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"I am writing to you with an erection on my head and I am very much afraid of burning my hair", wrote Nannerl Mozart to her brother Wolfgang Amadeus. What was being erected was a large hairdo on top of Nannerl's head, as she prepared to pose for the Mozart family portrait.

It was that hairdo that drew my attention. Nine years ago I was visiting Vienna for the 250th birthday celebrations of Wolfgang Amadeus, and I was thrilled to explore the city following in Wolfi's footsteps, many of which turned out to be Nannerl's as well. At the Mozarthaus Vienna - Wolfgang's apartment - on the exit wall, as if by an afterthought, there was a little copy of the Mozart family portrait. I saw a woman seated at the harpsichord next to Wolfgang, their hands intertwined, playing together.

I grew up studying to become a violinist. Neither my music history nor my repertoire included any female composers. With my braided hair I was called "little Mozart" by my violin teacher, but he meant Wolfi. I never heard that Amadeus had a sister. I never heard of Nannerl Mozart until I saw that family portrait.

I was intrigued and determined to find out more. I read Wolfgang Mozart biographies, studied the situation of women and female artists during Mozarts' time and in different countries, read writings of Enlightenment philosophers, conduct manuals ... But the richest source of information came from the Mozart family letters. There are hundreds, and we have them because Nannerl preserved them. Most are written by Leopold and Wolfgang but some of Nannerl's letters survived as well. Through these letters, sometimes only from the replies to her lost letters, Nannerl slowly emerged. I was able to understand the Mozarts as people, as a family, and through the lens of the times and the social situation in which they lived. I saw Nannerl's potential, her dreams, her strength, grace and her fight.

Maria Anna (called Marianne and nicknamed Nannerl) was - like her younger brother - a child prodigy. The children toured most of Europe ( including an 18-month stay in London in 1764-5) performing together as "wunderkinder". There are contemporaneous reviews praising Nannerl, and she was even billed first. Until she turned 18. A little girl could perform and tour, but a woman doing so risked her reputation. And so she was left behind in Salzburg, and her father only took Wolfgang on their next journeys around the courts of Europe. Nannerl never toured again.

But the woman I found did not give up. She wrote music and sent at least one composition to Wolfgang and Papa - Wolfgang praised it as "beautiful" and encouraged her to write more. Her father didn't, as far as we know, say anything about it.

Did she stop? None of her music has survived. Perhaps she never showed it to anybody again, perhaps she destroyed it, maybe we will find it one day, maybe we already did but it's wrongly attributed to her brother's hand. Composing or performing music was not encouraged for women of her time. Wolfgang repeatedly wrote that nobody played his keyboard music as well as she could, and Leopold described her as "one of the most skilful players in Europe", with "perfect insight into harmony and modulations" and that she improvises "so successfully that you would be astounded".

Like Virginia Woolf's imagined Shakespeare's sister, Nannerl was not given the opportunity to thrive. And what she did create was not valued or preserved - most female composers from the past have been forgotten, their music lost or gathering dust in libraries. We will never know what could have been, and this is our loss.

Director Isaac Byrne and I searched for the ghost of Nannerl, and the story she needed to tell in my one-woman play. Period-style movement transports us to the Mozarts' time using delicate gestures, court bows and curtsies, and the language of fans.

Sylvia Milo in The Other Mozart.

To create the 18th-century world of opulence and of restriction, the set became an enormous dress which spills over the entire stage (designed by Magdalena Dabrowska), with a corset/panniers cage on top. Finally the hair stands as tall as Nannerl's, after we found the right hairspray to hold it all up-up-up - and yes, it is all my own hair.

Creating music for the show was down to two composers, Nathan Davis and Phyllis Chen, who chose, rather than to try to re-create Nannerl's compositions, to portray her musical imagination, using the sounds she would have had in her ears: the fluttering of fans, tea cups, music boxes, bells, clavichords.

I've been touring The Other Mozart for the last two years: this month marks its 100th performance, how fitting that it will take place just a few steps away from where Nannerl performed in London as a girl.

