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Abilify (Phi)(ability)

Double play on words (Phi, Ability), comp. lexapro

 Aripiprazole

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Aripiprazole
Systematic (IUPAC) name
7-{4-[4-(2,3-dichlorophenyl)piperazin-1-yl]butoxy}-3,4-dihydroquinolin-2(1H)-one
Identifiers
CAS number 129722-12-9
ATC code N05AX12
PubChem CID 60795
IUPHAR ligand ID 34
DrugBank APRD00638
ChemSpider 54790
UNII 82VFR53I78
Chemical data
Formula C23H27Cl2N3O2 
Mol. mass 448.385
SMILES eMolecules & PubChem
Pharmacokinetic data
Bioavailability 87%
Protein binding >99%
Metabolism liver
Half-life 75h (active metabolite : 94h)
Excretion feces and urine
Therapeutic considerations
Licence data EU EMA:LinkUS FDA:link
Pregnancy cat. C (USA)
Legal status Prescription only
Routes oral (via tablets, orodispersable tablets, and oral solution); intramuscular
 Yes(what is this?)  (verify)Y

Aripiprazole (pronounced /ˌɛərɨˈpɪprəzoʊl/ AIR-i-PIP-rə-zohl; brand names: Abilify, Abilify Discmelt, Aripiprex) is an atypical antipsychotic and antidepressant used in the treatment of schizophrenia, bipolar disorder, and clinical depression. It was approved by the US Food and Drug Administration (FDA) for schizophrenia on November 15, 2002, for acute manic and mixed episodes associated with bipolar disorder on October 1, 2004, as an adjunct for major depressive disorder on November 20, 2007 and to treat irritability in children with autistic disorder in children on 20 November 2009.[1][2] Aripiprazole was developed by Otsuka in Japan, and in the United States, Otsuka America markets it jointly with Bristol-Myers Squibb.

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[edit] Indications and usage

[edit] Schizophrenia

Aripiprazole has been approved by the FDA for the treatment of schizophrenia.[3]

[edit] Bipolar disorder

Aripiprazole has been approved by the FDA for the treatment of acute manic and mixed episodes, in both pediatric patients aged 10–17 and in adults.[4] Several double-blind, placebo-controlled trials support this use.[5][6][7][8] In addition, it is often used as maintenance therapy, either on its own or in conjunction with a mood stabilizer such as lithium or valproate. This use is also supported by a handful of studies.[9][10]haloperidol at reducing manic symptoms,[11][unreliable source?] and is much better tolerated by patients.[12] Aripiprazole is at least as effective as
Aripiprazole’s use as a monotherapy in bipolar depression is more controversial. While a few pilot studies have found some effectiveness[13][14] (with one finding a reduction in anhedonia symptoms[15]), two large, double-blind, placebo-controlled studies found no difference between aripiprazole and placebo.[16] One study reported depression as a side effect of the drug.[17]

[edit] Major depression (Unipolar depression)

In 2007, aripiprazole was approved by the FDA for the treatment of unipolar depression when used adjunctively with an antidepressant medication.[18] It has not been FDA-approved for use as monotherapy in unipolar depression.

[edit] Autism

In 2009, the United States FDA approved Abilify to treat irritability in persons with autism.[19] It was approved on the basis of two studies that showed it reduced aggression towards others, self-injury, quickly changing moods, irritability, and temper tantrums in autistic males and females 6–17 years of age.

[edit] Cocaine dependency

Perhaps owing to its mechanism of action relating to dopamine receptors, there is some evidence to suggest that aripiprazole blocks cocaine-seeking behaviour in animal models without significantly affecting other rewarding behaviours (such as food self-administration). [20]

[edit] Pharmacology

  • D2 Partial Agonist (Ki = 0.34 nM)
  • D3 Antagonist (?)
  • 5-HT1A Partial Agonist (Ki = 0.34 nM)
  • 5-HT2A Antagonist (Ki = 0.8 nM)
  • 5-HT2C Partial Agonist (Ki = 15 nM)
  • 5-HT7 Antagonist (Ki = 39 nM)
  • SRI (?)
  • Antihistamine (Ki = 61 nM)
  • α-adrenergic antagonist (Ki = 57 nM)
  • mACh receptor antagonist (?)

Aripiprazole’s mechanism of action is different from those of the other FDA-approved atypical antipsychoticsclozapine, olanzapine, quetiapine, ziprasidone, and risperidone). Rather than antagonizing the D2 receptor, aripiprazole acts as a D2partial agonist (Ki = 0.34 nM).[21][22] Aripiprazole is also a partial agonist at the 5-HT1A receptor (Ki = 1.65 nM), and like the other atypical antipsychotics displays an antagonist profile at the 5-HT2A receptor (Ki = 0.8 nM).[23][24] It also antagonizes the 5-HT7 receptor (Ki = 39 nM) and acts as a partial agonist at the 5-HT2C receptor (Ki = 15 nM), both with high affinity. The latter action may underlie the minimal weight gain seen in the course of therapy.[25] Aripiprazole has moderate affinity for histamine (Ki = 61 nM) and α-adrenergic (Ki = 57 nM) receptors and for the serotonin transporter, and no appreciable affinity for cholinergic muscarinic receptors.[26] (e.g.,
D2 and D3 receptor occupancy levels are high, with average levels ranging between ~71% at 2 mg/day to ~96% at 40 mg/day.[27][28] Most atypical antipsychotics bind preferentially to extrastriatal receptors, but aripiprazole appears to be less preferential in this regard, as binding rates are high throughout the brain.[29]
Recently, it has been demonstrated that in 5-HT7 receptor knockout mice, aripiprazole does not reduce immobility time in the forced swim test (FST), and actually increases it.[30][31] This implicates 5-HT7amisulpride.[30][31][32] antagonism as playing a major role in aripiprazole’s antidepressant effects, similarly to
Aripiprazole produces 2,3-dichlorophenylpiperazine (DCPP) as a metabolite similarly to how trazodone and nefazodone reduce to 3-chlorophenylpiperazine (mCPP) and niaprazine converts to 4-fluorophenylpiperazine[33] It is unknown whether DCPP contributes to aripiprazole’s pharmacology in any way, but the possibility cannot be excluded. (pFPP).

[edit] Pharmacokinetics

Aripiprazole displays linear kinetics and has an elimination half-life of approximately 75 hours. Steady-state plasma concentrations are achieved in about 14 days. Cmax (maximum plasma concentration) is achieved 3–5 hou

rs after oral dosing. Bioavailability of the oral tablets is about 90% and the drug undergoes extensive hepatic metabolization (dehydrogenation, hydroxylation, and N-dealkylation), principally by the enzymes CYP2D6 and CYP3A4. Its only known active metabolite is dehydro-aripiprazole, which typically accumulates to approximately 40% of the aripiprazole concentration. The parenteral drug is excreted only in traces, and its metabolites, active or not, are excreted via feces and urine.[26] When dosed daily, brain concentrations of aripiprazole will increase for a period of 10–14 days, before reaching stable constant levels. This phenomenon is due to the long half life of aripiprazole, and is responsible for many of the adverse side effects that appear after multiple days of dosing (whereas the first dose normally does not cause these side effects).

[edit] Patent status

Otsuka’s US patent on aripiprazole expires on October 20, 2014;[34] however, due to a pediatric extension, a generic will not become available until at least April 20, 2015.[4]Barr Laboratories (now Teva Pharmaceuticals) initiated a patent challenge under the Hatch-Waxman Act in March 2007.[35] As of 14 August 2009, this challenge is still in court. (2009 -08-14)

[edit] Side effects

Akathisia[36], headache, unusual tiredness or weakness, nausea, vomiting, an uncomfortable feeling in the stomach, constipation, light-headedness, insomnia, sleepiness, shaking, and blurred vision.
Uncontrollable twitching or jerking movements, tremors, seizure, and weight gain. Some people may feel dizzy, especially when getting up from a lying or sitting position, or may experience a fast heart rate.
Neuroleptic malignant syndrome (Combination of fever, muscle stiffness, faster breathing, sweating, reduced consciousness, and sudden change in blood pressure and heart rate.)
Aripiprazole also causes sexual dysfunction.
Tardive dyskinesia (As with all antipsychotic medication, patients using aripiprazole may develop the permanent neurological disorder tardive dyskinesia.[37][38][39])
Stroke (While taking aripiprazole some elderly patients with dementia have suffered from stroke or ‘mini’ stroke.)
Other elderly patients may experience high blood sugar or the onset or worsening of diabetes.
Allergic reaction (such as swelling in the mouth or throat, itching, rash), increased production of saliva, speech disorder, nervousness, agitation, fainting, reports of abnormal liver test values, inflammation of the pancreas, muscle pain, weakness, stiffness, or cramps.

[edit] Overdosage

Children or adults who ingested acute overdoses have usually manifested central nervous system depression ranging from mild sedation to coma; serum concentrations of aripiprazole and dehydroaripiprazole in these patients were elevated by up to 3-4 fold over normal therapeutic levels, yet no deaths have yet been recorded.[40]

[edit] Drug interactions

Aripiprazole is a substrate of CYP2D6 and CYP3A4. Coadministration with medications that inhibit (e.g. paroxetine, fluoxetine) or induce (e.g. carbamazepine) these metabolic enzymes are known to increase and decrease, respectively, plasma levels of aripiprazole.[41] As such, anyone taking Abilify should be aware that their dosage of Abilify may need to be decreased.
Aripiprazole may change the subjective effects of alcohol. One study[42] found that aripiprazole increased the sedative effect and reduced the sense of euphoria normally associated with alcohol consumption. However, another alcohol study[43] found that there was no difference in subjective effect between a placebo group and a group taking aripiprazole.

[edit] Dosage forms

  • Intramuscular injection, solution: 7.5 mg/mL (1.3 mL)
  • Solution, oral: 1 mg/mL (150 mL) [contains propylene glycol, sucrose 400 mg/mL, and fructose 200 mg/mL; orange cream flavor]
  • Tablet: 2 mg, 5 mg, 10 mg, 15 mg, 20 mg, 30 mg
  • Tablet, orally disintegrating: 10 mg [contains phenylalanine 1.12 mg; creme de vanilla flavor]; 15 mg [contains phenylalanine 1.68 mg; creme de vanilla flavor]

[edit] Synthesis

Aripiprazole synth.png
U.S. Patent 5,006,528



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January 10, 2012 Posted by | 2002, A, Civil Rights, conspiracy, Conspiratorial deprivation of constitutional rights, Defense Production Act, info, Pseudoscience, Psychiatric fraud, ref, Science and medicine | , , , , , , , , , , , , , , , , | Leave a comment

Coca (Peru beverage)

Coca

From Wikipedia, the free encyclopedia
For other uses, see Coca (disambiguation).
Coca
Erythroxylum coca
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Rosids
Order: Malpighiales
Family: Erythroxylaceae
Genus: Erythroxylum
Species: E. coca
Binomial name
Erythroxylum coca
Lam.

Coca, Erythroxylum coca, is a plant in the family Erythroxylaceae, native to western South America. The plant plays a significant role in many traditional Andean cultures (see the Traditional uses section). Coca is best known throughout the world because of its alkaloids, which include cocaine, a powerful stimulant.

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[edit] Description

The Erythroxylum coca plant resembles a blackthorn bush, and grows to a height of 2–3 m (7–10 ft). The branches are straight, and the leaves, which have a green tint, are thin, opaque, oval, and taper at the extremities. A marked characteristic of the leaf is an areolated portion bounded by two longitudinal curved lines, one line on each side of the midrib, and more conspicuous on the under face of the leaf.

The flowers are small, and disposed in little clusters on short stalks; the corolla is composed of five yellowish-white petals, the anthers are heart-shaped, and the pistil consists of three carpels united to form a three-chambered ovary. The flowers mature into red berries.

The leaves are sometimes eaten by the larvae of the moth Eloria noyesi.

[edit] Species and classification

There are twelve main species and varieties. Two subspecies, Erythroxylum coca var. coca and Erythroxylum coca var. ipadu, are almost indistinguishable phenotypically; a related high cocaine-bearing species has two subspecies, Erythroxylum novogranatense var. novogranatense and Erythroxylum novogranatense var. truxillense that are phenotypically similar, but morphologically distinguishable. Under the older Cronquist system of classifying flowering plants, this was placed in an order Linales; more modern systems place it in the order Malpighiales.

[edit] Cultivation

Coca tree in Colombia

Coca is traditionally cultivated in the lower altitudes of the eastern slopes of the Andes (the Yungas), or the highlands depending on the species grown. Since ancient times, its leaves have been an important trade commodity between the lowlands where it is grown and the higher altitudes where it is widely consumed by the Andean peoples of Bolivia, Colombia, Ecuador, Venezuela, Peru and northwestern Argentina.

Fresh samples of the dried leaves are uncurled, are of a deep green on the upper, and a grey-green on the lower surface, and have a strong tea-like odor. When chewed, they produce a pleasurable numbness in the mouth, and have a pleasant, pungent taste. They are traditionally chewed with lime to increase the release of the active ingredients from the leaf. Older species have a camphoraceous smell and a brownish color, and lack the pungent taste.

The seeds are sown from December to January in small plots (almacigas) sheltered from the sun, and the young plants when at 40–60 cm in height are placed in final planting holes (aspi), or if the ground is level, in furrows (uachos) in carefully weeded soil. The plants thrive best in hot, damp and humid locations, such as the clearings of forests; but the leaves most preferred are obtained in drier areas, on the hillsides. The leaves are gathered from plants varying in age from one and a half to upwards of forty years, but only the new fresh growth is harvested. They are considered ready for plucking when they break on being bent. The first and most abundant harvest is in March after the rainy season, the second is at the end of June, and the third in October or November. The green leaves (matu) are spread in thin layers on coarse woollen cloths and dried in the sun; they are then packed in sacks, which must be kept dry in order to preserve the quality of the leaves.

Morphology of the coca plant
Leaves
Leaves and Fruit
Leaves and Branches

[edit] Pharmacological aspects

This section needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (July 2011)

Benzoylmethylecgonine, the pharmacologically active compound in coca

The pharmacologically active ingredient of coca is the alkaloid cocaine, which is found in the amount of about 0.3 to 1.5%, averaging 0.8%,[1] in fresh leaves. Besides cocaine, the coca leaf contains a number of other alkaloids, including methylecgonine cinnamate, benzoylecgonine, truxilline, hydroxytropacocaine, tropacocaine, ecgonine, cuscohygrine, dihydrocuscohygrine, nicotine and hygrine. When chewed, coca acts as a mild stimulant and suppresses hunger, thirst, pain, and fatigue.[citation needed]

Absorption of cocaine from the leaf is much less rapid and efficient than from the purified forms of cocaine,[citation needed] and it does not cause the euphoric and psychoactive effects associated with use of the drug.[citation needed] Some proponents[who?] have claimed that cocaine itself is not an active ingredient when unprocessed coca leaf is chewed or brewed as an infusion. However, studies have shown that small but measurable amounts of cocaine are present in the bloodstream after consumption of coca tea.[2] Addiction or other deleterious effects from the consumption of the leaf in its natural form have not been documented.[3][4]

[edit] History

Workers in Java prepared coca leaves. This product was mainly traded in Amsterdam, and was further processed into cocaine. (Dutch East Indies, before 1940.)

