title: Smile (The Beach Boys album)

text: In Wilson's own words, he had become "fucked up" and "jealous" of Spector and the Beatles, and he said that when he started "Smile", he had been "trying to beat" the Beatles. Taylor commented that Wilson was preoccupied with "a mad possessive battle" against the Rolling Stones and "particularly" the Beatles, and that he "didn't want me to like any other artist but himself." Throughout early 1967, the music industry and pop fans were aware that the Beatles were working on a significant new work as their follow-up to "Revolver", with the band having been ensconced in their London studios since the previous November.<ref name="Frith/HistoryOfRock"></ref> According to historian Darren Reid: "In Wilson's mind, the first album to market [in 1967] would be the one to claim victory, it would be the record which would set the standard against which all other albums released after that time would have to be judged."


title: Smile (The Beach Boys album)

text: A popular rumor is that Wilson was deeply affected by his first exposure to the Beatles' February 1967 single "Strawberry Fields Forever". He heard the song while driving with Michael Vosse under the influence of Seconal (a sedating drug). Vosse recalled that as Wilson pulled over to listen, "He just shook his head and said, 'They did it already—what I wanted to do with "Smile". Maybe it's too late.' I started laughing my head off, and he started laughing his head off." He tempered his statement by saying that he "never gave much import" to Wilson's remark. Responding to a fan's question on his website in 2014, Wilson denied that hearing the song had "weakened" him.


title: Smile (The Beach Boys album)

text: In mid-1967, Wilson and his wife put their Beverly Hills home up for sale and took residence at a newly-purchased mansion in Bel Air. He also set to work on constructing a personal home studio. While staying with Taylor in Los Angeles, Paul McCartney visited a "Vega-Tables" session, after which he previewed an upcoming Beatles song for Wilson: "She's Leaving Home". Around this time, Wilson became aware of rumors alleging that Taylor had possibly played some of the "Smile" tapes for the Beatles. His attitude changed "completely", according to Parks, as Wilson felt "raped" and began "question[ing] the loyalties of the people who were working for him".


title: Smile (The Beach Boys album)

text: Most of the coterie, including Parks and Siegel, disassociated themselves or were exiled from Wilson's social group by April. Siegel was told by Vosse that he was banished from Wilson's social circle because his girlfriend was suspected by Wilson to have been disrupting his work through ESP. According to Siegel, "Wilson didn't trust [anyone] anymore, [but] with some of them he had good reason." Vosse was dismissed in March, as Wilson's bandmates resented the fact that they had been paying the salary of an aide who worked solely for Wilson.


title: Smile (The Beach Boys album)

text: Wilson depended on Parks whenever issues came up in the studio, and when Parks left, the end result was that Wilson lost track of how the album's fragmented music should be assembled. Parks briefly returned to the project starting on March 31; his last recorded appearance on the album's sessions was for a "Vega-Tables" date on April 14, after which Wilson took a four-week break from the studio. Anderle said that, at the time, he felt that "the central thing [that destroyed "Smile"] was Van Dyke's severing of the relationship." He left of his own accord weeks later; the last time Wilson was visited by Anderle to discuss business matters, Wilson refused to leave his bedroom. Wilson had discussed breaking up the Beach Boys "on many occasions," according to Anderle, "But it was easier, I think to get rid of the outsiders like myself than it was to break up the brothers. You can't break up brothers."


title: Smile (The Beach Boys album)

text: On April 25, CBS premiered "", a documentary by David Oppenheim. According to Leaf, the documentary was originally supposed to be focused on Wilson, but it was later decided to expand the scope of the program due to the Beach Boys' waning popularity in early 1967. Wilson's segment was limited to footage of him singing "Surf's Up" at his piano without any interview footage or references to "Smile". According to Kent, when Wilson viewed the finished documentary, he was disturbed by the praises he was afforded, thereby accelerating the album's collapse.


