father a lawyer and his mother a schoolteacher, who gave up her career when she married. He was born and raised in the Flatbush section of Brooklyn, a borough of New York City, New York, the elder of two children, and attended Erasmus Hall High School. His sister Edith suffered from chorea as a child.

His paternal grandparents were Orthodox Jews, and his mother's parents, although born Jewish, were atheists. His mother kept a kosher home for her husband's sake, but was lax about attending synagogue and observing the Jewish holidays. His Bar Mitzvah marked the end of Laurents's religious education and the beginning of his rejection of all fundamentalist religions, although he continued to identify himself as Jewish. However, late in life he admitted to having changed his last name from Levine to the less Jewish-sounding Laurents, "to get a job."

After graduating from Cornell University, Laurents took an evening class in radio writing at New York University. William N. Robson, his instructor, a CBS Radio director/producer, submitted his script Now Playing Tomorrow, a comedic fantasy about clairvoyance, to the network, and it was produced in the Columbia Workshop series on January 30, 1939, with Shirley Booth in the lead role. It was Laurents' first professional credit. The show's success led to him being hired to write scripts for various radio shows, among them Lux Radio Theater. Laurents' career was interrupted when he was drafted into the U.S. Army in the middle of World War II. Through a series of clerical errors, he never saw battle, but instead was assigned to the U.S. Army Pictorial Service located in a film studio in Astoria, Queens, where he wrote training films and met, among others, George Cukor and William Holden. He later was reassigned to write plays for Armed Service Force Presents, a radio show that dramatized the contributions of all branches of the armed forces.

Theatre
According to John Clum, "Laurents was always a mirror of his times. Through his best work, one sees a staged history of leftist, gender, and gay politics in the decades after World War II." After graduating from Cornell University in 1937, Laurents, who was gay, went to work as a writer for radio drama at CBS in New York. His military duties during World War II, which consisted of writing training films and radio scripts for Armed Service Force Presents, brought him into contact with some of the best film directors—distinguished director George Cukor directed his first script. Laurents's work in radio and film during World War II was an excellent apprenticeship for a budding playwright and screenwriter. He also had the good fortune to be based in New York City. His first stage play, Home of the Brave, was produced in 1945. The sale of the play to a film studio gave Laurents the entrée he needed to become a Hollywood screenwriter though he continued, with mixed success, to write plays. The most important of his early screenplays is his adaptation of Rope for Alfred Hitchcock.

Soon after being discharged from the Army, Laurents met ballerina Nora Kaye, and the two became involved in an on-again, off-again romantic relationship. While Kaye was on tour with Fancy Free, Laurents continued to write for the radio but was becoming discontented with the medium. In 1962, Laurents directed I Can Get It for You Wholesale, which helped to turn then-unknown Barbra Streisand into a star. His next project was the stage musical Anyone Can Whistle, which he directed and for which he wrote the book, but it proved to be an infamous flop. He later had success with the musicals Hallelujah, Baby! (written for Lena Horne but ultimately starring Leslie Uggams) and La Cage Aux Folles (1983), which he directed, however Nick & Nora was not successful.

In 2008, Laurents directed a Broadway revival of Gypsy starring Patti LuPone, and in 2009, he tackled a bilingual revival of West Side Story, with Spanish translations of some dialogue and lyrics by Lin-Manuel Miranda. While preparing West Side Story, he noted, "The musical theatre and cultural conventions of 1957 made it next to impossible for the characters to have authenticity." Following the production's March 19 opening at the Palace Theatre, Ben Brantley of The New York Times called the translations "an only partly successful experiment" and added, "Mr. Laurents has exchanged insolence for innocence and, as with most such bargains, there are dividends and losses." The national tour (2011–2012) was directed by David Saint, who was Laurents' assistant director on the Broadway production. The Spanish lyrics and dialog were reduced from about 18% of the total to about 10%.

Hollywood
Laurents' first Hollywood experience proved to be a frustrating disappointment. Director Anatole Litvak, unhappy with the script submitted by Frank Partos and Millen Brand for The Snake Pit (1948), hired Laurents to rewrite it. Partos and Brand later insisted the bulk of the shooting script was theirs, and produced carbon copies of many of the pages Laurents actually had written to bolster their claim. Having destroyed the original script and all his notes and rewritten pages after completing the project, Laurents had no way to prove most of the work was his, and the Writers Guild of America denied him screen credit. Brand later confessed he and Partos had copied scenes written by Laurents and apologized for his role in the deception. Four decades later, Laurents learned he was ineligible for WGA health benefits because he had failed to accumulate enough credits to qualify. He was short by one, the one he failed to get for The Snake Pit.