Traces of coca have been found in mummies dating 3000 years back.[5] Other evidence dates the communal chewing of coca with lime 8000 years back.[6] Extensive archaeological evidence for the chewing of coca leaves dates back at least to the sixth century A.D. Moche period, and the subsequent Inca period, based on mummies found with a supply of coca leaves, pottery depicting the characteristic cheek bulge of a coca chewer, spatulas for extracting alkali and figured bags for coca leaves and lime made from precious metals, and gold representations of coca in special gardens of the Inca in Cuzco[7][8]

Coca chewing may originally have been limited to the eastern Andes before its introduction to the Incas. As the plant was viewed as having a divine origin, its cultivation became subject to a state monopoly and its use restricted to nobles and a few favored classes (court orators, couriers, favored public workers, and the army) by the rule of the Topa Inca (1471–1493). As the Incan empire declined, the leaf became more widely available. After some deliberation, Philip II of Spain issued a decree recognizing the drug as essential to the well-being of the Andean Indians but urging missionaries to end its religious use. The Spanish are believed to have effectively encouraged use of coca by an increasing majority of the population to increase their labor output and tolerance for starvation, but it is not clear that this was planned deliberately.[citation needed]

Coca was first introduced to Europe in the 16th century, but did not become popular until the mid-19th century, with the publication of an influential paper by Dr. Paolo Mantegazza praising its stimulating effects on cognition. This led to invention of cocawine and the first production of pure cocaine. Cocawine (of which Vin Mariani was the best-known brand) and other coca-containing preparations were widely sold as patent medicines and tonics, with claims of a wide variety of health benefits. The original version of Coca-cola was among these. These products became illegal in most countries outside of South America in the early 20th century, after the addictive nature of cocaine was widely recognized. In 1859, Albert Niemann of the University of Göttingen became the first person to isolate the chief alkaloid of coca, which he named “cocaine”.[9]

In the early twentieth century the Dutch colony of Java became a leading exporter of coca leaf. By 1912 shipments to Amsterdam, where the leaves were processed into cocaine, reached 1 million kg, overtaking the Peruvian export market. Apart from the years of the First World War, Java remained a greater exporter of coca than Peru until the end of the 1920s.[10] Other colonial powers also tried to grow coca (including the British in India), but with the exception of the Japanese in Formosa, these were relatively unsuccessful.[10]

In recent times (2006), the governments of several South American countries, such as Peru, Bolivia and Venezuela, have defended and championed the traditional use of coca, as well as the modern uses of the leaf and its extracts in household products such as teas and toothpaste and condoms. (see Industrial Use below)

[edit] Traditional uses

Man holding coca leaf in Bolivia

[edit] Medicine

Traditional medical uses of coca are foremost as a stimulant to overcome fatigue, hunger, and thirst. It is considered particularly effective against altitude sickness. It also is used as an anesthetic to alleviate the pain of headache, rheumatism, wounds and sores, etc. Before stronger anaesthetics were available, it also was used for broken bones, childbirth, and during trephining operations on the skull. Because coca constricts blood vessels, it also serves to oppose bleeding, and coca seeds were used for nosebleeds. Indigenous use of coca has also been reported as a treatment for malaria, ulcers, asthma, to improve digestion, to guard against bowel laxity, as an aphrodisiac, and credited with improving longevity. Modern studies have supported a number of these medical applications.[which?][3]

[edit] Religion

Coca has also been a vital part of the religious cosmology of the Andean peoples of Peru, Bolivia, Ecuador, Colombia and northern Argentina and Chile from the pre-Inca period through the present. They follow the making and worship the coca beans when they are ready. Coca leaves play a crucial part in offerings to the apus (mountains), Inti (the sun), or Pachamama (the earth). Coca leaves are also often read in a form of divination analogous to reading tea leaves in other cultures. As one example of the many traditional beliefs about coca, it is believed by the miners of Cerro de Pasco to soften the veins of ore, if masticated (chewed) and thrown upon them (see also Cocomama).[citation needed]

[edit] Traditional preparation

Traditionally, coca leaves are prepared either as a chew or as a tea[citation needed] (mate de coca).

[edit] Chew

This section needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (July 2011)

Bulk bags of coca leaves are sold in local markets and by street vendors.[citation needed] The activity of chewing coca is called mambear, chacchar or acullicar, borrowed from Quechua, coquear (northern Argentina), or in Bolivia, picchar, derived from the Aymara language. The Spanish masticar is also frequently used, along with the slang term “bolear,” derived from the word “bola” or ball of coca pouched in the cheek while chewing. Typical coca consumption is about two ounces per day[citation needed], and contemporary methods are believed to be unchanged from ancient times.[citation needed] Coca is kept in a woven pouch (chuspa or huallqui). A few leaves are chosen to form a quid (acullico) held between the mouth and gums. Doing so may cause a tingling and numbing sensation in their mouths. (The common dental anaesthetic Novocaine has a similar effect.) Chewing coca leaves is most common in indigenous communities across the central Andean region[citation needed], particularly in places like the highlands of Colombia, Ecuador, Bolivia and Peru, where the cultivation and consumption of coca is as much a part of the national culture similar to chicha, like wine is to France or beer is to Germany.[citation needed] It also serves as a powerful symbol of indigenous cultural and religious identity, amongst a diversity of indigenous nations throughout South America.[citation needed]

Coca is still chewed in the traditional way, with a tiny quantity of ilucta (a preparation of the ashes of the quinoa plant) added to the coca leaves[contradiction]; it softens their astringent flavor and activates the alkaloids.[citation needed] Other names for this basifying substance are llipta in Peru and the Spanish word lejía, lye in English. The consumer carefully uses a wooden stick (formerly often a spatula of precious metal) to transfer an alkaline component into the quid without touching his flesh with the corrosive substance. The alkali component, usually kept in a gourd (ishcupuro or poporo), can be made by burning limestone to form unslaked quicklime, burning quinoa stalks, or the bark from certain trees, and may be called ilipta, tocra or mambe depending on its composition.[7][8] Many of these materials are salty in flavor, but there are variations. The most common base[citation needed] in the La Paz area of Bolivia is a product known as lejía dulce (sweet lye), which is made from quinoa ashes mixed with aniseed and cane sugar, forming a soft black putty with a sweet and pleasing flavor. In some places, baking soda is used under the name bico.

In the Sierra Nevada de Santa Marta, on the Caribbean Coast of Colombia, coca is consumed[citation needed] by the Kogi, Arhuaco and Wiwa by using a special device called poporo. The poporo is the mark of manhood. It represents the womb and the stick is a phallic symbol. The movements of the stick in the poporo symbolize the sexual act. For a man the poporo is a good companion that means “food”, “woman”, “memory” and “meditation”. It is important to stress that poporo is the symbol of manhood.[citation needed] But it is the woman who gives men their manhood. When the boy is ready to be married, his mother will initiate him in the use of the coca. This act of initiation is carefully supervised by the mama, a traditional priest-teacher-leader.[citation needed]

[edit] Tea

This section needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (July 2011)

A cup of mate de coca served in Villazón, Bolivia.

Main article: Coca tea

Although coca leaf chewing is common only among the indigenous populations[citation needed], the consumption of coca tea (Mate de coca) is common among all sectors of society in the Andean countries[citation needed], and is widely held to be beneficial to health, particularly in the high altitudes.[citation needed] Coca leaf is sold packaged into teabags in most grocery stores in the region, and establishments that cater to tourists generally feature coca tea.

[edit] Commercial and industrial uses

In the Andes commercially manufactured coca teas, granola bars, cookies, hard candies, etc. are available in most stores and supermarkets, including upscale suburban supermarkets.[citation needed]

Coca is used industrially in the cosmetics and food industries. A de-cocainized extract of coca leaf is one of the flavoring ingredients in Coca-Cola. Before the criminalization of Cocaine, however, the extract was not de-cocainized. Therefore, Coca-Cola‘s original formula did include Cocaine[11][12][13]

Coca tea is produced industrially from coca leaves in South America by a number of companies, including Enaco S.A. (National Company of the Coca) a government enterprise in Peru.[14][15] Coca leaves are also found in a brand of herbal liqueur called “Agwa de Bolivia” (grown in Bolivia and de-cocainized in Amsterdam),[16] and a natural flavouring ingredient in Red Bull Cola, that was launched in March 2008.[17]

[edit] New markets

Beginning in the early 21st century, there has been a movement in Bolivia, Peru, and Venezuela to promote and expand legal markets for the crop. The presidents of these three countries have personally identified with this movement. In particular, Evo Morales of Bolivia (elected in December 2005) was a coca growers union leader. Morales asserts that “la coca no es cocaína“—the coca leaf is not cocaine. During his speech to the General Assembly of the United Nations on September 19, 2006, he held a coca leaf in his hand to demonstrate its innocuity.[18]

Alan García, president of Peru, has recommended its use in salads and other edible preparations. A Peruvian-based company has announced plans to market a modern version of Vin Mariani, which will be available in both natural and de-cocainized varieties.

In Venezuela, president Hugo Chávez said in a speech on January 2008 that he chews coca every day, and that his “hook up” is Bolivian president Evo Morales. Chávez reportedly said “I chew coca every day in the morning… and look how I am” before showing his biceps to his audience, the Venezuelan National Assembly.[citation needed]

On the other hand, the Colombian government has recently moved in the opposite direction. For years, Bogotá has allowed indigenous coca farmers to sell coca products, promoting the enterprise as one of the few successful commercial opportunities available to recognized tribes like the Nasa, who have grown it for years and regard it as sacred.[19] In December 2005, the Paeces, a Tierradentro (Cauca[disambiguation needed]) indigenous community, started in December to produce a carbonated soft drink called “Coca Sek“. The production method belongs to the resguardos of Calderas (Inzá) and takes about 150 kg of coca per 3,000 produced bottles. The drink was never sold widely in Colombia, the efforts to do so ended in May 2007 when it was abruptly banned by the Colombian government.[citation needed]

Coca Colla is an energy drink which is produced in Boliva with the use of coca extract as its base. It was launched on the Bolivian market in La Paz, Santa Cruz and Cochabamba in mid-April 2010.[20][21]

[edit] Literary references

Probably the earliest reference to coca in English literature is Abraham Cowley‘s poem “The Legend of Coca” in his 1662 collection of poems “Six Books of Plants”.

One of the best known examples of coca’s reference in fiction is Patrick O’Brian’s character, Stephen Maturin. In many of the more than twenty book series, a.k.a. Aubrey-Maturin series, Maturin expounds the benefits of coca. However, the reader is made aware of the truly addictive effects of the drug when rats, who have found the coca (Erythroxylum coca), become seriously addicted and scour the ship looking for it.

[edit] International prohibition of coca leaf

A Colombian National Police OV-10 plane sprays herbicides over a coca field in Colombia as part of Plan Colombia

Coca leaf is the raw material for the manufacture of the drug cocaine, a powerful stimulant and anaesthetic extracted chemically from large quantities of coca leaves. Today, since it has mostly been replaced as a medical anaesthetic by synthetic analogues such as procaine, cocaine is best known as an illegal recreational drug. The cultivation, sale, and possession of unprocessed coca leaf (but not of any processed form of cocaine) is generally legal in the countries – such as Bolivia, Peru, Chile and Argentina – where traditional use is established, although cultivation is often restricted in an attempt to prevent the production of cocaine.

The prohibition of the use of the coca leaf except for medical or scientific purposes was established by the United Nations in the 1961 Single Convention on Narcotic Drugs. The coca leaf is listed on Schedule I of the 1961 Single Convention together with cocaine and heroin. The Convention determined that “The Parties shall so far as possible enforce the uprooting of all coca bushes which grow wild. They shall destroy the coca bushes if illegally cultivated” (Article 26), and that, “Coca leaf chewing must be abolished within twenty-five years from the coming into force of this Convention” (Article 49, 2.e).[22]

The historic rationale for international prohibition of coca leaf in the 1961 Single Convention comes from “The Commission of Enquiry on the Coca Leaf study” published in 1950. It was requested of the United Nations by the permanent representative of Peru, and was prepared by a commission that visited Bolivia and Peru briefly in 1949 to “investigate the effects of chewing the coca leaf and the possibilities of limiting its production and controlling its distribution.” It concluded that the effects of chewing coca leaves were negative, even though chewing coca was defined as a habit, not an addiction.[23][24]

The report was sharply criticised for its arbitrariness, lack of precision and racist connotations.[citation needed] The team members’ professional qualifications and parallel interests were also criticised, as were the methodology used and the incomplete selection and use of existing scientific literature on the coca leaf. Questions have been raised as to whether a similar study today would pass the scrutiny and critical review to which scientific studies are routinely subjected.[13]

Despite the legal restriction among countries party to the international treaty, coca chewing and drinking of coca tea is carried out daily by millions of people in the Andes as well as considered sacred within indigenous cultures. They claim[who?] that most of the information provided about the traditional use of the coca leaf and its modern adaptations are erroneous.[citation needed] This has made it impossible to shed light on the plant’s positive aspects and its potential benefits for the physical, mental and social health of the people who consume and cultivate it.[13]

In an attempt to obtain international acceptance for the legal recognition of traditional use of coca in their respective countries, Peru and Bolivia successfully led an amendment, paragraph 2 of Article 14 into the 1988 United Nations Convention Against Illicit Traffic in Narcotic Drugs and Psychotropic Substances, stipulating that measures to eradicate illicit cultivation and to eliminate illicit demand “should take due account of traditional licit use, where there is historic evidence of such use.”[25] Bolivia also made a formal reservation to the 1988 Convention, which required countries to adopt measures to establish the use, consumption, possession, purchase or cultivation of the coca leaf for personal consumption as a criminal offence. Bolivia stated that “the coca leaf is not, in and of itself, a narcotic drug or psychotropic substance” and stressed that its “legal system recognizes the ancestral nature of the licit use of the coca leaf, which, for much of Bolivia’s population, dates back over centuries.”[25][26]