It has been a long journey to bring Nannerl back to England after an absence of 250 years. I sometimes feel like Leopold Mozart - on a quest to show the world this brilliant Mozart.

The Other Mozart is at St James Studio, London, from 8-19 September. Box office: 0844 264 2140.

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am writing to you with an erection on my head and I am very much afraid of burning my hair", wrote Nannerl Mozart to her brother Wolfgang Amadeus. What was being erected was a large hairdo on top of Nannerl's head, as she prepared to pose for the Mozart family portrait.

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Image courtesy Walter Naegle

Bayard Rustin was one of the most important, and yet least known, Civil Rights advocates in the twentieth century. He was born in West Chester, Pennsylvania on March 17, 1912 and raised by his maternal grandparents. His grandmother, Julia, was both a Quaker and an active member of the National Association for the Advancement of Colored People (NAACP). Quakerism, and NAACP leaders W.E.B. Du Bois and James Weldon Johnson, who were frequent visitors, proved influential in Rustin's life.

Rustin attended Wilberforce University (1932-1936) and Cheyney State Teachers College (1936), in each instance without graduating. After completing an activist training program conducted by the American Friends Service Committee (AFSC), he moved to Harlem, New York in 1937. In Harlem, he enrolled at the City College of New York, began singing in local clubs with black folksingers including John White and Huddie Ledbetter, became active in the efforts to free the Scottsboro Boys, and joined the Young Communist League, motivated by their advocacy of racial equality.

By 1941, Rustin quit the Communist Party and began working with union organizer A. Philip Randolph and A.J. Muste, leader of the Fellowship of Reconciliation (FOR). Together they organized the March on Washington Movement which protested segregation in the military and African Americans exclusion from employment in defense industries. Their protests resulted in President Franklin Delano Roosevelt issuing Executive Order 8802 creating the Fair Employment Practices Committee.

Rustin along with FOR members George Houser, Bernice Fisher, and James L. Farmer helped create the Congress of Racial Equality (CORE) which pioneered the civil rights strategy of non-violent direct action. In 1944, he traveled to California to help protect the property of Japanese Americans interned during the war. In 1947, he and Houser organized the Journey of Reconciliation, the first Freedom Ride testing the Supreme Court decision outlawing racial discrimination in interstate travel. After organizing FOR's Free India Committee, he traveled to India to study nonviolence; and to Africa meeting with leaders of the Ghanaian and Nigerian independence movements.

As a pacifist, Rustin was arrested for violating the Selective Service Act and was imprisoned at Lewisberg Federal Penitentiary from 1944 to 1946. Throughout his civil rights career he was arrested twenty-three times, including a 1953 charge for vagrancy and lewd conduct in Pasadena, California.

Rustin was openly gay and lived with partner, Walter Naegle, at a time when homosexuality was criminalized throughout the U.S. He was subsequently fired by the FOR, but became executive secretary of the War Resisters League. He also served as a member of the AFSC task force that wrote one of the most widely influential pacifist essays in U.S. history, "Speak Truth to Power: A Quaker Search for an Alternative to Violence," in 1955.

In 1956, Rustin went to Montgomery, Alabama and advised Martin Luther King, Jr. on nonviolent strategies of resistance during the Montgomery Bus Boycott. King and Rustin helped organize the Southern Christian Leadership Conference (SCLC). However, in 1960 New York Congressman, Adam Clayton Powell, Jr. forced him to resign from SCLC due to concerns shared by many black leaders about Rustin's homosexuality and communist past.

Due to the combination of the homophobia of these leaders and their fear he might compromise the movement, Rustin would not receive public recognition for his role in the movement. Nevertheless, Rustin continued to work in the Civil Rights Movement, organizing the seminal 1963 March on Washington for Jobs and Freedom with A. Philip Randolph.

Throughout the 1970s and 1980s, Rustin remained politically active. Although he often shared their commitment to human rights, Rustin was a vocal critic of emerging black power politics. Toward the end of his life he continued to work as a human rights advocate, while serving on the Board of Trustees of the University of Notre Dame. The year before he died he testified in favor of New York State's Gay Rights Bill. Bayard Rustin died in New York on August 24, 1987 from a perforated appendix. He was 75.