Upon hearing 20th Century Fox executives were pleased with Laurents' work on The Snake Pit, Alfred Hitchcock hired him for his next project, the film Rope starring James Stewart. Hitchcock wanted Laurents to Americanize the British play Rope (1929) by Patrick Hamilton for the screen. With his then-lover Farley Granger set to star, Laurents was happy to accept the assignment. His dilemma was how to make the audience aware of the fact the three main characters were homosexual without blatantly saying so. The Hays Office kept close tabs on his work, and the final script was so discreet that Laurents was unsure whether co-star James Stewart ever realized that his character was gay. In later years, Hitchcock asked him to script both Torn Curtain (1966) and Topaz (1969), However, Laurents, in both cases unenthused by the material, declined the offers.

Laurents also scripted Anastasia (1956) and Bonjour Tristesse (1958). The Way We Were (1973), in which he incorporated many of his own experiences, particularly those with the HUAC, reunited him with Barbra Streisand, and The Turning Point (1977), inspired in part by his love for Nora Kaye, was directed by her husband Herbert Ross. The Fox animated feature film Anastasia (1997) was based in part on his screenplay of the live-action 1956 film of the same title.

Blacklist
Because of a casual remark made by Russel Crouse, Laurents was called to Washington, D.C., to account for his political views. He explained himself to the House Un-American Activities Committee, and his appearance had no obvious impact on his career, which at the time was primarily in the theatre. When the McCarran Internal Security Act, which prohibited individuals suspected of engaging in subversive activities from obtaining a passport, was passed in 1950, Laurents and Granger immediately applied for and received passports and departed for Paris with Harold Clurman and his wife Stella Adler. Laurents and Granger remained abroad, traveling throughout Europe and northern Africa, for about 18 months.

Years earlier, Laurents and Jerome Robbins had developed Look Ma, I'm Dancin'! (1948), a stage musical about the world of ballet that ran for 188 performances on Broadway, and starred Nancy Walker and Harold Lang. Laurents left the project, however, and the musical was ultimately produced with a book by Jerome Lawrence and Robert E. Lee. When Robbins approached Paramount Pictures about directing a screen version, the studio agreed as long as Laurents was not part of the package.

It was only then that Laurents learned he officially had been blacklisted, primarily because a review of Home of the Brave had been published in the Daily Worker. He decided to return to Paris, but the State Department refused to renew his passport. Laurents spent three months trying to clear his name, and after submitting a lengthy letter explaining his political beliefs in detail, it was determined they were so idiosyncratic he could not have been a member of any subversive groups. Within a week his passport was renewed, and the following day he sailed for Europe on the Ile de France. While on board, he received a cable from Metro-Goldwyn-Mayer offering him a screenwriting assignment. The blacklisting had ended.

Memoirs
Laurents wrote Original Story By Arthur Laurents: A Memoir of Broadway and Hollywood, published in 2000. In it, he discusses his lengthy career and his many gay affairs and long-term relationships, including those with Farley Granger and Tom Hatcher (August 24, 1929 - October 26, 2006). Hatcher was an aspiring actor whom Gore Vidal suggested Laurents seek out at the Beverly Hills men's clothing store Hatcher was managing at the time. The couple remained together for 52 years until Hatcher's death on October 26, 2006.

Laurents wrote Mainly on Directing: Gypsy, West Side Story and Other Musicals, published in 2009, in which he discussed musicals he directed and the work of other directors he admired.

His last memoir titled The Rest of the Story was published posthumously in September 2012.

Death
Laurents died from complications of pneumonia at his home in Manhattan on May 5, 2011, aged 93. Following a long tradition, Broadway theatre lights were dimmed at 8 p.m. on May 6, 2011, for one minute in his memory. His ashes were buried alongside those of Tom Hatcher in a memorial bench in Quogue, Long Island, New York.

Writing

 * Musicals
 * West Side Story – 1957 – Tony Nomination for Best Musical
 * Gypsy – 1959 – Tony Nomination for Best Musical
 * Anyone Can Whistle – 1964
 * Do I Hear a Waltz? – 1965
 * Hallelujah, Baby! – 1967 – Tony Award for Best Musical
 * The Madwoman of Central Park West – 1979
 * Nick & Nora – 1991

 * Novels
 * The Way We Were – 1972; Harper & Row (New York City)
 * The Turning Point – 1977; New American Library (New York City);

 * Plays
 * Home of the Brave – 1945
 * The Bird Cage – 1950
 * The Time of the Cuckoo – 1952
 * A Clearing in the Woods – 1957
 * Invitation to a March – 1960

Directing
• Invitation to a March – 1960

• I Can Get It for You Wholesale – 1962

• Anyone Can Whistle – 1964

• Gypsy – 1974 – Tony Nomination for Best Direction of a Musical

• The Madwoman of Central Park West – 1979

• La Cage aux Folles – 1983 – Tony Award for Best Direction of a Musical

• Nick & Nora – 1991

• West Side Story - 1998 Prince Edward theatre London

• Gypsy – 2008 – Tony Award nomination as Best Director of a Musical

• West Side Story – 2009 Broadway Revival

Additional credits
• Anna Lucasta (screenwriter)