title: Smile (The Beach Boys album)

text: Desperate for a new product from the group, on April 28, the group's British distributor EMI released "Then I Kissed Her" as a single without the band's approval. On April 29, Taylor announced in "Disc & Music Echo" that "All the 12 songs for the new Beach Boys album are completed and[...] there are plans to release the album on a rush-schedule any moment." That same day, a Taylor-penned press release, published in "Record Mirror" and "NME", revealed that "Heroes and Villains" was delayed due to "technical difficulties" and that the forthcoming lead single would be "Vegetables" backed with "Wonderful". A session scheduled for May 1 was cancelled.


title: Smile (The Beach Boys album)

text: Williams reported in the May issue of "Crawdaddy!" that the next Beach Boys LP would include "Heroes and Villains" ("weighing in at over four minutes"), "The Elements" ("a composition in four movements"), "The Child Is the Father of the Man" , "and something about going in the yard to eat worms." He wrote, "Lyrics are mostly by Van Dyke Parks, and it is possible that the LP will be finished one of these days. "Smile"." On May 6, a week after stating that "Smile" was to be released "any moment", Taylor announced in "Disc & Music Echo" that the album had been "scrapped" by Wilson, however, it is likely that the report was spurious and that Wilson was unaware of Taylor's proclamation.


title: Smile (The Beach Boys album)

text: On May 11, Wilson returned to the studio to work on "Heroes and Villains". On May 14, his bandmates conducted a press conference at the Amsterdam Hilton with the Dutch music press. "Hitweek" later reported that communications between Wilson and his bandmates had broken down to the point that his bandmates thought "Smile" had been scheduled for release by mid-May. The next day, Wilson cancelled a session for "Love to Say Dada", again due to "bad vibes". Badman states that the final session for the album was held for "Love to Say Dada" on May 18. A follow-up that was scheduled for the next day was cancelled.


title: Smile (The Beach Boys album)

text: It is sometimes suggested that Wilson cancelled "Smile" because of the widespread recognition afforded to the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" (released in the U.S. on June 2). Leaf writes that the success of the Beatles' album was "probably only another contributing factor", reasoning that "if Brian had decided to scrap "Smile" only because of "Pepper", then he probably would not have released ['Heroes and Villains' weeks later]." From June 3 to 7, the band resumed sessions at professional studios before retreating to the home studio. In a June issue of "Hit Parader", Dennis reported that the group were still recording "Smile" and that the album was "50% done".


title: Smile (The Beach Boys album)

text: Wilson reflected that he had run out of ideas "in a conventional sense" during this period and had been "about ready to die". He said: "Time can be spent in the studio to the point where you get so next to it, you don't know where you are with it, you decide to just chuck it for a while." Wilson declared to his bandmates that most of the material recorded for "Smile" was now off-limits and later said that his decision to keep "Surf's Up" unreleased was one that "nearly broke up" the band.


title: Smile (The Beach Boys album)

text: From June to July, the Beach Boys reconvened at Wilson's home to record the bulk of "Smiley Smile" at his improvised studio. The album is a significantly less ambitious affair than "Smile", being stylistically similar to "Beach Boys' Party!", and includes simplified remakes of select "Smile" material. Only two tracks used modules that had originated from the "Smile" sessions (two for "Heroes and Villains" and two for "Vegetables"). Parks was not involved with the album's making.


title: Smile (The Beach Boys album)

text: "Smiley Smile" is sometimes considered the fulfillment of Wilson's "humor" concept album. This belief was shared by Anderle, who surmised, "I think that what Brian tried to do with "Smiley Smile" is he tried to salvage as much of "Smile" as he could and at the same time immediately go into his humor album." Carl compared it to "a bunt instead of a grand slam". The cover artwork featured a new illustration of Frank Holmes' smile shop, this time located in the middle of an overgrown jungle.