However, the International Narcotics Control Board (INCB) – the independent and quasi-judicial control organ for the implementation of the United Nations drug conventions – denied the validity of article 14 in the 1988 Convention over the requirements of the 1961 Convention, or any reservation made by parties, since it does not “absolve a party of its rights and obligations under the other international drug control treaties.”[27]

The INCB stated in its 1994 Annual Report that “mate de coca, which is considered harmless and legal in several countries in South America, is an illegal activity under the provisions of both the 1961 Convention and the 1988 Convention, though that was not the intention of the plenipotentiary conferences that adopted those conventions.”[28] It implicitly also dismissed the original report of the Commission of Enquiry on the Coca Leaf by recognizing that “there is a need to undertake a scientific review to assess the coca-chewing habit and the drinking of coca tea.”[29]

Nevertheless, the INCB on other occasions did not show signs of an increased sensitivity towards the Bolivian claim on the rights of their indigenous population, and the general public, to consume the coca leaf in a traditional manner by chewing the leaf, and drinking coca tea, as “not in line with the provisions of the 1961 Convention.”[30][31] The Board considered Bolivia, Peru and a few other countries that allow such practises to be in breach with their treaty obligations, and insisted that “each party to the Convention should establish as a criminal offence, when committed intentionally, the possession and purchase of coca leaf for personal consumption.”[32]

In reaction to the 2007 Annual Report of the INCB, the Bolivian government announced that it would formally issue a request to the United Nations to unschedule the coca leaf of List 1 of the 1961 UN Single Convention.[33] Bolivia led a diplomatic effort to do so beginning in March 2009, but eighteen countries (chronologically: the United States, Sweden, United Kingdom, Latvia, Japan, Canada, France, Germany, Bulgaria, Slovakia, Denmark, Estonia, Italy, Mexico, Russian Federation, Malaysia, Singapore, and Ukraine) objected to the change before the January 2011 deadline. A single objection would have been sufficient to block the modification. The legally unnecessary step of supporting the change was taken formally by Spain, Ecuador, Venezuela, and Costa Rica.[34] In June 2011, Bolivia moved to denounce the 1961 Convention over the prohibition of the coca leaf.[35]

This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2011)

Since the 1980s, the countries in which coca is grown have come under political and economic pressure from the United States to restrict the cultivation of the crop, in order to reduce the supply of cocaine on the international market.[citation needed]

Article 26 of the Single Convention on Narcotic Drugs requires nations that allow the cultivation of coca to designate an agency to regulate said cultivation and take physical possession of the crops as soon as possible after harvest, and to destroy all coca which grows wild or is illegally cultivated. The effort to enforce these provisions, referred to as coca eradication, has involved many strategies, ranging from aerial spraying of herbicides on coca crops to assistance and incentives to encourage farmers to grow alternate crops.[citation needed]

This effort has been politically controversial[citation needed], with proponents claiming[citation needed] that the production of cocaine is several times the amount needed to satisfy legal demand and inferring that the vast majority of the coca crop is destined for the illegal market. As per the proclaimed view, this would not only contributes to the major social problem of drug abuse but also financially supports insurgent groups that collaborate with drug traffickers in some cocaine-producing territories. Critics of the effort claim[citation needed] that it creates hardship primarily for the coca growers, many of whom are poor and have no viable alternative way to make a living, causes environmental problems, that it is not effective in reducing the supply of cocaine, in part because cultivation can move to other areas, and that any social harm created by drug abuse is only made worse by the war on drugs.

More recently, coca has been reintroduced to the United States as a flavoring agent in the herbal liqueur Agwa.

[edit] Legal status by country

Outside of South America, most countries’ laws make no distinction between the coca leaf and any other substance containing cocaine, so the possession of coca leaf (except for de-cocainized leaf) is prohibited.

In general, nations with strong (ie, constitutional) privacy rights such as Argentina, Chile, Netherlands, or Spain, are the ones most likely not to pursue prosecution for private use — though certainly not all such countries are actually so lenient.[citation needed] For example in the Netherlands, coca leaf is legally in the same category as cocaine, both are List I drugs of the Opium Law. The Opium Law specifically mentions the leafs of the plants of the genus Erythroxylon. However, the possession of living plants of the genus Erythroxylon are not actively prosecuted, even though they are legally forbidden.

In the United States, a Stepan Company plant in Maywood, New Jersey has the only license to legally import coca leaf. The company manufactures pure cocaine for medical use and also produces a cocaine-free extract of the coca leaf, which is used as a flavoring ingredient in Coca-Cola. According to the Bolivian press,[citation needed] Coca-Cola legally imported 204 tons of coca leaf in 1996.

[edit] References

  1. ^ Illicit Production of Cocaine – [www.rhodium.ws]
  2. ^ Jenkins AJ, Llosa T, Montoya I, Cone EJ., “Identification and quantitation of alkaloids in coca tea,” Forensic Sci Int. 9 February 1996;77(3):179-89.
  3. ^ a b Weil AT., “The therapeutic value of coca in contemporary medicine,” J Ethnopharmacol. 1981 Mar-May;3(2-3):367-76.
  4. ^ Hanna JM, Hornick CA., “Use of coca leaf in southern Peru: adaptation or addiction,” Bull Narc. 1977 Jan-Mar;29(1):63-74.
  5. ^ Rivera MA, Aufderheide AC, Cartmell LW, Torres CM, Langsjoen O., “Antiquity of coca-leaf chewing in the south central Andes: a 3,000 year archaeological record of coca-leaf chewing from northern Chile,” J. Psychoactive Drugs. 2005 Dec;37(4):455-8.
  6. ^ Dillehay et al (2010). “Early Holocene coca chewing in northern Peru”. Antiquity 84 (326): 939–953.
  7. ^ a b Robert C. Peterson, Ph.D. (1977-05). “NIDA research monograph #13: Cocaine 1977, Chapter I”. Retrieved 2007-05-26.
  8. ^ a b Eleanor Carroll, M.A.. “Coca: the plant and its use”. Retrieved 2007-05-26.
  9. ^ Inciardi, James A. (1992). The War on Drugs II. Mayfield Publishing Company. p. 6. ISBN 1-55934-016-9.
  10. ^ a b Musto, D.F. (1998), “International traffic in coca through the early 20th century”, Drug and Alcohol Dependence 49 (2), pp. 145-156
  11. ^ May, Clifford D. “How Coca-Cola Obtains Its Coca”, The New York Times, July 1, 1998. “A Stepan laboratory in Maywood, N.J., is the nation’s only legal commercial importer of coca leaves, which it obtains mainly from Peru and, to a lesser extent, Bolivia. Besides producing the coca flavoring agent for Coca-Cola, Stepan extracts cocaine from the coca leaves, which it sells to Mallinckrodt Inc., a St. Louis pharmaceutical manufacturer that is the only company in the United States licensed to purify the product for medicinal use.”
  12. ^ Benson, Drew. “Coca kick in drinks spurs export fears“, The Washington Times, April 20, 2004. “Coke dropped cocaine from its recipe around 1900, but the secret formula still calls for a cocaine-free coca extract produced at a Stepan Co. factory in Maywood, N.J. Stepan buys about 100 metric tons of dried Peruvian coca leaves each year, said Marco Castillo, spokesman for Peru’s state-owned National Coca Co.”
  13. ^ a b c Coca Yes, Cocaine No? Legal Options for the Coca Leaf, Transnational Institute, Drugs & Conflict Debate Paper 13, May 2006
  14. ^ (Spanish) Empresa Nacional de la Coca S.A
  15. ^ Peruvian Drug Control Agency: Coca Cola Buys Coca Leaves, The Narco News Bulletin, January 28, 2005
  16. ^ Agwabuzz.com Agwa de Bolivia herbal liqueur official site
  17. ^ The Cola from Red Bull[dead link]
  18. ^ Statement of Evo Morales Aima, President of Bolivia at the 61st session of the United Nations General Assembly, September 19, 2006
  19. ^ Bolivia and Peru Defend Coca Use March 6, 2008. “The United Nations lacks respect for the indigenous people of Peru and Bolivia who have used the coca leaf since forever,” said Peruvian Congresswoman Maria Sumire. “For indigenous people, coca is a sacred leaf that is part of their cultural identity,” she said.
  20. ^ “Evo Morales launches ‘Coca Colla'”. Telegraph. 10 January 2010. Retrieved 22 January 2010.
  21. ^ “Bolivia banks on ‘Coca Colla,’ fizzy coca-leaf drink”. AFP. 10 January 2010. Retrieved 22 January 2010.
  22. ^ Single Convention on Narcotic Drugs
  23. ^ Commission of Enquiry on the Coca Leaf, UNGASS 10-year review website, Transnational Institute
  24. ^ The Commission of Enquiry on the Coca Leaf, Bulletin on Narcotics – 1949 Issue 1
  25. ^ a b The resolution of ambiguities regarding coca, Transnational Institute, March 2008
  26. ^ Status of treaty adherence, United Nations Convention against Illicit Traffic in Narcotic Drugs and Psychotropic Substances
  27. ^ Report of the International Narcotics Control Board for 2007, paragraph 220
  28. ^ Evaluation of the effectiveness of the international drug control treaties, Supplement to the INCB Annual Report for 1994 (Part 3)
  29. ^ Evaluation of the effectiveness of the international drug control treaties, Supplement to the INCB Annual Report for 1994 (Part 1)
  30. ^ Report of the International Narcotics Control Board for 2007, paragraph 217
  31. ^ Response to the 2007 Annual Report of the International Narcotics Control Board, International Drug Policy Consortium (IDPC), March 2008
  32. ^ Report of the International Narcotics Control Board for 2007, paragraph 219
  33. ^ Letter Evo Morales to UN Secretary General Ban Ki-moon, March 8, 2008
  34. ^ “Objections and support for Bolivia’s coca amendment”. Transnational Institute.
  35. ^ “Aprueban denuncia contra la Convención de Viena”. Los Tiempos. 2011-06-23. Retrieved 2011-06-23.
  • Turner C. E., Elsohly M. A., Hanuš L., Elsohly H. N. Isolation of dihydrocuscohygrine from Peruvian coca leaves. Phytochemistry 20 (6), 1403-1405 (1981)
  • “History of Coca. The Divine Plant of the Incas” by W. Golden Mortimer, M.D. 576 pp. And/Or Press San Francisco, 1974. This title has no ISBN.

This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press.

[edit] External links

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August 29, 2011 Posted by | Anti-stimulant conspiracy, C, Drug War, medicine | , , | Leave a comment

Drug-induced lupus erythematosus

Drug-induced lupus erythematosus

From Wikipedia, the free encyclopedia
(Redirected from Drug-induced lupus syndrome)
Jump to: navigation, search
Drug-induced lupus erythematosus
Classification and external resources
ICD10 M32.0.
ICD9 710.0
OMIM 152700
DiseasesDB 12782
MedlinePlus 000435
eMedicine med/2228 emerg/564
MeSH C17.300.480

Drug-induced lupus erythematosus (DIL or DILE) is an autoimmune disorder (similar to systemic lupus erythematosus [SLE]) caused by chronic use of certain drugs. These drugs cause an autoimmune response (the body attacks its own cells) producing symptoms similar to those of SLE. There are 38 known medications to cause DIL but there are three that report the highest number of cases: hydralazine, procainamide, and isoniazid.[1] While the criteria for diagnosing DIL has not been thoroughly established, symptoms of DIL typically present as myalgia and arthralgia. Generally, the symptoms recede after discontinuing use of the drugs.[2]

Contents

[show]

[edit] Causes

The processes that lead to drug-induced lupus erythematosus are not entirely understood. The exact processes that occur are not known even after 50 years since its discovery, but many studies present theories on the mechanisms of DIL.
A predisposing factor to developing DIL is N-acetylation speed, or the rate at which the body can metabolize the drug. This is greatly decreased in patients with a genetic deficiency of the enzyme N-acetyltransferase. A study showed that 29 of 30 patients with DIL were slow acetylators. In addition, these patients had more hydralazine metabolites in their urine than fast acetylators.[3] These metabolites (byproducts of the interactions between the drug and constituents in the body) of hydralazine are said to have been created when leukocytes (white blood cells) have been activated, meaning they are stimulated to produce a respiratory burst.[4] Respiratory burst in white blood cells induces an increased production of free radicals and oxidants such as hydrogen peroxide.[5] These oxidants have been found to react with hydralazine to produce a reactive species that is able to bond to protein.[6] Monocytes, one type of leukocyte, detect the antigen and relay the recognition to T helper cells, creating antinuclear antibodies leading to an immune response.[7] Further studies on the interactions between oxidants and hydralazine are necessary to understand the processes involved in DIL.
Of the drugs that cause DIL, hydralazine has been found to cause a higher incidence. Hydralazine is a medication used to treat high blood pressure. Approximately 5% of the patients who have taken hydralazine over long periods of time and in high doses have shown DIL-like symptoms.[8] Many of the other drugs have a low to very low risk to develop DIL. The following table shows the risk of development of DIL of some of these drugs on a very to high scale.[1]

[edit] Symptoms

Signs and symptoms of drug-induced lupus erythematosus include:

These signs and symptoms are not side effects of the drugs taken which occur during short term use. DIL occurs over long-term and chronic use of the medications listed above. While these symptoms are similar to those of systemic lupus erythematosus, they are generally not as severe unless they are ignored which leads to more harsh symptoms, and in some reported cases, death.

[edit] Treatment

It is important to recognize early that these drugs are causing DIL like symptoms and discontinue use of the drug. Symptoms of drug-induced lupus erythematosus generally disappear days to weeks after medication use is discontinued. Non-steroidal anti-inflammatory drugs (NSAIDs) will quicken the healing process. Corticosteroids may be used if more severe symptoms of DIL are present.

[edit] Frequency

(Excerpt from eMedicine – Lupus Erythematosus http://www.emedicine.com/derm/topic107.htm)

  • In the U.S.: As many as 10% of the approximately 500,000 cases of SLE may be DIL.
  • Mortality/morbidity: Death from DIL is extremely rare and may result from renal (kidney) involvement and other complications.
  • Race: More whites than blacks develop DIL; more blacks than whites present with SLE.
  • Sex: In DIL, no significant statistical difference is apparent in the prevalence for males versus females. In contrast, SLE affects women with considerably higher frequency than men (female-to-male ratio of 9:1).
  • Age: Patients with DILE tend to be older (50–70 years old) than those with SLE (average age 29 years at diagnosis). Elderly persons generally are more susceptible to DILE.