• A Clearing in the Woods (playwright)

• Invitation to a March (playwright, director)

• The Madwoman of Central Park West (playwright, director)

• My Good Name (playwright)

• Jolson Sings Again (playwright)

• The Enclave (playwright, director)

• Radical Mystique (playwright, director)

• Big Potato (playwright)

• Two Lives (playwright)

• My Good Name (playwright)

• Claudia Lazlo (playwright)

• Attacks on the Heart (playwright)

• 2 Lives (playwright)

• New Year's Eve (playwright)

• Come Back, Come Back, Wherever You Are (playwright, director)

• Caught (screenwriter)

• Rope (screenwriter)

Accolades
 Honors  A new award was established in 2010, The Laurents/Hatcher Foundation Award. This is awarded annually "for an un-produced, full-length play of social relevance by an emerging American playwright." The Laurents/Hatcher Foundation will give $50,000 to the writer with a grant of $100,000 towards production costs at a nonprofit theatre. The first award will be given in 2011.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Arthur Laurents


text:
Adrian Lamo

Adrián Alfonso Lamo Atwood (February 20, 1981 – March 14, 2018) was an American threat analyst and hacker. Lamo first gained media attention for breaking into several high-profile computer networks, including those of The New York Times, Yahoo!, and Microsoft, culminating in his 2003 arrest.

Lamo was best known for reporting U.S. soldier Chelsea Manning to Army criminal investigators in 2010 for leaking hundreds of thousands of sensitive U.S. government documents to WikiLeaks. Lamo died on March 14, 2018, at the age of 37.

Early life and education
Adrian Lamo was born in Malden, Massachusetts His father, Mario Ricardo Lamo, was Colombian. Adrian Lamo attended high schools in Bogotá and San Francisco, from which he did not graduate, but received a GED and was court-ordered to take courses at American River College, a community college in Sacramento County, California. Lamo began his hacking efforts by hacking games on the Commodore 64 and through phone phreaking.

Activities and legal issues
Lamo first became known for operating AOL watchdog site Inside-AOL.com.

Security compromise
Lamo was a grey hat hacker who viewed the rise of the World Wide Web with a mixture of excitement and alarm. He felt that others failed to see the importance of internet security in the Web's early days. Lamo broke into corporate computer systems, but never damaged them. Instead, he would offer to fix the security flaws free of charge, and if the flaw was not fixed, he would alert the media. Lamo hoped to be hired by a corporation to attempt to break into systems and test their security, a practice that came to be known as red teaming. But by the time this practice was common, his felony conviction prevented him from being hired.

In December 2001, Worldcom praised Lamo for helping to fortify its corporate security. In February 2002, he broke into the internal computer network of The New York Times, added his name to the internal database of expert sources, and used the paper's LexisNexis account to conduct research on high-profile subjects. The New York Times filed a complaint, and a warrant for Lamo's arrest was issued in August 2003 following a 15-month investigation by federal prosecutors in New York. At 10:15 a.m. on September 9, after spending a few days in hiding, he surrendered to the US Marshals in Sacramento, California. He surrendered to the FBI in New York City on September 11, and pleaded guilty to one felony count of computer crimes against Microsoft, LexisNexis, and The New York Times on January 8, 2004.

In July 2004, Lamo was sentenced to two years' probation, with six months to be served in home detention, and ordered to pay $65,000 in restitution. He was convicted of compromising security at The New York Times, Microsoft, Yahoo!, and WorldCom.

When challenged for a response to allegations that he was glamorizing crime for the sake of publicity, he responded: "Anything I could say about my person or my actions would only cheapen what they have to say for themselves". When approached for comment during his criminal case, Lamo frustrated reporters with non-sequiturs, such as "Faith manages" and "It's a beautiful day."

At his sentencing, Lamo expressed remorse for harm his intrusions had caused. The court record quotes him as adding: "I want to answer for what I have done and do better with my life."

He subsequently declared on the question-and-answer site Quora: "We all own our actions in fullness, not just the pleasant aspects of them." Lamo accepted that he had made mistakes.

DNA controversy
On May 9, 2006, while 18 months into a two-year probation sentence, Lamo refused to give the United States government a blood sample it had demanded to record his DNA in its CODIS system. According to his attorney at the time, Lamo had a religious objection to giving blood but was willing to give his DNA in another form. On June 15, 2006, Lamo's lawyers filed a motion citing the Book of Genesis as one basis for Lamo's religious opposition to giving blood.

On June 20, 2007, Lamo's legal counsel reached a settlement agreement with the U.S. Department of Justice whereby Lamo would submit a cheek swab instead of a blood sample.