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Image courtesy Walter Naegle Bayard Rustin was one of the most important, and yet least known, Civil Rights advocates in the twentieth century. He was born in West Chester, Pennsylvania on March 17, 1912 and raised by his maternal grandparents.

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SAN FRANCISCO (AP) - Police said Friday they arrested a man suspected of stealing a ring-tailed lemur from the San Francisco Zoo, where officials rewarded a 5-year-old boy who helped recapture the endangered primate with a lifetime membership.

The theft of Maki, an arthritic 21-year-old lemur, made the news Wednesday in San Francisco and beyond when zoo officials reported the animal missing and found evidence of forced entry at his enclosure.

Five-year-old James Trinh was unaware of the headlines when leaving his preschool Thursday in Daly City, about 5 miles from the zoo, and exclaimed, "There's a lemur! There's a lemur!" Cynthia Huang, director of the Hope Lutheran Day School, told the San Francisco Chronicle Friday.

Huang was skeptical at first. "I thought, Are you sure it's not a raccoon?" she said.

Maki scurried from the parking lot into the school's playground and took refuge in a miniature play house, as the school called police who quickly alerted animal control and zoo officials. The children, parents and teachers watched as caretakers arrived and coaxed the lemur into a transport cage, Huang said.

Also Thursday, police took 30-year-old Cory McGilloway into custody, San Francisco police Lt. Scott Ryan told reporters Friday.

McGilloway, whom investigators had identified as a suspect in the lemur's abduction, was arrested Thursday evening by San Rafael police on unrelated charges. He was expected to be transferred to San Francisco County Jail to be booked on charges of burglary, grand theft of an animal, looting and vandalism all related to the lemur theft, Ryan said.

Police did not provide other details, saying the investigation was still underway but credited a multi-agency effort and tips on a public tip line that led to the suspect's capture.

San Francisco Zoo director Tanya Peterson said Maki was "an aging wild animal who needed special care" for ailments including arthritis. "He's still agitated, dehydrated and hungry," she said, adding that veterinarian teams were working to get him back to health. Due to his travels, she added, "He's socially distancing from his primate family" but would hopefully join the other lemurs soon.

Authorities had offered a $2,100 reward for locating Maki, which the zoo will be giving to the church.

"I understand there is a young boy there who witnessed this and also called in the tip, and we are giving his family a free membership to the zoo," said Peterson, who thanked the boy and everyone who helped. "They literally saved a life."

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'There's a lemur!' 5-year-old helps crack SF Zoo theft case

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SAN FRANCISCO (AP) - Police said Friday they arrested a man suspected of stealing a ring-tailed lemur from the San Francisco Zoo, where officials rewarded a 5-year-old boy who helped recapture the endangered primate with a lifetime membership.

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An orchestra files onto stage. A crowd of onlookers watch virtually on YouTube as the first chair violinist walks out last, holding a large, memory foam plushy of a pixelated dog. The crowd goes wild when they see the derpy looking dog and they start spamming chat with emojis: The dog is, in fact, the conductor. Now that he's here, after hours of waiting, the concert can finally begin.

What is it all about? This orchestral event celebrates the five year anniversary of the video game Undertale; everyone in the audience is here to experience a game they love in a new way. It's a big celebration for a small game, made primarily by one person.

Undertale is a roleplaying game that puts you in the shoes of a child who falls into a pit of monsters. But unlike others in its genre, in Undertale you can fight those monsters, or resolve the encounters peacefully. Toby Fox, Undertale's lead developer, released it for Microsoft Windows and OS X in 2015. Since then, it's been published in Japan and ported to several different consoles.

"I was really happy to see all the responses to [the concert]. I was really surprised by how moved everyone was, despite the fact that it has been five years. Obviously time passes and you have nostalgia for something, but to me, It's interesting to see how relatively quickly that nostalgia appeared and how deep everyone's feelings are. It's really nice and really validating to see as a creator," Fox says.

Undertale's premise - that one can resolve violence through peaceful means - cut through the cacophony of commercial video game development predicated on violence and linear character progression. This, combined with the game's offbeat sense of humor and catchy soundtrack, made it an instant classic.