title: Smile (The Beach Boys album)

text: On July 18, Capitol announced that they had reached a settlement with the band, and Brian announced the launch of Brother Records, whose product was to be distributed by Capitol. Capitol A&R director Karl Engemann began circulating a memo, dated July 25, in which "Smiley Smile" was referred to as a "cartoon" stopgap for "Smile". The memo also discussed conversations between him and Wilson pertaining to the release of a 10-track "Smile" album that would not have included "Heroes and Villains" or "Vegetables". This never came to fruition and, instead, the group embarked on a tour of Hawaii in August. On September 18, "Smiley Smile", the first album by the band in which the production was credited to "the Beach Boys", was released to an underwhelming critical and commercial response.


title: Smile (The Beach Boys album)

text: Throughout 1967, Wilson's image reduced to that of an "eccentric" figure as a multitude of revolutionary rock albums were released to an anxious and maturing youth market. He gradually ceded production and songwriting duties to the rest of the group and self-medicated with the excessive consumption of food, alcohol, and drugs. For many years after its shelving, Wilson was traumatized by "Smile" and regarded the album as representing all of his failures in life. He stated that he considered the recordings "contrived with no soul" and "corny drug influenced music", as well as imitations of the work of Phil Spector without "getting anywhere near him". In a 1993 interview, Bruce Johnston remembered of the "Smile" sessions,


title: Smile (The Beach Boys album)

text: After breaking away from the project, Parks signed a solo contract with Warner Bros, where he formed part of a creative circle that came to include producer Lenny Waronker and songwriter Randy Newman. In late 1967, the company released Parks' debut solo album, "Song Cycle", a record that often was, and continues to be, compared to "Smile". Although "Song Cycle" sold poorly, Parks continued working at Warner as an arranger. Biographer Kevin Courrier wrote that the "failed aspiration of "Smile" served as a guiding spirit" for "Song Cycle" as well as the Parks- and Waronker-produced debut album by Newman, "Randy Newman Creates Something New Under the Sun" (1968). Music historian Timothy White writes that "the lives and business interests" of Wilson, Parks, Waronker, and Warner Bros. would become "forever intertwined".


title: Smile (The Beach Boys album)

text: Over the years, Wilson gradually became more comfortable discussing the work, calling it "too advanced" to have been released in 1967, while Parks attempted to distance himself from the album's legend. In 1998, he referred to "Smile" as "just a few months of work I did as a contract employee many, many years ago. Life goes on.[...] I think it means a lot more to other people than it does for me." Writing in his 2006 biography on Wilson, Carlin said that Parks "didn't necessarily appreciate how his [career] still resided in the shadow of something that didn't quite get finished in 1967." He added that Parks also resented that he was not properly credited for some songs that were published on later Beach Boys album. "And if Van Dyke felt guilty about abandoning his "Smile" partner just as the going was getting tough, he was also a hardworking professional who believed that Brian's surrender, followed by decades of near-withdrawal, mounted to another kind of betrayal."


title: Smile (The Beach Boys album)

text: Some of the "Smile" material continued to trickle out in subsequent Beach Boys releases, often as filler songs to offset Wilson's unwillingness to contribute. The first two instances of recycled "Smile" songs appeared on the albums directly following "Smiley Smile": "Mama Says" from "Wild Honey" (1967) and "Little Bird" from "Friends" (1968). "Mama Says" was based on a section from "Vega-Tables" and the bridge of "Little Bird" was based on the refrain of "Child Is Father of the Man". Neither of the tracks were recordings from the "Smile" sessions; they were each recorded for their respective albums.