WikiLeaks and Chelsea Manning
In February 2009, a partial list of the anonymous donors to the WikiLeaks website was leaked and published on the site. Some media sources indicated at the time that Lamo was among the donors on the list. Lamo commented on his Twitter page, "Thanks WikiLeaks, for leaking your donor list... That's dedication."

In May 2010, Lamo informed U.S. Army authorities that Chelsea Manning had claimed to have leaked a large body of classified documents, including 260,000 classified United States diplomatic cables. He said that Manning also "took credit for leaking" the video footage of the July 12, 2007, Baghdad airstrike, which has since come to be known as the "Collateral Murder" video.

Lamo said he would not have turned Manning in "if lives weren't in danger". He characterized her as "in a war zone and basically trying to vacuum up as much classified information as [she] could, and just throwing it up into the air." WikiLeaks responded by denouncing Lamo and the author of the article as "notorious felons, informers & manipulators", and said: "journalists should take care."

Lamo was a volunteer "adversary characterization" analyst for Project Vigilant, a Florida-based government contractor, which encouraged him to inform the government about the alleged WikiLeaks source. The head of Project Vigilant, Chet Uber, claimed, "I'm the one who called the U.S. government... All the people who say that Adrian is a narc, he did a patriotic thing. He sees all kinds of hacks, and he was seriously worried about people dying."

The Taliban insurgency later announced its intention to execute Afghan nationals named in the leaks as having cooperated with the U.S.-led coalition in Afghanistan. By that time, the U.S. had received months of advance warning that their names were among the leaks. Manning was arrested and incarcerated in the U.S. military justice system and later sentenced to 35 years in confinement. President Barack Obama commuted the sentence to seven years, including time served. Lamo responded to the commutation with a post on Medium and an interview with U.S. News & World Report.

Lamo characterized his decision to work with the government as morally ambiguous, but objectively necessary, writing that "there were no right choices that day, only less wrong ones. It was cold, it was needful, and it was no one's to make except mine." Lamo was criticized by fellow hackers, such as those at the Hackers on Planet Earth conference in 2010, who labeled him a "snitch." Another told Lamo, following his speech during a panel discussion: "from my perspective, I see what you have done as treason."

Greenwald, Lamo, and Wired magazine
Lamo's role in Manning's case drew criticism from Glenn Greenwald, who suggested that Lamo lied to Manning by turning her in, and then lied after the fact to cover up the circumstances of her confessions. In an article about the case, Greenwald mentioned Wired reporter Kevin Poulsen's 1994 felony conviction for computer hacking and wrote that "over the years, Poulsen has served more or less as Lamo's personal media voice." In an article titled "The Worsening Journalistic Disgrace at Wired", Greenwald wrote that Wired was "actively conceal[ing] from the public, for months on end, the key evidence [the full Lamo–Manning chat logs] in a political story that has generated headlines around the world."

This drew a response from Wired: "At his most reasonable, Greenwald impugns our motives, attacks the character of our staff and carefully selects his facts and sources to misrepresent the truth and generate outrage in his readership."

On July 13, 2011, Wired published the Lamo–Manning chat logs in full, stating: "The most significant of the unpublished details have now been publicly established with sufficient authority that we no longer believe any purpose is served by withholding the logs." Greenwald wrote that the logs validated his claim that Wired had concealed important evidence.

Film and television
On August 22, 2002, Lamo was removed from a segment of NBC Nightly News when, after being asked to demonstrate his skills for the camera, he gained access to NBC's internal network. NBC was concerned that it broke the law by taping Lamo while he possibly broke the law. Lamo was a guest on The Screen Savers five times beginning in 2002.

Hackers Wanted, a documentary film focusing on Lamo's life as a hacker, was produced by Trigger Street Productions and narrated by Kevin Spacey. Focusing on the 2003 hacking scene, the film features interviews with Kevin Rose and Steve Wozniak. The film has not been conventionally released. In May 2009, a video purporting to be a trailer for Hackers Wanted was allegedly leaked onto the Internet film site Eye Crave Network. In May 2010, an early cut of the film was leaked via BitTorrent. According to an insider, what was leaked on the Internet was very different from the newer version, which includes additional footage. On June 12, 2010, a director's cut version of the film was leaked onto torrent sites.

Lamo also appeared on Good Morning America, Fox News, Democracy Now!, Frontline, and repeatedly on KCRA-TV News as an expert on netcentric crime and incidents. He was interviewed for the documentaries We Steal Secrets: The Story of WikiLeaks and True Stories: WikiLeaks – Secrets and Lies. Lamo reconnected with Leo Laporte in 2015 as a result of a Quora article on the "dark web" for an episode of The New Screen Savers.

Lamo wrote the book Ask Adrian, a collection of his best Q&A drawn from over 500 pages of Quora answers.