But Undertale didn't just sell millions of copies. It shaped the entertainment tastes of an entire generation. For its largely younger fanbase, Undertale took on a new life through memes.

"I really think that Undertale was a perfect storm when it came to impacting broader internet culture in a big way," says Palmer Haasch, digital culture reporter at Insider.

People are going to keep talking about 'Undertale,' and memeing 'Undertale,' because it's a great game, but also because it's so foundational to their internet experience as well

"It's got a fun, recognizable aesthetic, a chiptune-esque soundtrack that fits right in with TikTok's musical tastes, and a storied meme legacy that traces back to massive fandom engagement around its release."

"For a lot of zoomers (members of Gen Z) like myself, it's also something that's deeply nostalgic," Haasch adds. "This game came out while I was just starting college, and for many others, while they were in middle and high school. People are going to keep talking about Undertale, and memeing Undertale, because it's a great game, but also because it's so foundational to their internet experience as well."

The first time I played Undertale, I played it like every other game I had experienced up until that point. I fought the monsters. I beat them. I leveled up and got stronger. Then, just before I got to the end, the game slapped me with a dose of cold, hard reality.

A skeleton monster named Sans - named for his in-game font Comic Sans - explained to me what atrocities I had committed in order to reach that point. As it turns out, those so-called "monsters" I killed were creatures living their own rich lives. Some of them were beloved of other characters, and maintained upstanding reputations as community members.

I returned to the game determined to right my wrongs by starting a new save file. The second time I played through, I didn't kill a single monster, and Undertale rewarded me with catchy new battle themes, a longer story, and new characters.

Talking to other characters to help resolve conflict is central to Undertale. Designer Toby Fox says he was influenced by another game called Shin Megami Tensei.

"I liked that you could talk to monsters and defeat them in a pacifist way [in Shin Megami Tensei]. So I started designing a game system where you could beat most, or all monsters just by talking to them," he tells me in a video chat. "Once you do that, and you have to talk to the character, you have to interact with the character, in order to 'defeat' them, you end up having to put personality on every character and every character ends up becoming their own unique figure and then the game's story starts coming together."

This battle system informed how Fox wrote the story. "The story of how I wrote the game is also the story of how I developed the game since the system and the story are intertwined."

"Surprisingly it's the first full game that I wrote," he adds. "At the time, I didn't have a strategy. I just did things arbitrarily. Some of the story was almost written improvisationally at the last minute."

Originally the first boss of the game, Toriel, you had to kill her to progress the game. That was how the game was going to work. And then I was like, 'this sucks' and I changed it before I released the demo.

And for the first time, he shares a story about how Undertale could have been very different. "Originally the first boss of the game, Toriel, you had to kill her to progress the game. That was how the game was going to work. And then I was like, 'this sucks' and I changed it before I released the demo," he says.

Slowly, the game came together as Fox built it up character by character, battle by battle. "Really [ Undertale] is just a huge katamari of things that I like that I combined arbitrarily."

The image of a huge katamari - a giant cluster of things (and another fabulously idiosyncratic game) - doesn't just feel like an appropriate way to describe Undertale. It's also a good way to understand the fandom that grew out of it. What started into a single game rolled up into a giant fandom consisting of all kinds of stuff: Millions of fans, fan video edits, fan art, cosplay, soundtrack remixes, and of course, a rip-roaring obsession with Sans the skeleton.
Five years down the line
Five years later, I wanted to take stock of the game's legacy and how it's present in today's culture.

" Undertale has gone on to become an absolutely dominating force," says Reid Young, CEO of Fangamer, the official merchandiser for Undertale, and the manager of the first ever Undertale fansite. "[Fangamer] ended up setting up a forum. It just instantly spiraled out of control. There was no way anyone could manage it."

Young had experience managing fansites for other games before - he founded Starmen, a site dedicated to a game called Earthbound -- but to him, the Undertale community is special.

"There are a lot of very talented, very emotionally intelligent people. They care very deeply about this game, but that also leads them to care about the people that they meet through the game," he says.