title: Smile (The Beach Boys album)

text: In 1969, "Cabin Essence" (retitled "Cabinessence") and "Prayer" (retitled "Our Prayer") appeared on the band's album "20/20", with additional vocals that were recorded by Carl, Dennis, and Johnston in November 1968. "Workshop" was also integrated into the "20/20" version of "Do It Again". According to Carlin, Brian was opposed to the inclusion of "Prayer" and "Cabin Essence", and refused to participate in the overdub sessions. After "20/20", the Beach Boys signed to Reprise Records, a deal that was brokered by Parks, by then a multimedia executive at Warner. The band's record contract held a clause which guaranteed a $50,000 advancement to the group provided that they deliver a completed "Smile" album by 1973. Brian was not consulted on this stipulation. Their first Reprise album, "Sunflower", was released in 1970. At Waronker's insistence, the record included "Cool, Cool Water", a song that had evolved from "Love to Say Dada".


title: Smile (The Beach Boys album)

text: For the band's second Reprise album, tentatively titled "Landlocked", Wilson agreed to the inclusion of "Surf's Up". From mid-June to early July 1971, Carl and band manager Jack Rieley retrieved the "Smile" multi-tracks from Capitol's vaults, primarily to locate the "Surf's Up" masters, and attempted to repair and splice the tapes. Brian joined them on at least two occasions. Afterward, the band set to work on recording the song at Brian's home studio. Brian initially refused to participate in these sessions, but after a few days, he added a part to the song's "Child Is Father of the Man" coda. "Landlocked" was then rechristened "Surf's Up" and released in August. Most listeners at the time were unaware that the song derived from a lost Beach Boys album.


title: Smile (The Beach Boys album)

text: On February 28, 1972, Carl announced the imminent release of "Smile" at a London press conference. Asked if he had been working on the album, he replied that he had, during the previous June, and that the group had created safety copies of all the tapes. He claimed that these tapes were now fully assembled and new vocals had been overdubbed where necessary. "Melody Maker" printed a list of songs that were to be included on Carl's proposed version of "Smile", some of which "seem[ed] to come under the overall subtitle of 'Heroes and Villains'". They were: "Child Is Father of the Man", "Surf's Up", "Sunshine", "Cabinessence" (incorporating "Iron Horse" ), "Mrs. O'Leary's Cow", "I Love to Say Dada" (incorporating "Cool, Cool Water"), and the original versions of "Vega-Tables", "Wind Chimes", and "Wonderful".


title: Smile (The Beach Boys album)

text: Asked about the forthcoming release at a later date, Carl responded: "We've all had intentions of finishing the album, but something persists that keeps that from happening, and I don't know what that is." In April 1973, the band's assistant manager Steve Love wrote a memo to remind the group that, "pursuant to the terms of contract between Warner Brothers and Brother Records, Inc., The Beach Boys' "Smile" album is supposed to be delivered to Warner Brothers no later than May 1st or $50,000 is to be deducted from any advance to the group after May 1st." No album was delivered, and as threatened, $50,000 was held back from the group's next payment (equivalent to $ in ).


title: Smile (The Beach Boys album)

text: In 1973, Brian told a "Melody Maker" reporter that there was not enough material to compile a "Smile" album and that it would never be released. Also in 1973, Wilson and his group American Spring contributed additional vocal and instrumental parts to a remix of Dean Torrence's 1967 rendition of "Vegetables", credited to "Laughing Gravy", and released on the Jan and Dean compilation "Gotta Take That One Last Ride". In a 1976 interview, Wilson stated that he felt an obligation to release "Smile" and offered that the album would come out "probably in a couple years."


title: Smile (The Beach Boys album)

text: In his 1978 biography of the band, David Leaf wrote that "Smile" "can never be completed as Brian intended, so a compromise solution might be to release the surviving tapes and outtakes in a series of records called "The Smile Sessions" [like] Elvis' "Sun Sessions"[...]" The book included quotes from Johnston, who believed that such a release would be a "bad idea" commercially and "would live up to your expectations [only] if you were Zubin Mehta analyzing a young composer's work." In a later interview that year, he told Leaf that the band's manager James William Guercio had insisted on opening "L.A. (Light Album)" with "Rock Plymouth Rock/Roll". Johnston said: "I wanted to make up a collage [of the "Smile" recordings], but I want Brian to be the one to put the collage together. I can tell he still feels funny about that stuff. You know, there a lot of "Smile" stuff intact …"