Personal life and death
Lamo was known as the "Homeless Hacker" for his reportedly transient lifestyle, claiming that he spent much of his travels couch-surfing, squatting in abandoned buildings, and traveling to Internet cafés, libraries, and universities to investigate networks, sometimes exploiting security holes. He usually preferred sleeping on couches, and when he did sleep on beds, he did not sleep under covers. He also often wandered through homes and offices in the middle of the night, by the light of a flashlight.

Lamo was bisexual and volunteered for the gay and lesbian media firm PlanetOut Inc. in the mid-1990s. In 1998, he was appointed to the Lesbian, Gay, Bisexual, Transgender, Queer and Questioning Youth Task Force by the San Francisco Board of Supervisors.

Lamo used a wide variety of supplements and drugs. His wife, Lauren Fisher, called his drug use "body hacking". One of Lamo's preferred supplements was 'kratom' (Mitragyna speciosa), which he used as a less-dangerous alternative to opioids. In 2001, he overdosed on prescription amphetamines. After he turned in Manning, his drug use escalated, but he later claimed that he was in recovery.

In a 2004 interview with Wired, an ex-girlfriend of Lamo's called him "very controlling", alleging "he carried a stun gun, which he used on me". The same article claimed a court had issued a restraining order against Lamo; he disputed the claim, writing: "I have never been subject to a restraining order in my life".

Lamo said in a Wired article that, in May 2010, after he reported the theft of his backpack, an investigating officer noted unusual behavior and placed him under a 72-hour involuntary psychiatric hold, which was extended to a nine-day hold. Lamo said he was diagnosed with Asperger syndrome at the psychiatric ward.

For a period of time in March 2011, Lamo was allegedly "in hiding", claiming that his "life was under threat" after turning in Manning.

Lamo died on March 14, 2018, in Wichita, Kansas, at age 37. Nearly three months later, the Sedgwick County Regional Forensic Science Center reported that "Despite a complete autopsy and supplemental testing, no definitive cause of death was identified." Many bottles of pills were found in his home, some of which were known to cause severe health problems when combined with kratom. As a result, evidence points to an accidental death due to drug abuse.

title: Adrian Lamo


text:
Associate Justice of the Supreme Court of the United States

An associate justice of the Supreme Court of the United States is a justice of the Supreme Court of the United States, other than the chief justice of the United States. The number of associate justices is eight, as set by the Judiciary Act of 1869.

Article II, Section 2, Clause 2 of the Constitution of the United States grants plenary power to the president to nominate, and with the advice and consent (confirmation) of the Senate, appoint justices to the Supreme Court. Article III, Section 1 of the Constitution effectively grants life tenure to associate justices, and all other federal judges, which ends only when a justice dies, retires, resigns, or is impeached and convicted.

Each Supreme Court justice has a single vote in deciding the cases argued before it, and the chief justice's vote counts no more than that of any other justice; however, the chief justice leads the discussion of the case among the justices. Furthermore, the chief justice—when in the majority—decides who writes the court's opinion; otherwise, the senior justice in the majority assigns the writing of a decision. The chief justice also has certain administrative responsibilities that the other justices do not and is paid slightly more ($298,500 per year as of 2023, compared to $285,400 per year for an associate justice).

Associate justices have seniority in order of the date their respective commissions bear, although the chief justice is always considered to be the most senior justice. If two justices are commissioned on the same day, the elder is designated the senior justice of the two. Currently, the senior associate justice is Clarence Thomas. By tradition, when the justices are in conference deliberating the outcome of cases before the Supreme Court, the justices state their views in order of seniority. The senior associate justice is also tasked with carrying out the chief justice's duties when he is unable to, or if that office is vacant.

Current associate justices
There are currently eight associate justices on the Supreme Court. The justices, ordered by seniority, are:

Retired associate justices
An associate justice who leaves the Supreme Court after attaining the age and meeting the service requirements prescribed by federal statute may retire rather than resign. After retirement, they keep their title, and by custom may also keep a set of chambers in the Supreme Court building, and employ law clerks. The names of retired associate justices continue to appear alongside those of the active justices in the bound volumes of Supreme Court decisions. Federal statute provides that retired Supreme Court justices may serve—if designated and assigned by the chief justice—on panels of the U.S. courts of appeals, or on the U.S. district courts. Retired justices are not, however, authorized to take part in the consideration or decision of any cases before the Supreme Court (unlike other retired federal judges who may be permitted to do so in their former courts); neither are they known or designated as a "senior judge". When, after his retirement, William O. Douglas attempted to take a more active role than was customary, maintaining that it was his prerogative to do so because of his senior status, he was rebuffed by Chief Justice Warren Burger and admonished by the whole Court.

There are currently three living retired associate justices: David Souter, retired June 29, 2009; Anthony Kennedy, retired July 31, 2018; and Stephen Breyer, retired June 30, 2022. Souter has served on panels of the First Circuit Courts of Appeals following his retirement; Kennedy and Breyer have not performed any judicial duties since retiring.