[edit] References

  1. ^ a b Rubin, Robert L. (2005-02-04). “Drug-Induced Lupus Erythematosus”. Lupus Foundation of America. http://www.lupus.org/education/brochures/drug.html. Retrieved 2006-11-03.
  2. ^ Schur, Peter H. (ed.); et al. (July 1983). The Clinical Management of Systemic Lupus Erythematosus. New York: Grune & Stratton. p. 221. ISBN 0-8089-1543-6.
  3. ^ Lahita, Robert G. (1987). Systemic Lupus Erythematosus. New York: John Wiley & Sons. p. 859. ISBN 0-471-87388-8.
  4. ^ Uetrecht J, Zahid N, Rubin R (1988). “Metabolism of procainamide to a hydroxylamine by human neutrophils and mononuclear leukocytes”. Chem Res Toxicol 1 (1): 74–8. doi:10.1021/tx00001a013. PMID 2979715.
  5. ^ Stites, Daniel P.; Terr, Abba I., Parslow, Tristram G. (eds.) (1994). Basic & Clinical Immunology. Norwalk, CT: Appleton & Lange. p. 373. ISBN 0-8385-0561-9.
  6. ^ Hofstra A, Matassa L, Uetrecht J (1991). “Metabolism of hydralazine by activated leukocytes: implications for hydralazine induced lupus”. J Rheumatol 18 (11): 1673–80. PMID 1664857.
  7. ^ Hofstra A (1994). “Metabolism of hydralazine: relevance to drug-induced lupus”. Drug Metab Rev 26 (3): 485–505. doi:10.3109/03602539408998315. PMID 7924901.
  8. ^ Schur, Peter H. et al. (1983), p. 223.

[edit] See also

[edit] External links

October 26, 2010 Posted by | D, Science and medicine, Uncategorized | , , , | Leave a comment

H. G. Wells

H. G. Wells

From Wikipedia, the free encyclopedia
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Herbert George Wells

Wells pictured some time before 1916
Born Herbert George Wells
21 September 1866(1866-09-21)
Bromley, United Kingdom
Died 13 August 1946 (aged 79)
London, United Kingdom
Occupation Novelist, teacher, historian, journalist
Nationality British
Genres Science fiction (notably social science fiction)
Notable work(s) The Time Machine, The Invisible Man, The Island of Doctor Moreau, The War of the Worlds, The First Men in the Moon, The Shape of Things to Come


Herbert George Wells (21 September 1866 – 13 August 1946)[1] was an English author, now best known for his work in the science fiction genre. He was also a prolific writer in many other genres, including contemporary novels, history, politics and social commentary. Together with Jules Verne, Wells has been referred to as “The Father of Science Fiction”.[2]
Wells was an outspoken socialist and sympathetic to pacifist views, although he supported the First World War once it was under way, and his later works became increasingly political and didactic. His middle-period novels (1900–1920) were less science-fictional; they covered lower-middle class life (The History of Mr Polly) and the “New Woman” and the Suffragettes (Ann Veronica).

Contents

[show]

[edit] Biography

[edit] Early life

Herbert George Wells was born at Atlas House, 47 High Street, Bromley, in the county of Kent, on 21 September 1866.[1] Called “Bertie” in the family, he was the fourth and last child of Joseph Wells (a former domestic gardener, and at the time a shopkeeper and amateur cricketer) and his wife Sarah Neal (a former domestic servant). The family was of the impoverished lower middle class. An inheritance had allowed the family to acquire a shop in which they sold china and sporting goods, although it failed to prosper: the stock was old and worn out, and the location was poor. He managed to earn a meagre income, but little of it came from the shop; Joseph received an unsteady amount of money from playing professional cricket for the Kent county team.[3] Payment for skilled bowlers and batsmen came from voluntary donations afterward, or from small payments from the clubs where matches were played.
A defining incident of young Wells’s life was an accident he had in 1874, which left him bedridden with a broken leg.[1] To pass the time he started reading books from the local library, brought to him by his father. He soon became devoted to the other worlds and lives to which books gave him access; they also stimulated his desire to write. Later that year he entered Thomas Morley’s Commercial Academy, a private school founded in 1849 following the bankruptcy of Morley’s earlier school. The teaching was erratic, the curriculum mostly focused, Wells later said, on producing copperplate handwriting and doing the sort of sums useful to tradesmen. Wells continued at Morley’s Academy until 1880. In 1877, his father, Joseph Wells, fractured his thigh. The accident effectively put an end to Joseph’s career as a cricketer, and his subsequent earnings as a shopkeeper were not enough to compensate for the loss of the primary source of family income.
No longer able to support themselves financially, the family instead sought to place their sons as apprentices in various occupations. From 1880 to 1883, Wells had an unhappy apprenticeship as a draper at the Southsea Drapery Emporium, Hyde’s.[4] His experiences at Hyde’s were later used as inspiration for some of his novel material The Wheels of Chance and Kipps, which delve into the life of a draper’s apprentice as well as providing a critique of the world’s distribution of wealth.
Herbert’s parents’ marriage was a turbulent relationship: due primarily to his mother being a Protestant and his father a self-confessed freethinker. When his mother returned to work as a lady’s maid (at Uppark, a country house in Sussex), one of the conditions of work was that she would not be permitted to have living space for her husband and children. Thereafter, she and Joseph lived separate lives: though they never divorced and neither ever developed extramarital liaisons. As a consequence, Herbert’s personal troubles increased as he subsequently failed as a draper and also, later, as a chemist’s assistant. After each failure, he would arrive at Uppark – “the bad shilling back again!” as he said – and stay there until a fresh start could be arranged for him. Fortunately for Herbert, Uppark had a magnificent library in which he immersed himself, reading many classic works, including Plato‘s Republic, and More‘s Utopia. This would be the beginning of Herbert George Wells’s venture into literature.

[edit] Teacher

H. G. Wells in 1907 at the door of his house at Sandgate

In October 1879 Wells’s mother arranged through a distant relative, Arthur Williams, for him to join the National School at Wookey in Somerset as a pupil-teacher, a senior pupil who acted as a teacher of younger children.[4] In December that year, however, Williams was dismissed for irregularities in his qualifications and Wells was returned to Uppark. After a short apprenticeship at a chemist in nearby Midhurst, and an even shorter stay as a boarder at Midhurst Grammar School, he signed his apprenticeship papers at Hyde’s. In 1883 Wells persuaded his parents to release him from the apprenticeship, taking an opportunity offered by Midhurst Grammar School again to become a pupil-teacher; his proficiency in Latin and Science during his previous, short stay had been remembered.[4][3]
The years he spent in Southsea had been the most miserable of his life to that point, but his good fortune at securing a position at Midhurst Grammar School meant that Wells could continue his self-education in earnest.[3] The following year, Wells won a scholarship to the Normal School of Science (later the Royal College of Science in South Kensington, now part of Imperial College London) in London, studying biology under Thomas Henry Huxley. As an alumnus, he later helped to set up the Royal College of Science Association, of which he became the first president in 1909. Wells studied in his new school until 1887 with a weekly allowance of twenty-one shillings (a guinea) thanks to his scholarship. This ought to have been a comfortable sum of money (at the time many working class families had “round about a pound a week” as their entire household income)[5] yet in his Experiment in Autobiography, Wells speaks of constantly being hungry, and indeed, photographs of him at the time show a youth so thin and malnourished.
He soon entered the Debating Society of the school. These years mark the beginning of his interest in a possible reformation of society. At first approaching the subject through The Republic by Plato, he soon turned to contemporary ideas of socialism as expressed by the recently formed Fabian Society and free lectures delivered at Kelmscott House, the home of William Morris. He was also among the founders of The Science School Journal, a school magazine which allowed him to express his views on literature and society, as well as trying his hand at fiction: the first version of his novel The Time Machine was published in the journal under the title, The Chronic Argonauts. The school year 1886–1887 was the last year of his studies. In spite of having previously successfully passed his exams in both Biology and Physics, his lack of interest in Geology resulted in his failure to pass and the subsequent loss of his scholarship.
It was not until 1890 that Wells earned a Bachelor of Science degree in Zoology from the University of London External Programme. In 1889–90 he managed to find a post as a teacher at Henley House School where he taught and admired A. A. Milne.[6][7]
Upon leaving the Normal School of Science, Wells was left without a source of income. His aunt Mary—his father’s sister-in-law—invited him to stay with her for a while, which solved his immediate problem of accommodation. During his stay at his aunt’s residence, he grew increasingly interested in her daughter, Isabel. He would later, go on to court her.

[edit] Personal life

H. G. Wells’s home in the mid-1890s: 143 Maybury Road, Woking[8]

In 1891 Wells married his cousin Isabel Mary Wells, but left her in 1894 for one of his students, Amy Catherine Robbins (known as Jane), whom he married in 1895.[9] He had two sons with Amy Catherine: George Philip (known as “Gip”) in 1901 (d.1985) and Frank Richard in 1903.[10]
During his marriage to Amy Robbins, Wells had affairs with a number of women, including the American birth-control activist Margaret Sanger[11] and novelist Elizabeth von Arnim. In 1909 he had a daughter, Anna-Jane, with the writer Amber Reeves,[10] whose parents, William and Maud Pember Reeves, he had met through the Fabian Society; and in 1914, a son, Anthony West (1914–1987), by the novelist and feminist Rebecca West, twenty-six years his junior.[12] Despite Amy Catherine’s knowledge of some of these affairs, she remained married to Wells until her death in 1927.[10] Wells also had affairs with Odette Keun and Moura Budberg.
“I was never a great amorist”, Wells wrote in Experiment in Autobiography (1934), “though I have loved several people very deeply.”

[edit] Artist

As one method of self-expression, Wells tended to sketch a lot. One common location for these sketches was the endpapers and title pages of his own diaries, and they covered a wide variety of topics, from political commentary to his feelings toward his literary contemporaries and his current romantic interests. During his marriage to Amy Catherine, whom he nicknamed Jane, he sketched a considerable number of pictures, many of them being overt comments on their marriage. It was during this period, and this period only, that he called his sketches “picshuas.” These picshuas have been the topic of study by Wells scholars for many years, and recently a book was published on the subject.[13]

[edit] Games

Seeking a more structured way to play war games, Wells also wrote Floor Games (1911) followed by Little Wars (1913). Little Wars is recognised today as the first recreational wargame and Wells is regarded by gamers and hobbyists as “the Father of Miniature War Gaming”.[14]

[edit] Writer

Wells’s first non-fiction bestseller was Anticipations (1901).[15] When originally serialised in a magazine it was subtitled, “An Experiment in Prophecy”, and is considered his most explicitly futuristic work. Anticipating what the world would be like in the year 2000, the book is interesting both for its hits (trains and cars resulting in the dispersion of population from cities to suburbs; moral restrictions declining as men and women seek greater sexual freedom; the defeat of German militarism, and the existence of a European Union) and its misses (he did not expect successful aircraft before 1950, and averred that “my imagination refuses to see any sort of submarine doing anything but suffocate its crew and founder at sea”).

Statue of a The War of the Worlds tripod, erected as a tribute to H. G. Wells in Woking town centre, England

His early novels, called “scientific romances“, invented a number of themes now classic in science fiction in such works as The Time Machine, The Island of Doctor Moreau, The Invisible Man, The War of the Worlds, When the Sleeper Wakes, and The First Men in the Moon. He also wrote other, non-fantastic novels that have received critical acclaim including Kipps and the satire on Edwardian advertising, Tono-Bungay.
Wells wrote several dozen short stories and novellas, the best known of which is “The Country of the Blind” (1904). His short story “The New Accelerator” was the inspiration for the Star Trek episode Wink of an Eye.[16]
Though Tono-Bungay was not a science-fiction novel, radioactive decay plays a small but consequential role in it. Radioactive decay plays a much larger role in The World Set Free (1914). This book contains what is surely his biggest prophetic “hit.” Scientists of the day were well aware that the natural decay of radium releases energy at a slow rate over thousands of years. The rate of release is too slow to have practical utility, but the total amount released is huge. Wells’s novel revolves around an (unspecified) invention that accelerates the process of radioactive decay, producing bombs that explode with no more than the force of ordinary high explosive—but which “continue to explode” for days on end. “Nothing could have been more obvious to the people of the earlier twentieth century,” he wrote, “than the rapidity with which war was becoming impossible… [but] they did not see it until the atomic bombs burst in their fumbling hands.” Leó Szilárd acknowledged that the book inspired him to theorise the nuclear chain reaction.[17]
Wells also wrote nonfiction. His bestselling three-volume work, The Outline of History (1920), began a new era of popularised world history. It received a mixed critical response from professional historians.[18] Many other authors followed with ‘Outlines’ of their own in other subjects. Wells reprised his Outline in 1922 with a much shorter popular work, A Short History of the World,[19] and two long efforts, The Science of Life (1930) and The Work, Wealth and Happiness of Mankind (1931). The ‘Outlines’ became sufficiently common for James Thurber to parody the trend in his humorous essay, “An Outline of Scientists”—indeed, Wells’s Outline of History remains in print with a new 2005 edition, while A Short History of the World has been recently reedited (2006).
From quite early in his career, he sought a better way to organise society, and wrote a number of Utopian novels. The first of these was A Modern Utopia (1905), which shows a worldwide utopia with “no imports but meteorites, and no exports at all”;[20] two travellers from our world fall into its alternate history. The others usually begin with the world rushing to catastrophe, until people realise a better way of living: whether by mysterious gases from a comet causing people to behave rationally and abandoning a European war (In the Days of the Comet (1906)), or a world council of scientists taking over, as in The Shape of Things to Come (1933, which he later adapted for the 1936 Alexander Korda film, Things to Come). This depicted, all too accurately, the impending World War, with cities being destroyed by aerial bombs. He also portrayed the rise of fascist dictators in The Autocracy of Mr Parham (1930) and The Holy Terror (1939), though in the former novel, the tale is revealed at the end to have been Mr Parham’s dream vision.