But despite Young's positive experience with fans, we should note that the Undertale fandom hasn't always had the best reputation. At one point, fans disagreed so passionately over the correct way to play the game that it led to toxicity online.

"You kind of run up against the rule of large numbers," Young says. "If you get enough people, you get the best and the worst. The barrier for entry [with] Starmen was high and that naturally filtered out a lot of people who could make trouble. The opposite was true of Undertale. So many people played it."

"The Undertale community isn't as bad as everyone says it is," counters a gamer named Marr. Marr, who prefers to go by her online name, moderates an online Undertale chatroom connected to the game's Reddit community.

"It used to have a bad reputation, but we moderate the server well and keep kids out, as well as the ones that are deliberately trying to disturb others."
The lessons of Undertale
Playing Undertale changed how I think about games. It made me think not just about all the characters I killed in Undertale, but every other game I had played before that. Why was killing the de facto way of making my way through so many worlds? There was always a part of me that felt like Pokémon was low-key animal cruelty, but I managed to explain the discomfort away. Undertale allowed me to sit in that discomfort and try to make a change.

Since its release in 2015, the game hasn't changed, but the lives of those who love it have. The 2016 election, the increasingly dire situation with the COVID-19 pandemic and the upcoming election are leading critics to think about the game in news ways.

Rebekah Valentine is one of the many game writers who spoke up about her love of Undertale during that orchestral performance. "I mean, of course, yes. It'd be easy to go into something about being kind to others or what love means," she says. "But I've actually been thinking of a line from the ending of that game lately."

Valentine pauses for a moment. "If you go back to visit a certain character right before finishing up [ Undertale]'s 'happy' ending. He tells you to be careful in the outside world, that it's not as nice as the monster world and that not everything can be resolved by just being nice. Sometimes you have to fight."

Whereas Delta Rune, Fox's sequel to Undertale, is pretty explicit in its moral messaging that it's okay to fight back against a violent oppressor, Undertale leaves more gray areas around when to fight and when to stubbornly insist on mercy.

"I thought it was a weird takeaway for the longest time, especially for a game that on its surface seems to push a very innocent view of empathy and goodness. But more and more these days, naïve as it sounds, I'm coming to understand the value of fighting back," Valentine says.

I think entertainment can be like mental medicine. People need things to give them hope, and sometimes that can be games.

And at a time when more and more people are fighting back, I asked Fox why it's important to make and write about games. (I myself had been struggling with spending all this time writing this article, when the police officer who killed George Floyd was released from prison, and people in my city were out on the street protesting.)

Fox seemed lost in thought - and then he said, "Sometimes it does feel really hard to be working on games and think like, 'What is the f*****g point of this when all of these horrible things are happening? Why am I working on games instead of out there fighting?'"

"I think entertainment can be like mental medicine," he continues. "People need things to give them hope, and sometimes that can be games. As long as you are not ignoring what's going on in the world so that you get to do games, it's good."

Ana Diaz is a freelance games writer and podcast host at MinnMax. She loves Pikachu and is based in Minneapolis, Minnesota. She tweets at @Pokachee

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Make Love, Not War: Five Years Of 'Undertale'

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Undertale, the quirky, pixelated adventure game, became a smash hit when it came out because of its unique mechanism: You can talk to its monsters and show them mercy, rather than killing them.

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1. Open and save a word doc. Call it Weekly Assessment 5.
2. From each of the 4 articles on the right, copy and paste one line that you like. Put that line in quotation marks.
3. At the end of each line, insert a superscripted note that corresponds to a foot note.
4. For each source, in the order used, properly format a footnote citation. Use the template to help you.
5. Then, on a separate page, create a bibliography that alphabetically lists the sources in Chicago Style citations. Use the template to help you.
6. When you are done, upload to Schoology.

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So, the weird part is the date. If the site has a normal “date posted” or “date published,” then you put that after the container information. If the site was updated after its original posted date, you reflect that by saying “updated on” prior to the new date and omit the original date. If there is NO publication date, you state “date accessed” and put the date of whatever date it is currently. The date will always come before the URL.