List of associate justices
Since the Supreme Court was established in 1789, the following 104 persons have served as an associate justice:


text:
Alan Jay Lerner

Alan Jay Lerner (August 31, 1918 – June 14, 1986) was an American lyricist and librettist. In collaboration with Frederick Loewe, and later Burton Lane, he created some of the world's most popular and enduring works of musical theatre both for the stage and on film. Lerner won three Tony Awards and three Academy Awards, among other honors.

Early life and education
Born in New York City, he was the son of Edith Adelson Lerner and Joseph Jay Lerner, whose brother, Samuel Alexander Lerner, was founder and owner of the Lerner Stores, a chain of dress shops. One of Lerner's cousins was the radio comedian and television game show panelist Henry Morgan. Lerner was educated at Bedales School in England, The Choate School (now Choate Rosemary Hall) in Wallingford, Connecticut, (where he wrote "The Choate Marching Song") and Harvard. He attended both Camp Androscoggin and Camp Greylock. At both Choate and Harvard, Lerner was a classmate of John F. Kennedy; at Choate they had worked together on the yearbook staff. Like Cole Porter at Yale and Richard Rodgers at Columbia, his career in musical theater began with his collegiate contributions, in Lerner's case to the annual Harvard Hasty Pudding musicals. During the summers of 1936 and 1937, Lerner studied music composition at Juilliard. While attending Harvard, he lost his sight in his left eye due to an accident in the boxing ring. In 1957, Lerner and Leonard Bernstein, another of Lerner's college classmates, collaborated on "Lonely Men of Harvard", a tongue-in-cheek salute to their alma mater.

Career
Owing to his eye injury, Lerner could not serve in World War II. Instead he wrote radio scripts, including Your Hit Parade, until he was introduced to German-Austrian composer Frederick Loewe, who needed a partner, in 1942 at the Lamb's Club. While at the Lamb's, he also met Lorenz Hart, with whom he would also collaborate.

Lerner and Loewe's first collaboration was a musical adaptation of Barry Conners's farce The Patsy called Life of the Party for a Detroit stock company. The lyrics were mostly written by Earle Crooker, but he had left the project, with the score needing vast improvement. It enjoyed a nine-week run and encouraged the duo to join forces with Arthur Pierson for What's Up?, which opened on Broadway in 1943. It ran for 63 performances and was followed two years later by The Day Before Spring.

Their first hit was Brigadoon (1947), a romantic fantasy set in a mystical Scottish village, directed by Robert Lewis. It was followed in 1951 by the Gold Rush story Paint Your Wagon. While the show ran for nearly a year and included songs that later became pop standards, such as "They Call the Wind Maria", it was less successful than Lerner's previous work. He later said of Paint Your Wagon, it was "a success but not a hit."

Lerner worked with Kurt Weill on the stage musical Love Life (1948) and Burton Lane on the movie musical Royal Wedding (1951). In that same year Lerner also wrote the Oscar-winning original screenplay for An American in Paris, produced by Arthur Freed and directed by Vincente Minnelli. This was the same team who would later join with Lerner and Loewe to create Gigi.

In 1956, Lerner and Loewe unveiled My Fair Lady. By this time, too, Lerner and Burton Lane were already working on a musical about Li'l Abner. Gabriel Pascal owned the rights to Pygmalion, which had been unsuccessful with other composers who tried to adapt it into a musical. Arthur Schwartz and Howard Dietz first tried, and then Richard Rodgers and Oscar Hammerstein II attempted, but gave up and Hammerstein told Lerner, "Pygmalion had no subplot". Lerner and Loewe's adaptation of George Bernard Shaw's Pygmalion retained his social commentary and added appropriate songs for the characters of Henry Higgins and Eliza Doolittle, played originally by Rex Harrison and Julie Andrews. It set box-office records in New York and London. When brought to the screen in 1964, the movie version won eight Oscars, including Best Picture and Best Actor for Rex Harrison.

Lerner and Loewe's run of success continued with their next project, a film adaptation of stories from Colette, the Academy Award-winning film musical Gigi, starring Leslie Caron, Louis Jourdan and Maurice Chevalier. The film won all of its nine Oscar nominations, a record at that time, and a special Oscar for co-star Maurice Chevalier.

The Lerner-Loewe partnership cracked under the stress of producing the Arthurian Camelot in 1960, with Loewe resisting Lerner's desire to direct as well as write when original director Moss Hart experienced a heart attack in the last few months of rehearsals and died about a year after the show's Broadway premiere. Lerner was hospitalized with bleeding ulcers while Loewe continued to have heart troubles. Camelot was a hit nonetheless, and immediately following the assassination of John F. Kennedy, his widow told reporter Theodore H. White that JFK's administration reminded her of the "one brief shining moment" of Lerner and Loewe's Camelot. As of the early 21st century, Camelot was still invoked to describe the idealism, romance, and tragedy of the Kennedy years.