H. G. Wells in 1943

Wells contemplates the ideas of nature versus nurture and questions humanity in books such as The Island of Doctor Moreau. Not all his scientific romances ended in a happy Utopia, and in fact, Wells also wrote the first dystopia novel, When the Sleeper Wakes (1899, rewritten as The Sleeper Awakes, 1910), which pictures a future society where the classes have become more and more separated, leading to a revolt of the masses against the rulers. The Island of Doctor Moreau is even darker. The narrator, having been trapped on an island of animals vivisected (unsuccessfully) into human beings, eventually returns to England; like Gulliver on his return from the Houyhnhnms, he finds himself unable to shake off the perceptions of his fellow humans as barely civilised beasts, slowly reverting back to their animal natures.
Wells also wrote the preface for the first edition of W. N. P. Barbellion‘s diaries, The Journal of a Disappointed Man, published in 1919. Since “Barbellion” was the real author’s pen name, many reviewers believed Wells to have been the true author of the Journal; Wells always denied this, despite being full of praise for the diaries, but the rumours persisted until Barbellion’s death later that year.
In 1927, Florence Deeks sued Wells for infringement of copyright, claiming that he had stolen much of the content of The Outline of History from a work, The Web, she had submitted to the Canadian Macmillan Company, but who held onto the manuscript for eight months before rejecting it. Despite numerous similarities in phrasing and factual errors, the court found the evidence inadequate and dismissed the case. A Privy Council report added that, as Deek’s work had not been printed, there were no legal grounds at all for the action.[21]
In 1934, Wells predicted that the world war he had described in The Shape of Things to Come would begin in 1940, a prediction which ultimately came true one year early.[22]
In 1936, before the Royal Institution, Wells called for the compilation of a constantly growing and changing World Encyclopedia, to be reviewed by outstanding authorities and made accessible to every human being. In 1938, he published a collection of essays on the future organisation of knowledge and education, World Brain, including the essay, “The Idea of a Permanent World Encyclopaedia.”
Near the end of the Second World War, Allied forces discovered that the SS had compiled lists of intellectuals and politicians slated for immediate arrest upon the invasion of England in the abandoned Operation Sea Lion. The name “H. G. Wells” appeared high on the list for the crime of being a socialist in The Black Book.[23] Wells, as president of the International PEN (Poets, Essayists, Novelists), had already angered the Nazis by overseeing the expulsion of the German PEN club from the international body in 1934 following the German PEN’s refusal to admit non-Aryan writers to its membership.

[edit] Politics

Wells called his political views socialist. He was for a time a member of the socialist Fabian Society, but broke with them as his intentions were far more radical than theirs. He later grew staunchly critical of them as having a poor understanding of economics and educational reform. He ran as a Labour Party candidate for London University in the 1922 and 1923 general elections after the death of his friend W. H. R. Rivers, but at that point his faith in the party was weak or uncertain.
Social class was a theme in Wells’s The Time Machine in which the Time Traveller speaks of the future world, with its two races, as having evolved from

the gradual widening of the present (19th century) merely temporary and social difference between the Capitalist and the Labourer … Even now, does not an East-end worker live in such artificial conditions as practically to be cut off from the natural surface of the earth? Again, the exclusive tendency of richer people..is already leading to the closing, in their interest, of considerable portions of the surface of the land. About London, for instance, perhaps half the prettier country is shut in against intrusion.[24]

Nevertheless, without irony, Wells has this very same Time Traveller speak in terms antithetical to much of socialist thought, referring approvingly and as “perfect” and with no social problem unsolved, to an imagined world of stark class division between the rich assured of their wealth and comfort, and the rest of humanity assigned to lifelong toil:

Once, life and property must have reached almost absolute safety. The rich had been assured of his wealth and comfort, the toiler assured of his life and work. No doubt in that perfect world there had been no unemployed problem, no social question left unsolved.[24]

His most consistent political ideal was the World State. He stated in his autobiography that from 1900 onward he considered a World State inevitable. He envisioned the state to be a planned society that would advance science, end nationalism, and allow people to progress by merit rather than birth. In his book In the Fourth Year published in 1918 he suggested how each nation of the world would elect, “upon democratic lines” by proportional representation, an electoral college in the manner of the United States of America, in turn to select its delegate to the proposed League of Nations.[25] This international body he contrasted with imperialism, not only the imperialism of Germany, against which the war was being fought, but also the more benign imperialism of Britain and France.[26]
His values and political thinking came under increasing criticism from the 1920s and afterwards.[27]
The leadership of Joseph Stalin led to a change in his view of the Soviet Union even though his initial impression of Stalin himself was mixed. He disliked what he saw as a narrow orthodoxy and obdurance to the facts in Stalin. However, he did give him some praise saying in an article in the left-leaning New Statesman magazine, “I have never met a man more fair, candid, and honest” and making it clear that he felt the “sinister” image of Stalin was unfair or simply false. Nevertheless he judged Stalin’s rule to be far too rigid, restrictive of independent thought, and blinkered to lead toward the Cosmopolis he hoped for.[28] In the course of his visit to the Soviet Union in 1934, he debated the merits of reformist socialism over Marxism-Leninism with Stalin.[29]
Wells believed in the theory of eugenics. In 1904 he discussed a survey paper by Francis Galton, co-founder of eugenics, saying “I believe … It is in the sterilisation of failure, and not in the selection of successes for breeding, that the possibility of an improvement of the human stock lies.” Some contemporary supporters even suggested connections between the “degenerate” man-creatures portrayed in The Time Machine and Wells’s eugenic beliefs. For example, the economist Irving Fisher said in a 1912 address to the Eugenics Research Association: “The Nordic race will … vanish or lose its dominance if, in fact, the whole human race does not sink so low as to become the prey, as H. G. Wells images, of some less degenerate animal!”[30]
Wells had given some moderate unenthusiastic support for Territorialism before the First World War, but later became a bitter opponent of the Zionist movement in general. He saw Zionism as an exclusive and separatist movement which challenged the collective solidarity he advocated in his vision of a world state. No supporter of Jewish identity in general, Wells had in his utopian writings predicted the ultimate assimilation of Jewry.[31][32][33]
Wells brought his interest in Art & Design and politics together when he and other notables signed a memorandum to the Permanent Secretaries of the Board of Trade, amongst others. The November 1914 memorandum expressed the signatories concerns about British industrial design in the face of foreign competition. The suggestions were accepted, leading to the foundation of the Design and Industries Association.[34]
In the end his contemporary political impact was limited. His efforts regarding the League of Nations became a disappointment as the organisation turned out to be a weak one unable to prevent World War II. The war itself increased the pessimistic side of his nature. In his last book Mind at the End of its Tether (1945) he considered the idea that humanity being replaced by another species might not be a bad idea. He also came to call the era “The age of frustration.”

[edit] Religion

Wells wrote in his book God The Invisible King that his idea of God did not draw upon the traditional religions of the world: “This book sets out as forcibly and exactly as possible the religious belief of the writer. [Which] is a profound belief in a personal and intimate God.”[35] Later in the work he aligns himself with a “renascent or modern religion … neither atheist nor Buddhist nor Mohammedan nor Christian … [that] he has found growing up in himself”.[36]
Of Christianity he has this to say: “… it is not now true for me … Every believing Christian is, I am sure, my spiritual brother … but if systemically I called myself a Christian I feel that to most men I should imply too much and so tell a lie.” Of other world religions he writes: “All these religions are true for me as Canterbury Cathedral is a true thing and as a Swiss chalet is a true thing. There they are, and they have served a purpose, they have worked. Only they are not true for me to live in them … They do not work for me”.[37]

[edit] Final years

He spent his final years venting his frustration at various targets which included a neighbour who erected a large sign to a servicemen’s club. As he devoted his final decades toward causes which were largely rejected by contemporaries, his literary reputation declined. G. K. Chesterton quipped: “Mr. Wells is a born storyteller who has sold his birthright for a pot of message”.[38]
Wells was a diabetic,[39] and a co-founder in 1934 of what is now Diabetes UK, the leading charity for people living with diabetes in the UK.
On 28 October 1940 Wells was interviewed by Orson Welles, who two years previous had performed an infamous radio adaptation of The War of the Worlds, on KTSA radio in San Antonio, Texas. In the interview, Wells admitted his surprise at the widespread panic that resulted from the broadcast, but acknowledged his debt to Welles for increasing sales of one of his “more obscure” titles.[40]
He died of unspecified causes on 13 August 1946 at his home at 13 Hanover Terrace, Regent’s Park, London.[41] Some reports indicate the cause of death was diabetes or liver cancer.[42] In his preface to the 1941 edition of The War in the Air, Wells had stated that his epitaph should be: “I told you so. You damned fools.”.[43] He was cremated at Golders Green Crematorium on 16 August 1946 and his ashes were scattered at sea.[44] A commemorative blue plaque in his honour was installed at his home in Regent’s Park.

[edit]

October 25, 2010 Posted by | Entertainment, Uncategorized | , , , , | Leave a comment

Heavy metal music

Heavy metal music

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Heavy metal
Stylistic origins Blues-rock, psychedelic rock
Cultural origins Late 1960s, United KingdomUnited States and
Typical instruments Electric guitar • bass guitar • drums • vocals • keyboards
Mainstream popularity Worldwide, late 1960s–present
Subgenres
Black metal • classic metal • death metal • doom metal • glam metal • gothic metal • groove metal • power metal • speed metal • stoner rock • thrash metal
(complete list)
Fusion genres
Alternative metal • avant-garde metal • Christian metal • crust punk • drone metal • folk metal • funk metal • grindcore • industrial metal • metalcore • neo-classical metal • nu metal • post-metal • progressive metal • rap metal • sludge metal  • symphonic metal • Viking metal
Regional scenes
Australia • Bay Area • Brazil • BritainGermany • Gothenburg • New Orleans • Los Angeles • United States • Skandinavia
Other topics
Fashion • bands • umlaut • blast beat • subgenres
Heavy metal (often referred to simply as metal) is a genre of rock music[1] that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States.[2] With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.[3]
The first heavy metal bands such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre’s evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as “metalheads” or “headbangers“.
In the 1980s, glam metal became a major commercial force with groups like Mötley Crüe and Ratt. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica and Megadeth, while other styles like death metal and black metalsubcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of grunge and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre. remain

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[edit] Characteristics

Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Metal subgenres variously emphasize, alter, or omit one or more of these attributes. New York Times critic Jon Pareles writes, “In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force.”[4] The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are sometimes used to enhance the fullness of the sound.[5]

Judas Priest, performing in 2005

The electric guitar and the sonic power that it projects through amplification has historically been the key element in heavy metal.[6] The lead role of the guitar in heavy metal often collides with the traditional “frontman” or bandleader role of the vocalist, creating a musical tension as the two “contend for dominance” in a spirit of “affectionate rivalry”.[5] Heavy metal “demands the subordination of the voice” to the overall sound of the band. Reflecting metal’s roots in the 1960s counterculture, an “explicit display of emotion” is required from the vocals as a sign of authenticity.[7] Critic Simon Frith claims that the metal singer’s “tone of voice” is more important than the lyrics.[8] Metal vocals vary widely in style, from the multioctave, theatrical approach of Judas Priest’s Rob Halford and Iron Maiden’s Bruce Dickinson, to the gruff style of Motörhead‘s LemmyMetallica‘s James Hetfield, to the growling of many death metal performers, and to the harsh screams of black metal. and
The prominent role of the bass is also key to the metal sound, and the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music “heavy”.[9] Metal basslines vary widely in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead and/or rhythm guitars. Some bands feature the bass as a lead instrument, an approach popularized by Metallica’s Cliff Burton in the early 1980s.[10]
The essence of metal drumming is creating a loud, constant beat for the band using the “trifecta of speed, power, and precision”.[11] Metal drumming “requires an exceptional amount of endurance”, and drummers have to develop “considerable speed, coordination, and dexterity…to play the intricate patterns” used in metal.[12] A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and then immediately silencing it by grabbing it with the other hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is generally much larger than those employed in other forms of rock music.[9]
In live performance, loudness—an “onslaught of sound,” in sociologist Deena Weinstein’s description—is considered vital.[6] In his book Metalheads, psychologist Jeffrey Arnett refers to heavy metal concerts as “the sensory equivalent of war.”[13] Following the lead set by Jimi Hendrix, Cream and The Who, early heavy metal acts such as Blue Cheer set new benchmarks for volume. As Blue Cheer’s Dick Peterson put it, “All we knew was we wanted more power.”[14] A 1977 review of a Motörhead concert noted how “excessive volume in particular figured into the band’s impact.”[15] Weinstein makes the case that in the same way that melody is the main element of pop and rhythm is the main focus of house music, powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to “sweep the listener into the sound” and to provide a “shot of youthful vitality.”[6]

October 22, 2010 Posted by | H, Symbols of Five, Uncategorized | , , , , , | Leave a comment

Lost in Space

Lost in Space

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Lost in Space
Lost In Space.jpg
Publicity photo (1967) for Lost in Space: shows cast members: Angela Cartwright, Mark Goddard, Marta Kristen, Bob May (Robot), Jonathan Harris, June Lockhart, Guy Williams & Billy Mumy.
Genre Science fiction
Created by Irwin Allen
Directed by Irwin Allen
Robert Douglas
Alvin Ganzer
Harry Harris

Leonard Horn
Nathan H. Juran

Sobey Martin

Irving J. Moore
Leo Penn

Don Richardson
Seymour Robbie

Sutton Roley
Alexander Singer

Paul Stanley
Ezra Stone
Starring (See article)
Narrated by Dick Tufeld
Theme music composer John Williams
Composer(s) John Williams
Herman Stein

Richard LaSalle

Leith Stevens

Joseph Mullendore
Cyril Mockridge
Alexander Courage
Country of origin United States
Language(s) English
No. of seasons 3
No. of episodes 83 (List of episodes)
Production
Executive producer(s) Guy Della Cioppa (for Van Bernard Productions)
Producer(s) Irwin Allen
Camera setup Clyde Taylor
Winton Hoch
Running time 1 hour
Production company(s) Irwin Allen Productions
Van Bernard Productions

Jodi Productions
20th Century-Fox Television

CBS
Broadcast
Original channel CBS
Picture format black and white (1965-1966)
color
(1966-1968)
Audio format mono
Original run September 15, 1965 – March 6, 1968
Chronology
Related shows Lost in Space (film)
Lost in Space is a science fiction TV series created and produced by Irwin Allen, filmed by 20th Century Fox Television, and broadcast on CBS. The show ran for three seasons, with 83 episodes airing between September 15, 1965, and March 6, 1968. Their first TV season was filmed in black and white, but the rest of them were filmed in color. In 1998, a Lost in Space movie, based on the TV series, was released. Though the TV series centered around the “Robinson” family, storylines focused primarily on Jonathan Harris as Dr. Zachary Smith; originally an utterly evil would-be killer who as the first season progressed became a sympathetic anti-hero, providing comic relief to the TV show (and causing most of the episodic problems).