title: Smile (The Beach Boys album)

text: In 1980, Wilson discussed an intention to complete "Smile" and assemble the tracks in three movements. In 1981, Johnston declared plans to issue a brief six-minute compilation of the album's recording sessions without Wilson's knowledge. He said, "It's better to do it that way, because musically now, as opposed to '66 or '78, it would be more interesting to just give you a peek at it than to do the whole thing. There's been too much press on it. It's like talking about bringing out the '67 Rolls Royce and they finally show it in '81. You go, 'Oh, no.'" In April 1985, the video documentary "" featured some previously unreleased music, including an excerpt of "Fire".


title: Smile (The Beach Boys album)

text: In 1987, Waronker encouraged Wilson to compose a "Smile"-esque song for his debut solo album, "Brian Wilson" (1988). This resulted in the "Rio Grande" suite, written with co-producer Andy Paley. Wilson commented that Waronker "wanted me to get a little bit into that kind of "Smile" bag, and I did."


title: Smile (The Beach Boys album)

text: During the late 1980s, Mark Linett prepared mixes of some "Smile" tracks in anticipation for a then-forthcoming release. In 1988, Wilson confirmed that "Smile" was being compiled and mixed for an imminent release. In another report, he said that the forthcoming project "got sidetracked with business" and worried whether the album would sell due to it being mostly background tracks. He added that he considered asking his bandmates to overdub the remaining vocal tracks. According to journalist David Cavanaugh, "things went awry when a cassette compiled for Capitol executives leaked into the public domain, causing Brian to lose interest."


title: Smile (The Beach Boys album)

text: Capitol issued alternate versions of "Good Vibrations" and "Heroes and Villains" as bonus tracks on a 1990 CD reissue of "Smiley Smile" and "Wild Honey". In 1993, over 40 minutes of original "Smile" recordings were included on the career-spanning box set "". The set feature the first official release of a compiled "Smile" album, sequenced by David Leaf, Paley, and Linett. Heiser reviewed that there was "little attempt made to create a sense of flow" and the modules were instead "mostly presented 'as-is'".


title: Smile (The Beach Boys album)

text: In 1995, Wilson reteamed with Parks for the collaborative album "Orange Crate Art", which provoked speculation regarding a future release of "Smile". Wilson also performed "Wonderful", in its original "Smile" arrangement, for the documentary "", and this rendition was included on the accompanying soundtrack album. In addition, Capitol announced a three-CD box set entitled "The Smile Era" to be released in the autumn. A "Smile" box set failed to materialize at this time partly due to the arduous task of compiling and sequencing.


title: Smile (The Beach Boys album)

text: Producer Don Was told "The New York Times" in August 1995: "We showed Brian an interactive CD-ROM of Todd Rundgren's ["No World Order"] and told him that this is how he should release "Smile". He could load up an interactive CD with seven hours of stuff from those sessions and just tell the people who buy it, 'You finish it.' Brian's into it; now it's up to the record company." Following the recording of "Stars and Stripes Vol. 1" (1996), the Beach Boys discussed finishing "Smile" at a band meeting. Carl rejected the idea, as he feared that it would cause Brian another nervous breakdown. The difficulties that caused the 18-month delay for the release of "The Pet Sounds Sessions" (1997) discouraged Capitol from issuing a similar box set for "Smile".


title: Smile (The Beach Boys album)

text: Asked about "Smile" during the press run for his 1998 comeback album "Imagination", Wilson responded, "I thought too much. "Smile" was just a bunch of weird stuff that didn't even amount to anything." In 2001, weeks after his first public performance of "Heroes and Villains" in decades, he told an interviewer: "I don't really ever want to put out the "Smile" stuff. It's just not appropriate music.[...] I know it's a legendary thing. The "Smile" trip is a legend."