Loewe retired to Palm Springs, California, while Lerner went through a series of musicals—some successful, some not—with such composers as André Previn (Coco), John Barry (Lolita, My Love), Leonard Bernstein (1600 Pennsylvania Avenue), Burton Lane (Carmelina) and Charles Strouse (Dance a Little Closer, based on the film, Idiot's Delight, nicknamed Close A Little Faster by Broadway humorists because it closed on opening night). Most biographers blame Lerner's professional decline on the lack of a strong director with whom Lerner could collaborate, as Neil Simon did with Mike Nichols or Stephen Sondheim with Harold Prince. (Moss Hart, who had directed My Fair Lady, died shortly after Camelot opened.) In 1965 Lerner collaborated again with Burton Lane on the musical On a Clear Day You Can See Forever, which was adapted for film in 1970. At this time, Lerner was hired by film producer Arthur P. Jacobs to write a treatment for an upcoming film project, Doctor Dolittle, but Lerner abrogated his contract after several non-productive months of non-communicative procrastination and was replaced with Leslie Bricusse. Lerner was inducted into the Songwriters Hall of Fame in 1971.

In 1973, Lerner coaxed Loewe out of retirement to augment the Gigi score for a musical stage adaptation. The following year they collaborated on a musical film version of The Little Prince, based on the classic children's tale by Antoine de Saint-Exupéry. This film was a critical and box office failure, but it has gained a modern following.

Lerner's autobiography, The Street Where I Live (1978), was an account of three of his and Loewe's successful collaborations, My Fair Lady, Gigi, and Camelot, along with personal information. In the last year of his life, he published The Musical Theatre: A Celebration, a well-reviewed history of the theatre, with personal anecdotes and humor. The Los Angeles Times reviewer wrote: "There are several reasons why this book makes a fine introduction to musical theater. One is that Lerner knows exactly what was new, and when and why....In "The Musical Theatre," one is privy to the judgment of a man... who expresses his opinions in a forthright, warm and personal manner." A book of Lerner's lyrics entitled A Hymn To Him, edited by a British writer Benny Green, was published in 1987.

At the time of Lerner's death, he had been working with Gerard Kenny and Kristi Kane in London on a musical version of the film My Man Godfrey. He had also received an urgent call from Andrew Lloyd Webber, asking him to write the lyrics to The Phantom of the Opera. He wrote "Masquerade", but he then informed Webber that he wanted to leave the project because he was losing his memory (he had developed metastatic lung cancer) and Charles Hart replaced him. He had turned down an invitation to write the English-language lyrics for the musical version of Les Misérables.

After Lerner's death, Paul Blake made a musical revue based on Lerner's lyrics and life entitled Almost Like Being In Love, which featured music by Loewe, Lane, Previn, Strouse, and Weill. The show ran for 10 days at the Herbst Theatre in San Francisco.

Songwriting
Lerner often struggled with writing his lyrics. He was uncharacteristically able to complete "I Could Have Danced All Night" from My Fair Lady in one 24-hour period. He usually spent months on each song and was constantly rewriting them. Lerner was said to have insecurity about his talent. He would sometimes write songs with someone in mind. For instance, he changed the rhymes in some lines of "I've Grown Accustomed To Her Face" to ones that Rex Harrison was more comfortable with.

Lerner said of writing: "You have to keep in mind that there is no such thing as realism or naturalism in the theater. That is a myth. If there was realism in the theater, there would never be a third act. Nothing ends that way. A man's life is made up of thousands and thousands of little pieces. In writing fiction, you select 20 or 30 of them. In a musical, you select even fewer than that." "First, we decide where a song is needed in a play. Second, what is it going to be about? Third, we discuss the mood of the song. Fourth, I give (Loewe) a title. Then he writes the music to the title and the general feeling of the song is established. After he's written the melody, then I write the lyrics."

In a 1979 interview on NPR's All Things Considered, Lerner went into some depth about his lyrics for My Fair Lady. Professor Henry Higgins sings, "Look at her, a prisoner of the gutters / Condemned by every syllable she utters / By right she should be taken out and hung / For the cold-blooded murder of the English tongue." Lerner said he knew the lyric used incorrect grammar for the sake of a rhyme. He was later approached about it by another lyricist: "I thought, oh well, maybe nobody will notice it, but not at all. Two nights after it opened, I ran into Noël Coward in a restaurant, and he walked over and he said, 'Dear boy, it is hanged, not hung.' I said, 'Oh, Noel, I know it, I know it! You know, shut up!' So, and there's another, 'Than to ever let a woman in my life.' It should be, 'as to ever let a woman in my life,' but it just didn't sing well."

Dramatists Guild
Alan Jay Lerner was an advocate for writers' rights in theatre. He was a member of the Dramatists Guild of America. In 1960, he was elected as the twelfth president of the non-profit organization. He continued to serve as the Guild's president until 1964.