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[edit] Production

The TV series is an adaptation of the novel The Swiss Family Robinson. The astronaut family of Dr. John Robinson, accompanied by an air force pilot and also a robot, set out from an overpopulated Earth in the spaceship Jupiter 2 to visit a planet circling the star Alpha Centauri with hopes of colonizing it. Their mission in 1997 (the official launch date of the Jupiter 2 was October 16, 1997) is immediately sabotaged by Dr. Zachary Smith, who slips aboard their spaceship and reprograms the robot to destroy the ship and crew. Smith is trapped aboard, saving himself by prematurely reviving the crew from suspended animation. They save the ship, but consequent damage leaves them lost in space. Eventually they crash on an alien world, later identified as Priplanis, where they must survive a host of adventures. Smith (whom Allen originally intended to kill off) remains through the series as a source of comedic cowardice and villainy, exploiting the forgiving (or forgetful) nature of the Robinsons.
At the start of the second season, the repaired Jupiter 2 launches again, but after two episodes the Robinsons crash on another planet and spend the season there. This replicated the feel of the first season, although by this time the focus of the series was more on humor than straight action/adventure.
In the third season, the Robinson Family wasn’t restricted to one world. The now mobile Jupiter-2 would travel to other worlds in an attempt to return to Earth or to settle on Alpha Centauri. The Space Pod was added as a means of transportation between the ship and planets. This season had a dramatically different opening credits sequence.
Following the format of Allen’s first TV series, Voyage to the Bottom of the Sea, fantasy-oriented adventure stories were emphasized. The show delivered a visual assault of special effects, explosions, monstrous aliens, spaceships, and exotic sets and costumes drenched in the bright, primary colors that were typical of early color television.

[edit] Plot

It is October 16, 1997 and the United States is proceeding towards the launch of one of history’s great adventures: man’s colonization of deep space. The Jupiter 2 (called Gemini 12 in the pilot episode), a futuristic saucer-shaped spaceship, stands on its launch pad undergoing final preparations. Its mission is to take a single family on a five and a half year journey (stated as 98 years in the pilot episode) to a planet of the nearby star Alpha Centauri (the pilot episode refers to the planet itself as Alpha Centauri), which space probes reveal possesses ideal conditions for human life. The Robinson family was selected from among 2 million volunteers for this mission. The family includes Professor John Robinson (Guy Williams), his wife, Maureen (June Lockhart), their children, Judy (Marta Kristen), Penny (Angela Cartwright), and Will (Billy Mumy). They will be accompanied by their pilot, US Space Corp Major Donald West (Mark Goddard), who is trained to fly the ship in the unlikely event that its sophisticated automatic guidance system malfunctions.
Other nations are racing the United States in the effort to colonize space, and they would stop at nothing, even sabotage, to stop the US effort. Dr. Zachary Smith (Jonathan Harris), a medical doctor and environmental control expert, is actually a foreign secret agent. He reprograms the Jupiter 2′s B-9 environmental control robot (voiced by Dick Tufeld) to destroy critical systems on the spaceship eight hours after launch. Smith is trapped aboard at launch and his extra weight throws the Jupiter 2 off course, causing it to encounter a meteor storm. The robot’s rampage causes the ship to become lost.
The Robinsons are often placed in danger by Smith, whose self-centered actions and laziness endanger the family. In the second and third seasons, Smith’s role assumes a less evil overtone – although he continues to display many character defects. In “The Time Merchant”, Smith travels back in time to the day of the Jupiter 2 launch, with hope of changing his fate. He learns that without his weight altering the ship’s course, it would be destroyed by an uncharted asteroid. In an act of redemption, Smith elects to re-board the ship, thus saving the Robinsons’ lives.

[edit] Cast

  • Doctor, John Robinson: (Guy Williams) The expedition commander, a pilot, and the father of the Robinson children. He is an astrophysicist who also specializes in applied planetary geology.
  • Doctor, Maureen Robinson: (June Lockhart) John’s biochemist wife. Her role in the series is often to prepare meals, tend the garden and help with light construction, while adding a voice of compassion. Her status as a doctor is mentioned only in the first episode.
  • Major, Don West: (Mark Goddard) The military pilot of the Jupiter 2, he is Dr. Smith’s handsome long-suffering space partner, intemperate and intolerant adversary. His mutual romantic interest with Judy was not developed beyond the first few episodes. In the un-aired pilot, “Doctor Donald West” was a graduate student astrophysicist and expert in interplanetary geology, rather than a military man.
  • Judy Robinson: (Marta Kristen) The oldest child, about 19 years old at the outset of the series. She planned a career in musical theater but went with her family instead.
  • Penny Robinson: (Angela Cartwright) An 11-year-old, she loves animals and classical music. She acquires a chimpanzee-like alien pet that made one sound, “Bloop”. While it is sometimes remembered by that name,[1] Penny had named the creature Debbie. Most of Penny’s adventures have a fairy-tale quality, underscoring her innocence.
  • Will Robinson: (Billy Mumy) A 9-year-old child prodigy in electronics. Often, he is a friend to Smith when no one else is. Will is also the member of the family closest to the Robot.
  • Doctor, Zachary Smith: (Jonathan Harris) A Doctor of intergalactic environmental psychology,[2] expert in Cybernetics and an enemy agent, roles that are rarely mentioned after the initial episodes. In the pilot episode, he is shown in uniform with colonel‘s eagles but is invariably addressed by his academic, vice military, rank. His attempt to sabotage the mission strands him aboard the Jupiter 2 and results in its becoming lost. By the end of the first season the character becomes permanently established as a foolish, self-serving, impulsive, scheming coward but not at the degree displayed in the latter two seasons. His maudlin ways and clever dialogue add a unique dimension. His best lines are in response to the “straight man” Robot. Despite having a Special Guest Star appearance for every episode, Smith is the pivotal character of the series.
  • The Robot: The Robot is a Class M-3 Model B9, General Utility Non-Theorizing Environmental Control Robot, which had no given name. Although a machine endowed with superhuman strength and futuristic weaponry, he often displayed human characteristics such as laughter, sadness, and mockery as well as singing and playing the guitar. The Robot was performed by Bob May in a prop costume built by Bob Stewart. The voice was dubbed by Dick Tufeld, who was also the series’ narrator. The Robot was designed by Robert Kinoshita, whose other cybernetic claim to fame is as the designer of Forbidden Planet‘s Robby the Robot. Robby appears in LIS #20 “War of the Robots”, and the first episode of season three; “Condemned of space”.

October 20, 2010 Posted by | Entertainment, L, Uncategorized | , , , , | Leave a comment

My Favorite Martian

My Favorite Martian

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My Favorite Martian
My Favorite Martian title.jpg
Title screenshot in black-and-white
Genre Sitcom
Created by John L. Greene
Starring Ray Walston
Bill Bixby

Alan Hewitt
Pamela Britton
Theme music composer George Greeley
Composer(s) George Greeley
Country of origin United States
Language(s) English
No. of seasons 3
No. of episodes 107
Production
Executive producer(s) Harry Poppe
Producer(s) Jack Chertok
Camera setup Multi-camera
Running time 22–24 minutes
Production company(s) Jack Chertok Television Productions, in association with The CBS Television Network
Distributor Telepictures Distribution
Warner Bros. Television
Broadcast
Original channel CBS
Picture format Black-and-white (1963–1965)
Color

(1965–1966)
Audio format Monaural
Original run September 29, 1963 – May 1, 1966 (1963-09-29) (1966-05-01)
Status Ended
Chronology
Followed by My Favorite Martians
My Favorite Martian is an American television sitcom that aired on CBS from September 29, 1963 to May 1, 1966[1] for 107 episodes (75 in black and white 19631965, 32 color 19651966). The show starred Ray WalstonBill Bixby as Tim O’Hara. as Uncle Martin (the Martian) and
This series was produced by Jack Chertok.

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[edit] Premise

A human-looking extraterrestrial in a one-man spaceship crash-lands near Los Angeles. The ship’s pilot is, in fact, an anthropologist from Mars and is now stranded on Earth. Tim O’Hara, a young newspaper reporter for The Los Angeles Sun, is on his way home from Edwards Air Force Base (where he had gone to report on the flight of the X-15) back to Los Angeles when he spots the spaceship coming down.
Tim takes the Martian in as his roommate and passes him off as his Uncle Martin. Uncle Martin refuses to reveal any of his Martian traits to people other than Tim, to avoid publicity (or panic), and Tim agrees to keep Martin’s identity a secret while the Martian attempts to repair his ship. Uncle Martin has various unusual powers: he can raise from his head two retractable antennae and become invisible; he is telepathic and can read and influence minds; he can levitate objects with the motion of his finger; he can communicate with animals; and he can also speed himself (and other people) up to do work.
Ostensibly an inventor by trade, Martin also builds several advanced devices, such as a time machine which can transport Tim and the Martian back to Medieval England and other times and places, such as St. Louis in 1849, the early days of Hollywood, or bring Leonardo da Vinci and Jesse James into the present. Another device he builds is a “molecular separator” which can take apart the molecules of a physical object, or rearrange them (a squirrel was made into a human). Another device can take memories and store them in pill form to “relearn” them later. Another device can create temporary duplicates, and another item which can levitate himself and others without the need of his finger.
Tim and Uncle Martin live in a garage apartment owned by a congenial but scatterbrained landlady, Mrs. Lorelei Brown, who often shows up when not wanted. She and Martin have a awkward romance from time to time but Martin never gets serious for fear of going home to Mars. She later dates a vain, cold-hearted, plain-clothes police officer, Detective Bill Brennan, who dislikes Uncle Martin and is highly suspicious of him.
The first two seasons were filmed in black-and-white (at Desilu), but the final season was shot in color (at MGM), resulting in minor changes in the set and the format of the show. In addition to the extraterrestrial powers indicated in the first two seasons, Martin seemed to be able to do much more in the final season, such as stimulating facial hair to provide him and Tim with a quick disguise, and levitating with his nose. Brennan’s boss, the police chief, was involved in many episodes in the third season, generally as a device to humiliate the overzealous detective.
“Martin O’Hara’s” real name is Exigius 12½. Revealed in “We Love You, Mrs. Pringle,” it was heard again when his real nephew, Andromeda, crash-landed on Earth in the show’s third season. Andromeda, originally devised to bring younger viewers to the aging show, disappeared without explanation after a single episode and was never referred to again in the two episodes filmed after it, or six episodes already filmed, but aired afterward (Andromeda was, however, a regular on the later animated series My Favorite Martians). He had a single antenna, which Martin explains was because his baby antennae had fallen out and only one adult antenna had come in, so far. Ironically this is the reason for the series cancellation, in an interview Ray Walston gave to Starlog magazine, he states once CBS heard that Andromeda was to be a regular in the series fourth season they soon announced the series cancellation.
Produced and shown at the time when other situation comedies featuring characters who could do things that were out of the ordinary, like Bewitched and I Dream Of Jeannie, were initially being produced and shown, My Favorite Martian could be said to be an example of science fiction comedy, differing from Bewitched and I Dream Of Jeannie in that the character with comedically unusual abilities was a man rather than a woman, and relied not on magic but instead on science and advanced technology.

[edit] Characters

  • Uncle Martin O’Hara (the Martian), played by Ray Walston
  • Tim O’Hara, played by Bill Bixby
  • Mrs. Loralei Brown, played by Pamela Britton
  • Mr. Burns, played by J. Pat O’Malley, first season only, as Tim’s boss at the newspaper
  • Detective Bill Brennan, played by Alan Hewitt, second and third seasons only
  • Police Chief, played by Roy Engel, third season only
  • Andromeda, played by Wayne Stam, third season, one show only

October 20, 2010 Posted by | Entertainment, Uncategorized | , , , | Leave a comment

Roy Orbison

Roy Orbison

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Roy Orbison

Orbison in the 1980s.
Background information
Birth name Roy Kelton Orbison
Born April 23, 1936(1936-04-23) Vernon, Texas, U.S.
Died December 6, 1988 (aged 52)
Hendersonville, Tennessee
, U.S.
Genres Rockabilly, pop
Occupations Musician, singer-songwriter
Instruments Guitar, vocals
Years active 1954–1988
Labels Sun, Monument, MGM, London, Mercury, Asylum, PolyGram, Virgin
Associated acts Traveling Wilburys, Teen Kings, The Wink Westerners,
Class of ’55
Website http://www.royorbison.com/
Notable instruments
Gibson ES-335
Roy Kelton Orbison (April 23, 1936 – December 6, 1988) was an American singer-songwriter and musician, well known for his distinctive, powerful voice, complex compositions, and dark emotional ballads. Orbison grew up in Texas and began singing in a rockabilly / country & western band in high school until he was signed by Sun Records in Memphis. His greatest success came with Monument Records in the early to mid 1960s when 22 of his songs placed on the US Billboard Top Forty, including “Only the Lonely“, “Crying“, “In Dreams“, and “Oh, Pretty Woman“. His career stagnated through the 1970s, but several covers of his songs and the use of one in a film by David Lynch revived his career in the 1980s. In 1988, he joined the supergroup The Traveling Wilburys with George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne and also released a new solo album. He died of a heart attack in December that year, at the zenith of his resurgence. His life was marred with tragedy, including the death of his first wife and two of his children in separate accidents.
Orbison was a natural baritone, yet could sing high tenor notes with ease; commentators have suggested that he had a three- or four-octave range.[1] The combination of Orbison’s powerful, impassioned voice and complex musical arrangements led many commentators to refer to his music as operatic, giving him the sobriquet “the Caruso of Rock”.[2][note 1] Performers as disparate as Elvis Presley and Bono stated his voice was, respectively, the greatest and most distinctive they had ever heard.[3] While most men in rock and roll in the 1950s and 1960s portrayed a defiant masculinity, many of Orbison’s songs instead conveyed a quiet, desperate vulnerability. He was known for performing while standing still and solitary, wearing black clothes and dark sunglasses which lent an air of mystery to his persona.
Orbison was initiated into the second class of the Rock and Roll Hall of Fame in 1987 by longtime admirer Bruce Springsteen. The same year he was inducted into the Nashville Songwriters Hall of Fame. Rolling Stone placed Orbison at number 37 in their list of The Greatest Artists of All Time. In 2002, Billboard magazine listed Orbison at number 74 in the Top 600 recording artists.[4] Rolling Stone rated Orbison number 13 in their list of The 100 Greatest Singers of All Time in 2008.[5]

Contents

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[edit] Early life

Roy Orbison was born in Vernon, Texas, the middle son of Orbie Lee Orbison – an oil well driller and car mechanic – and Nadine Shultz, a nurse. Both were unemployed during the Great Depression, so the family moved to Fort Worth for several years to find work, until a polio scare prompted them to return to Vernon. To find work again, the family then moved to the town of Wink in West Texas. Orbison would later describe the major components of life in Wink as “Football, oil fields, oil, grease and sand”,[6] and in later years expressed relief that he was able to leave the desolate town.[note 2] All the Orbison children were afflicted with poor eyesight; Roy used thick corrective lenses from an early age. A bout with jaundice as a child gave him a sallow complexion, and his ears protruded prominently. Orbison was not particularly confident in his appearance; he began dyeing his nearly white hair black when he was young.[7] He was quiet and self-effacing, remarkably polite and obliging – a product, his biographer Alan Clayson wrote, of his Southern upbringing.[8] However, Orbison was readily available to sing, and often became the focus of attention when he did. He considered his voice memorable if not great.[6]
On his sixth birthday, Orbison’s father gave him a guitar. Orbison later recalled that, by the age of seven, “I was finished, you know, for anything else”; music would be his life.[9] Orbison’s major musical influences as a youth were in country music. He was particularly moved by the way Lefty Frizzell sang, slurring syllables.[10] He also enjoyed Hank Williams and Jimmie Rodgers. One of the first musicians he heard in person was Ernest Tubb playing on the back of a flatbed truck in Fort Worth. In West Texas, however, he was exposed to many forms of music: “sepia” — a euphemism for what became known as rhythm and blues (R&B); Tex-Mex; orchestral Mantovani, and Zydeco. The Zydeco favorite “Jole Blon” was one of the first songs Orbison sang in public. At eight, Orbison began appearing on a local radio show. By the late 1940s, he was the host.[11]
In high school, Orbison and some friends formed The Wink Westerners, an informal band that would play country standards and Glenn Miller songs. When they were offered $400 to play at a dance, Orbison realized that he could make a living in music. Following high school, Orbison enrolled at North Texas State College, planning to study geology so that he could secure work in the oil fields if music did not pay.[12] He formed another band called The Teen Kings, and sang at night while working in the oil fields or studying during the day. Orbison saw his classmate Pat Boone get signed for a record deal, further strengthening his resolve to become a professional musician. His geology grades dropping, he switched to Odessa Junior College to consider becoming a teacher. While living in Odessa, Orbison drove 355 miles (571 km) to Dallas to see and be stunned by the on-stage antics of Elvis Presley, then a rising star in the southern states.[13] Johnny Cash toured the area in 1955, playing on the same local radio show as the Teen Kings and suggested that Orbison approach Sam Phillips at Sun Records, home of rockabilly stars such as Elvis Presley, Carl Perkins, Jerry Lee Lewis and Cash. Phillips told him curtly, “Johnny Cash doesn’t run my record company!”[note 3] Phillips was convinced to listen to a record by the Teen Kings named “Ooby Dooby”, a song composed in mere minutes atop a fraternity house at North Texas State.[6] He was impressed and offered the Teen Kings a contract in 1956.

October 20, 2010 Posted by | Entertainment, Uncategorized | , , , | Leave a comment

Béla Lugosi

Béla Lugosi

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  (Redirected from Bella lugosi)
Jump to: navigation, search
The native form of this personal name is Lugosi Béla. This article uses the Western name order.
Béla Lugosi

Lugosi in 1920
Born Béla Ferenc Dezső Blaskó
20 October 1882
(1882-10-20) Lugos, Austria–Hungary (now Lugoj, Romania)
Died 16 August 1956 (aged 73)
Los Angeles, California
,
United States
Occupation Actor
Years active 1917–1956
Spouse Ilona Szmick
(1917–1920)
Ilona von Montagh (1921–1924) (divorced)
Beatrice Weeks (1929–1929) (divorced)
Lillian Arch (1933–1953) (divorced) 1 child[1]
Hope Lininger (1955–1956) (his death)
Website
http://www.lugosi.com
Béla Ferenc Dezső Blaskó (20 October 1882 – 16 August 1956) commonly known as Béla Lugosi, was a Hungarian actor of stage and screen.[2] He was best known for playing Count Dracula in the Broadway play and subsequent film version. In the last years of his career he was featured in several of Ed Wood‘s low budget films.

Contents

[show]

[edit] Early life

Lugosi, the youngest of four children,[3] was born as Béla Ferenc Dezső Blaskó in Lugos (at the time part of Austria–Hungary, now Lugoj in Romania), to Paula de Vojnich and István Blasko, a banker.[4] He later based his last name on his hometown.[3] He and his sister Vilma were raised in a Roman Catholic family.[5] At the age of 12, Lugosi dropped out of school.[3] He began his acting career probably in 1901 or 1902. His earliest known performances are from provincial theaters in the 1903–1904 season, playing small roles in several plays and operettas.[6] He went on to Shakespeare plays and other major roles. Moving to Budapest in 1911, he played dozens of roles with the National Theater of Hungary in the period 1913–1919. Although Lugosi would later claim that he “became the leading actor of Hungary’s Royal National Theater”, almost all his roles there were small or supporting parts.[7]
During World War I, he served as an infantry lieutenant in the Austro-Hungarian Army from 1914 to 1916. There he rose to the rank of captain in the ski patrol and was awarded a medal equivalent to the Purple Heart for being wounded at the Russian front.[3]
In 1917, Lugosi married Ilona Szmick. The couple divorced in 1920, reputedly over political differences with her parents.
Due to his activism in the actors union in Hungary during the time of the Hungarian Revolution of 1919, he was forced to flee his homeland.[3] He first went to Vienna, Austria, and then settled in Germany, where he continued acting.[3] Eventually, he traveled to New Orleans as a crewman aboard a merchant ship.[3]

[edit] Early films

Lugosi’s first film appearance was in the 1917 movie Az ezredes (known in English as The Colonel). When appearing in Hungarian silent films he used the stage name Arisztid Olt. Lugosi made 12 films in Hungary between 1917 and 1918 before leaving for Germany. Following the collapse of Béla Kun‘s Hungarian Soviet Republic in 1919, leftists and trade unionists became vulnerable. Lugosi was proscribed from acting due to his participation in the formation of an actor’s union. In exile in Germany, he began appearing in a small number of well received films, including adaptations of the Karl May novels, Auf den Trümmern des Paradieses (On the Brink of Paradise), and Die Todeskarawane (The Caravan of Death), opposite the ill-fated Jewish actress Dora Gerson. Lugosi left Germany in October 1920, intending to emigrate to the United States, and entered the country at New Orleans in December 1920. He made his way to New York and was legally inspected for immigration at Ellis Island in March 1921.[8] He declared his intention to become a U.S. citizen in 1928, and on June 26, 1931, he was naturalized.[9]
On his arrival in America, the 6 foot 1 inch (1.85 m), 180 lb. (82 kg) Béla worked for some time as a laborer, then entered the theater in New York City’s Hungarian immigrant colony. With fellow Hungarian actors he formed a small stock company that toured Eastern cities, playing for immigrant audiences. He acted in his first BroadwayThe Red Poppy, in 1922. Three more parts came in 1925–1926, including a five-month run in the comedy-fantasy The Devil in the Cheese.[10] His first American film role came in the 1923 melodrama The Silent Command. Several more silent roles followed, as villains or continental types, all in productions made in the New York area. play,

[edit] Dracula

Lugosi was approached in the summer of 1927[11] to star in a Broadway production of Dracula adapted by Hamilton Deane and John L. Balderston from Bram Stoker‘s novel. The Horace Liveright production was successful, running 261 performances before touring. He was soon called to Hollywood for character parts in early talkies.
In 1929, Lugosi took his place in Hollywood society and scandal when he married wealthy San Francisco widow Beatrice Weeks, but she filed for divorce four months later. Weeks cited actress Clara Bow as the “other woman”.[12]
Despite his critically acclaimed performance on stage, Lugosi was not the Universal Pictures first choice for the role of Dracula when the company optioned the rights to the Deane play and began production in 1930. A persistent rumor asserts that director Tod Browning‘s long-time collaborator Lon Chaney was Universal’s first choice for the role, and that Lugosi was chosen only due to Chaney’s death shortly before production. This is questionable, because Chaney had been under long-term contract to Metro-Goldwyn-Mayer since 1925, and had negotiated a lucrative new contract just before his death.
Chaney and Browning had worked together on several projects (including four of Chaney’s final five releases), but Browning was only a last-minute choice to direct the movie version of Dracula after the death of director Paul Leni, who was originally slated to direct.
Following the success of Dracula, Lugosi received a studio contract with Universal. In 1933 he married 19-year-old Lillian Arch, the daughter of Hungarian immigrants. They had a child, Bela G. Lugosi, in 1938.[13] Lillian and Béla divorced in 1953,[1] at least partially because of Béla’s jealousy over Lillian taking a full-time job as an assistant to Brian Donlevy on the sets and studios for Donlevy’s radio and television series “Dangerous Assignment”[14] — Lillian eventually did marry Brian Donlevy, in 1966. Lugosi married Hope Lininger in 1953. She had been a fan of his, writing letters to him when he was in hospital recovering from addiction to Demerol. She would sign her letters ‘A dash of Hope’.

[edit] Typecasting

Through his association with Dracula (in which he appeared with minimal makeup, using his natural, heavily accented voice), Lugosi found himself typecast as a horror villain in such movies as Murders in the Rue Morgue, The Raven, and Son of Frankenstein for Universal, and the independent White Zombie. His accent, while a part of his image, limited the roles he could play.
Lugosi did attempt to break type by auditioning for other roles. He lost out to Lionel Barrymore for the role of Rasputin in Rasputin and the Empress; C. Henry Gordon for the role of Surat Khan in Charge of the Light Brigade; Basil Rathbone for the role of Commissar Dimitri Gorotchenko in Tovarich (a role Lugosi had played on stage). He did play the elegant, somewhat hot-tempered Gen. Nicholas Strenovsky-Petronovich in International House.
It is an erroneous popular belief that Lugosi declined the offer to appear in Frankenstein due to make-up (other roles he desired which also required make-up were Cyrano de Bergerac and Quasimodo the bell ringing hunchback). Lugosi may not have been happy with the onerous makeup job and lack of dialogue, but was still willing to play the part of Frankenstein’s monster. Nonetheless, James Whale, the film’s director, replaced Lugosi with an actor who resembled Whale and would replace Lugosi again in Bride of Frankenstein (Lugosi had been cast as mad scientist Septimus Pretorius).
Cinematographer Paul Ivano, who shot test footage of Lugosi for the role of the monster, said that Lugosi was happy with the role, and had given him a box of cigars. Ivano and Robert Florey both noted that Lugosi’s performance was not dissimilar to that of his replacement, Boris Karloff.
Regardless of controversy, five films at Universal — The Black Cat, The Raven, The Invisible Ray, Son of Frankenstein, Black Friday (plus minor cameo performances in 1934’s Gift of Gab) and one at RKO Pictures, The Body Snatcher — paired Lugosi with Karloff. Despite the relative size of their roles, Lugosi inevitably got second billing, below Karloff. Lugosi’s attitude toward Karloff is the subject of contradictory reports, some claiming that he was openly resentful of Karloff’s long-term success and ability to get good roles beyond the horror arena, while others suggested the two actors were — for a time, at least — good friends. Karloff himself in interviews suggested that Lugosi was initially mistrustful of him when they acted together, believing that the Englishman would attempt to upstage him. When this proved not to be the case, according to Karloff, Lugosi settled down and they worked together amicably (though some have further commented that Karloff’s on-set demand to break from filming for mid-afternoon tea annoyed Lugosi).
Universal tried to give Lugosi more heroic roles, as in The Black Cat, The Invisible Ray, and a romantic role in the adventure serial The Return of Chandu, but his typecasting problem was too entrenched for those roles to help. Lugosi’s thick accent also hindered the variety of roles he was offered.

[edit] Career path

A number of factors worked against Lugosi’s career in the mid-1930s. Universal changed management in 1936, and because of a British ban on horror films, dropped them from their production schedule; Lugosi found himself consigned to Universal’s non-horror B-film unit, at times in small roles where he was obviously used for “name value” only. Throughout the 1930s Lugosi, experiencing a severe career decline despite popularity with audiences (Universal executives always preferred his rival Karloff), accepted many leading roles from independent producers like Nat Levine, Sol Lesser, and Sam Katzman. These low-budget thrillers indicate that Lugosi was less discriminating than Karloff in selecting screen vehicles, but the exposure helped Lugosi financially if not artistically. Lugosi tried to keep busy with stage work, but had to borrow money from the Actors’ Fund to pay hospital bills when his only child, Bela George Lugosi, was born in 1938.

From The Devil Bat, 1940

His career was given a second chance by Universal’s Son of Frankenstein in 1939, when he played the character role of Ygor, who uses the Monster for his own revenge, in heavy makeup and beard. The same year saw Lugosi playing a straight character role in a major motion picture: he was a stern commissar in MGM‘s comedy Ninotchka, starring Greta Garbo. This small but prestigious role could have been a turning point for the actor, but within the year he was back on Hollywood’s Poverty Row, playing leads for Sam Katzman. These horror, comedy and mystery B-films were released by Monogram Pictures. At Universal, he often received star billing for what amounted to a supporting part. The Gorilla had him playing straight man to Patsy Kelly, in a role she told Bose Hadleigh was her finest.
Ostensibly due to injuries received during military service, Lugosi developed severe, chronic sciatica. Though at first he was treated with pain remedies such as asparagus juice, doctors increased the medication to opiates. The growth of his dependence on pain-killers, particularly morphine and methadone, was directly proportional to the dwindling of screen offers. In 1943, he finally played the role of Frankenstein’s monster in Universal’s Frankenstein Meets the Wolfman, which this time contained dialogue (Lugosi’s voice had been dubbed over that of Lon Chaney, Jr., from line readings at the end of 1942’s The Ghost of Frankenstein because Ygor’s brain had been transplanted into the Monster). Lugosi continued to play the Monster with Ygor’s consciousness but with groping gestures because the Monster was now blind. Ultimately, all of the Monster’s dialogue and all references to his sightlessness were edited out of the released film, leaving a strange, maimed performance characterized by unexplained gestures and lip movements with no words coming out. He also got to recreate the role of Dracula a second and last time on film in Abbott and Costello Meet Frankenstein in 1948. By this time, Lugosi’s drug use was so notorious that the producers weren’t even aware that Lugosi was still alive, and had penciled in actor Ian Keith for the role.
Abbott and Costello Meet Frankenstein was Béla Lugosi’s last “A” movie. For the remainder of his life he appeared — less and less frequently — in obscure, low-budget features. From 1947 to 1950 he performed in summer stock, often in productions of Dracula or Arsenic and Old Lace, and during the rest of the year made personal appearances in a touring “spook show” and on television. While in England to play a six-month tour of Dracula in 1951, he co-starred in a lowbrow movie comedy, Mother Riley Meets the Vampire (also known as Vampire over London and My Son, the Vampire). Upon his return to America, Lugosi was interviewed for television, and revealed his ambition to play more comedy, though wistfully noting, “Now I am the boogie man.” Independent producer Jack Broder took Lugosi at his word, casting him in a jungle-themed comedy, Bela Lugosi Meets a Brooklyn Gorilla. Another opportunity for comedy came in September 1949 when Milton Berle invited Lugosi to appear in a sketch on the Texaco Star Theater.[15] Lugosi memorized the script for the skit, but became confused on the air when Berle began to ad lib.[16] This was depicted in the Tim Burton film Ed Wood, with Martin Landau as Lugosi. Though Burton did not actually identify the comedian in the biopic, the events depicted were correct.