Personal life
For nearly twenty years, Lerner was addicted to amphetamines; during the 1960s he was a patient of Max Jacobson, known as "Dr. Feelgood", who administered injections of "vitamins with enzymes" that were in fact laced with amphetamines. Lerner's addiction is believed to have been the result of Jacobson's practice.

Marriages and children
Lerner married eight times: Ruth Boyd (1940–1947), singer Marion Bell (1947–1949), actress Nancy Olson (1950–1957), lawyer Micheline Muselli Pozzo di Borgo (1957–1965), editor Karen Gundersen (1966–1974), Sandra Payne (1974–1976), Nina Bushkin (1977–1981) and Liz Robertson (1981–1986 [his death]). Four of his eight wives — Olson, Payne, Bushkin, and Robertson — were actresses. His seventh wife, Nina Bushkin, whom he married on May 30, 1977, was the director of development at Mannes College of Music and the daughter of composer and musician Joey Bushkin. After their divorce in 1981, Lerner was ordered to pay her a settlement of $50,000. Lerner wrote in his autobiography (as quoted by The New York Times): "All I can say is that if I had no flair for marriage, I also had no flair for bachelorhood."

Lerner had four children — three daughters, Susan (by Boyd), Liza, and Jennifer (by Olson), and one son, screenwriter and journalist Michael Alan Lerner (by di Borgo).

Lerner's multiple divorces cost him much of his wealth. Still, he was primarily responsible for his financial ups and downs and was less than truthful about his financial fecklessness. It was claimed that his divorce settlement from Micheline Muselli Pozzo di Borgo (his fourth wife) cost him an estimated $1 million in 1965. This was untrue. Lerner's pattern of financial mismanagement continued until his death from cancer in 1986 when he reportedly owed the U.S. Internal Revenue Service over US$1 million in back taxes and was unable to pay for his final medical expenses.

Death
On June 14, 1986, Lerner died of lung cancer in Manhattan at the age of 67. At the time of his death he was married to actress Liz Robertson, who was 36 years his junior. He lived in Center Island, New York. He has a memorial plaque in St Paul's Church, the Actors' Church in Covent Garden in London.

Awards and honors

 * American Theater Hall of Fame 1979
 * Kennedy Center Honors 1985

 * Academy Award
 * Best Original Screenplay, 1951 An American in Paris
 * Best Adapted Screenplay, 1958 Gigi
 * Best Original Song, 1958 Gigi

 * Golden Globes
 * Best Original Song, 1968 Camelot
 * Best Original Score, 1975 The Little Prince

 * Tony Award
 * Best Book of a Musical, 1957 My Fair Lady
 * Best Original Score, 1957 My Fair Lady and 1974 Gigi

 * New York Drama Critics Circle
 * Best Musical, 1947 Brigadoon
 * Best Musical, 1956 My Fair Lady

 * Johnny Mercer Award
 * Lyric Writing, 1985, Lifetime

Stage

 * Life of the Party (1942), with Frederick Loewe
 * What's Up? (1943), with Frederick Loewe
 * The Day Before Spring (1945), with Frederick Loewe
 * Brigadoon (1947), with Frederick Loewe
 * Love Life (1948), with Kurt Weill
 * Paint Your Wagon (1951), Frederick Loewe
 * My Fair Lady (1956), with Frederick Loewe
 * Camelot (1960), with Frederick Loewe
 * On a Clear Day You Can See Forever (1965), with Burton Lane
 * Coco (1969), with André Previn
 * Lolita, My Love (1971), with John Barry
 * Gigi (1973), based on the 1958 film of the same name, with Frederick Loewe
 * 1600 Pennsylvania Avenue (1976), with Leonard Bernstein
 * Carmelina (1979), with Burton Lane and Joseph Stein
 * Dance a Little Closer (1983), with Charles Strouse
 * My Man Godfrey (1984), unfinished, with Gerard Kenny

Films
Source: TCM

 * Royal Wedding, 1951 (screenwriter/lyricist)
 * An American in Paris (1951) (writer)
 * Brigadoon, 1954 (film) (screenwriter/lyricist)
 * Gigi, 1958 (screenwriter/lyricist)
 * The Adventures of Huckleberry Finn, 1960 (lyricist)
 * My Fair Lady, 1964 (screenwriter/lyricist)
 * Camelot, 1967 (screenwriter/lyricist)
 * Paint Your Wagon, 1969 (producer/screenwriter/lyricist)
 * On a Clear Day You Can See Forever, 1970 (screenwriter/lyricist)
 * The Little Prince, 1974 (screenwriter/lyricist)
 * Tribute, 1980 ("It's All for the Best", lyricist)
 * Secret Places, 1984 (title song lyricist)

title: Alan Jay Lerner