[edit] Working with Ed Wood

Late in his life, Béla Lugosi again received star billing in movies when filmmaker Ed Wood, a fan of Lugosi, found him living in obscurity and near-poverty and offered him roles in his films, such as Glen or Glenda and as a Dr. Frankenstein-like mad scientist in Bride of the Monster. During post-production of the latter, Lugosi decided to seek treatment for his drug addiction, and the premiere of the film was said to be intended to help pay for his hospital expenses. According to Kitty Kelley‘s biography of Frank Sinatra, when the entertainer heard of Lugosi’s problems, he helped with expenses and visited at the hospital. Lugosi would recall his amazement, since he didn’t even know Sinatra.[17]
The extras on an early DVD release of Plan 9 from Outer Space include an impromptu interview with Lugosi upon his exit from the treatment center in 1955, which provide some rare personal insights into the man. During the interview, Lugosi states that he is about to go to work on a new Ed Wood film, The Ghoul Goes West. This was one of several projects proposed by Wood, including The Phantom Ghoul and Dr. Acula. With Lugosi in his famed Dracula cape, Wood shot impromptu test footage, with no storyline in mind, in front of Tor Johnson‘s home, a suburban graveyard and in front of Lugosi’s apartment building on Carlton Way. This footage ended up in Plan 9 from Outer Space.
Lugosi married Hope Linninger, his fifth wife, in 1955. Following his treatment, Lugosi made one final film, in late 1955, The Black Sleep, for Bel-Air Pictures, which was released in the summer of 1956 through United Artists with a promotional campaign that included several personal appearances. To his disappointment, however, his role in this film was of a mute, with no dialogue.

[edit] Death

Lugosi died of a heart attack on August 16, 1956 while lying on a couch in his Los Angeles home. He was 73.[18]The Final Curtain, a planned Ed Wood project, at the time of his death is not true.[19] The rumor that Lugosi was clutching the script for
Lugosi was buried wearing one of the Dracula stage play costumes, per the request of his son and fourth wife, in the Holy Cross Cemetery in Culver City, California. Contrary to popular belief, Lugosi never requested to be buried in his cloak; Bela G. Lugosi confirmed on numerous occasions that he and his mother, Lillian, actually made the decision but believed that it is what his father would have wanted.[20]

[edit] Plan 9 from Outer Space

One of Lugosi’s roles was released posthumously. Ed Wood’s Plan 9 from Outer Space (Originally titled Grave Robbers From Outer Space) features footage of Lugosi interspersed with a double. Wood had taken a few minutes of silent footage of Lugosi, in his Dracula cape, for a planned vampire picture but was unable to find financing for the project. When he later conceived Plan 9, Wood wrote the script to incorporate the Lugosi footage and hired Tom Mason, his wife’s chiropractor, to double for Lugosi in additional shots.[21] The double is thinner than Lugosi, and in every shot covers the lower half of his face with his cape, as Lugosi sometimes did in Abbott & Costello Meet Frankenstein. As Leonard Maltin put it in early editions of his movies guide book, “Lugosi died during production, and it shows.”

[edit] Legacy

In 1979, the Lugosi v. Universal Pictures decision by the California Supreme Court held that Béla Lugosi’s personality rights could not pass to his heirs, as a copyright would have. The court ruled that under California law any rights of publicity, including the right to his image, terminated with Lugosi’s death.[22][23]

Star on Hollywood Walk of Fame at 6340 Hollywood Blvd.

In Tim Burton‘s 1994 Ed Wood, Lugosi is played by Martin Landau in an interpretation for which Landau received an Academy Award for Best Supporting Actor. According to Bela G. Lugosi (his son), Forrest Ackerman, Dolores Fuller and Richard Sheffield, Lugosi never used profanity, owned small dogs, or slept in coffins. The film fabricated much about the Hungarian actor.
Three Lugosi projects were featured on the television show Mystery Science Theater 3000. The Corpse VanishesThe Phantom Creeps throughout season two and the Ed Wood production Bride of the Monster in episode 423. appeared in episode 105, the serial
An episode of Sledge Hammer titled “Last of the Red Hot Vampires” was a homage to Béla Lugosi; at the end of the episode, it was dedicated to “Mr. Blaskó”.
In 2001, BBC Radio 4 broadcast There Are Such Things by Steven McNicoll and Mark McDonnell. Focusing on Lugosi and his well documented struggle to escape from the role that had typecast him, the play went on to receive The Hamilton Dean award for best dramatic presentation from the Dracula Society in 2002.
A statue of Lugosi can be seen today on one of the corners of the Vajdahunyad Castle in Budapest.
The Ellis Island Immigration Museum in New York City features a live, 30-minute play that focuses on Lugosi’s illegal entry into the country and then his arrival at Ellis Island to enter the country legally.[24]
The cape Lugosi wore in the 1931 film Dracula still survives today in the ownership of Universal Studios.
The theatrical play Lugosi – a vámpír árnyéka (Lugosi – the Shadow of the Vampire, in Hungarian) is based on Lugosi’s life, telling the story of his life as he becomes typecast as Dracula and as his drug addiction worsens. He was played by one of Hungary’s most renowned actors, Ivan Darvas.
A 1967 episode of the popular fantasy television series I Dream of Jeannie featured a character named Nurse Lugosi who was seen taking blood with a syringe!
Bauhaus, an English rock band formed in Northampton in 1978, wrote a song titled, “Béla Lugosi’s Dead“.

[edit] Filmography

[edit] References

October 20, 2010 Posted by | B, Entertainment, Uncategorized | , , , , | Leave a comment

V (1983 miniseries)

V (1983 miniseries)

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Jump to: navigation, search
V
V-2001DVDcover.jpg
2001 DVD cover
Genre Science fiction
Written by Kenneth Johnson
Directed by Kenneth Johnson
Starring Marc Singer
Faye Grant

Jane Badler

Frank Ashmore

Richard Herd

Michael Wright

Robert Englund

Andrew Prine

Richard Lawson
Composer(s) Joe Harnell
Country of origin United States
Language(s) English
No. of episodes 2
Production
Executive producer(s) Kenneth Johnson
Producer(s) Chuck Bowman
Cinematography John McPherson
Running time 197 min
Broadcast
Original channel NBC
Original run May 1, 1983 – May 2, 1983
Chronology
Followed by V: The Final Battle
V: The Second Generation (novel)
V (or V: The Original Miniseries) is a two-part science fiction television miniseries, written and directed by Kenneth Johnson. First shown in 1983, it initiated the science fiction franchise concerning aliens known as “The Visitors” trying to gain control of Earth.

Contents

[show]

[edit] Plot summary

A race of aliens arrive on Earth in a fleet of 50 huge, saucer-shaped motherships, which hover over major key cities across the world. They reveal themselves on the roof of the United Nations building in New York City, appearing human but requiring special glasses to protect their eyes and having a distinctive resonance to their voices. Referred to as the Visitors, they reach out in friendship, ostensibly seeking the help of humans to obtain chemicals and minerals needed to aid their ailing world. In return, the Visitors promise to share their advanced technology with humanity. The governments of Earth accept the arrangement, and the Visitors, commanded by their leader John and his deputy Diana, begin to gain considerable influence with human authorities.
Strange events begin to occur and scientists become objects of increasing media hostility. They experience government restrictions on their activities and movements. Others, particularly those keen on examining the Visitors more closely, begin to disappear or are discredited. Noted scientists confess to subversive activities; some of them exhibit other unusual behaviors, such as suddenly demonstrating an opposite hand preference to the one they were known to have.
Television journalist cameraman Michael Donovan covertly boards one of the Visitors’ motherships and discovers that beneath their human-like facade (they wear a thin, synthetic skin and human-like contact lenses in public), the aliens are actually carnivorous reptilian humanoids preferring to eat live food such as rodents and birds. Donovan records some of his findings on videotape and escapes from the mothership with the evidence, but just as the exposé is about to air on television, the broadcast is interrupted by the Visitors who have taken control of the media. Their announcement makes Donovan a fugitive, pursued by both the police and the Visitors.
Scientists around the world continue to be persecuted, both to discredit them (as the part of the human population most likely to discover the Visitors’ secrets) and to distract the rest of the population with a scapegoat to whom they could attribute their fears. Key human individuals are subjected to Diana’s special mind control process called “conversion”, which turned them into the Visitors’ pawns, leaving only subtle behavioral clues to this manipulation. Others become subjects of Diana’s horrifying biological experiments.
Some humans (including Mike Donovan’s mother, Eleanor Dupres) willingly collaborate with the Visitors, seduced by their power. Daniel Bernstein, a grandson of a Jewish Holocaust survivor, joins the Visitor Youth and reveals the location of a scientist family to the alien cause. One teenager, Robin Maxwell, the daughter of a well-known scientist who went into hiding, has sex with a male Visitor named Brian, who impregnates her as one of Diana’s “medical experiments”.
A resistance movement is formed, determined to expose and oppose the Visitors. The Los Angeles cell leader is Julie Parrish. Donovan later joins the group and, again sneaking aboard a mothership, he learns from a Visitor named Martin that the story about the Visitors needing waste chemicals was a false story. The true purpose of the Visitors’ arrival on Earth was to conquer and subdue the planet, steal all of the Earth’s water, and harvest the human race as food, leaving only a few as slaves and cannon fodder for the Visitors’ wars with other alien races. Martin is one of many dissidents among the Visitors (later known as the Fifth Column) who oppose their leader’s plans and would rather co-exist peacefully with the humans. Martin befriends Donovan and promises to aid the Resistance, and gives Donovan access to one of their sky-fighter ships, which he quickly learns how to pilot. He escapes from the mothership along with Robin, who was a prisoner there, and a man named Sancho.
The members of the Resistance strike their first blows against the Visitors, while procuring laboratory equipment and modern military weapons from National Guard armories to carry on the fight. The symbol of the resistance is a blood-red letter V (for victory), spray-painted over posters promoting Visitor friendship among humans. The symbol was inspired by Abraham Bernstein, another Holocaust survivor and grandfather of Daniel.
The mini-series ends with the Visitors now virtually controlling the Earth, and Julie and Elias sending a transmission into space to ask for help to defeat the Visitors from other alien races.

[edit] Origins

Inspired by the Sinclair Lewis novel about fascism in the United States, It Can’t Happen Here (1935), director–producer Kenneth Johnson wrote an adaptation titled Storm Warnings, in 1982. The script was presented to NBC for production as a television mini-series, but the NBC executives rejected the initial version, claiming it was too “cerebral” for the average American viewer. To make the script more marketable, the American fascists were re-cast as man-eating extraterrestrials, taking the story into the realm of science fiction to capitalize on the popularity of science-fiction franchises such as Star Wars. The new, re-cast story was the mini-series V, which premiered on May 1, 1983.[1][2]

[edit] Influences

Aside from It Can’t Happen Here, several scenes from the original TV pilot resemble the Bertolt Brecht play The Private Life of the Master Race. A short story by Damon Knight entitled To Serve Man (later adapted into an episode of The Twilight Zone) had a similar theme suggesting that deceptively friendly aliens were secretly cultivating humans as food.
The story became a Nazi allegory, right down to the Swastika-like emblem used by the Visitors and their SS-like uniforms. There is a youth auxiliary movement called the “Friends of the Visitors” with obvious similarities to the Hitler Youth, and Visitor broadcasts mimic Nazi-era propaganda. The show’s portrayal of human interaction with the Visitors bears a striking resemblance to stories from Occupied Europe during World War II with some citizens choosing collaboration and others choosing to join underground resistance movements.
Where the Nazis persecuted primarily Jews, the Visitors were instead depicted to persecute scientists, their families, and anyone associating with them. They also distribute propaganda in an effort to hide their true identity. Some of the main characters in the initial series were from a Jewish family and the grandfather, a Holocaust survivor, frequently commented on the events of the past again unfolding. Once they are in a position to do so, the Visitors later declare martial law to control the scientists (and resistance fighters) as well.

[edit] Legacy

The two-part miniseries ran for 200 minutes; the first part earned a 25.4 rating or more than 40 million viewers.[3]V: The Final Battle, which was meant to conclude the story. In spite of the apparent conclusion, this itself was then followed by a weekly television series, V: The Series, from 1984 to 1985 that continued the story a year after The Final Battle. Johnson left V during The Final Battle due to disagreements with NBC over how the story should progress.[4] Its success spawned a sequel,
In November 2005, Entertainment Weekly named V one of the ten best miniseries on DVD.[5] The article noted, “As a parable about it-can-happen-here fascism, V was far from subtle, but it carved a place for lavish and intelligent sci-fi on TV. Its impact can still be felt in projects like Taken and The 4400.”[5] In December 2008, Entertainment Weekly put V on its list “The Sci-Fi 25: The Genre’s Best Since 1982”, and called Visitor leader Diana‘s devouring a guinea pig “one of the best TV reveals ever.”[6]
A reimagining of V premiered on ABC on November 3, 2009.[7][8] Though Johnson is not involved and the new series features all new characters, executive producer Scott Peters says that it will nod to the most iconic moments from the original franchise and may potentially include actors from the original in different roles. Johnson has also said he is still moving ahead with his plans for a big screen version of the original franchise.[9][10]

[edit] Cast

Humans
Character Actor
Mike Donovan Marc Singer
Juliet Parrish Faye Grant
Robert Maxwell Michael Durrell
Daniel Bernstein David Packer
Eleanor Dupres Neva Patterson
Robin Maxwell Blair Tefkin
Elias Taylor Michael Wright
Lynn Bernstein Bonnie Bartlett
Abraham Bernstein Leonardo Cimino
Dr. Ben Taylor Richard Lawson
Caleb Taylor Jason Bernard
Kristine Walsh Jenny Sullivan
Harmony Moore Diane Civita
Josh Brooks Tommy Petersen
Sean Donovan Eric Johnston
Visitors
Character Actor
Diana Jane Badler
Lydia June Chadwick
John Richard Herd
Steven Andrew Prine
Martin Frank Ashmore
Willie Robert Englund
Brian Peter Nelson
Barbara Jenny Neumann
Visitor Captain Stack Pierce

[edit]

October 18, 2010 Posted by | Entertainment, Uncategorized | , , , , | Leave a comment