title: Smile (The Beach Boys album)

text: Many of the original "Smile" recordings were only publicly available on bootlegs until 2011. These bootlegs often presented a hypothetical vision of the completed album, with compilers including liner notes that explained their choices of sequencing. One of the most relied-upon sources for the album's contents came from Wilson's list of song titles from December 1966.


title: Smile (The Beach Boys album)

text: Audio bootlegs purported as "Smile" began circulating among fans during the late 1970s and drew upon released material from "Smiley Smile", "20/20", and "Surf's Up". The compilers were only informed by the song titles from the December 1966 track list and were not always aware that the recordings on those albums were not the original "Smile" versions. According to Andrew Flory, "Little is known about the process through which [actual] "Smile" material leaked into bootleggers' hands." One rumor holds that the first tapes came from Dennis, who had created copies for friends, who then created copies for their friends. Although there were rumors of leaked tape transfers and acetate discs in the late 1970s, only a minimal amount of this material was available to bootleggers until the early 1980s.


title: Smile (The Beach Boys album)

text: In the 1970s and early 1980s, fan groups for the Beach Boys were organized by at least a dozen people, including Alice Lillie, Paula Perrin, Peter Reum, David Leaf, Marty Tabor, Don Cunningham, Domenic Priore, and Mike Grant. Most of the fan correspondence was through newsletters, which helped disseminate information and attract people who were interested in compiling details concerning the band's music. The proliferation of these groups was due in part to an advertisement for Beach Boys Freaks United, the band's official fan club, that was displayed on the back cover of the 1976 album "15 Big Ones". Priore later wrote that "It wasn't much of a publication, but it did include a 'Trading Post' [that] became an essential, pre-Internet contact source."


title: Smile (The Beach Boys album)

text: To assist with the writing of his 1978 authorized biography of the band, Byron Preiss was given a tape of "Smile" recordings, the contents of which were distributed to a small group of people over the next few years. In 1983, a 48-minute cassette tape began circulating and was soon pressed onto an LP bootleg that was referred to as the "Brother Records" "Smile". It included a range of material that originated from "Smile" or was thought to be related to the project, as well as an unrelated 1959 recording, "Here Come de Honey Man" by Miles Davis, that was erroneously listed as "Holidays". The LP did not indicate an authorial origin on its sleeve but featured the organizational addresses of Cunningham's "Add Some Music", Tabor's "Celebrate", Beach Boys Freaks United, and the Australian publication "California Music".


title: Smile (The Beach Boys album)

text: In 1985, a "Second Edition" of the Brother Records LP surfaced without the labelled addresses and with a significantly different presentation order. The set also included different mixes that suggested a spread of newly available "Smile" recordings. Their improved sound quality indicated that a Beach Boys insider had accessed the band's tape vaults and created cassette copies of the recordings. In 1988, one of the collaborators on Wilson's 1988 solo album was given 1st-generation copies of "Smile" recordings, which were then passed on to a DJ, who then made copies for friends. Following this, in the words of music historian Andrew Doe, "Bootlegs of "Smile" came out left, right and centre."


title: Smile (The Beach Boys album)

text: Since the mid-1980s, CDs had supplanted vinyl as the predominant medium for bootlegs, and dozens of different "Smile" CD releases were traded and sold commercially by mail order, independent record stores, and head shops. Many of the new buyers had crossed over from Beatles bootleg markets, and, responding to a suggestion in Leaf's 1993 "Good Vibrations" liner notes, a preponderance of listeners began constructing their own version of the album using the resources provided in the box set. One of the most popular "Smile" bootlegs from the late 1980s was a Japanese CD (emerging in November 1989) that opened with a 15-minute version of "Good Vibrations". Capitol released the material on the "Good Vibrations" box set in response to the 1992 appearance of a new three-disc vinyl bootleg that contained uncirculated versions of "Wonderful", "Love to Say Dada" and "Barnyard".


title: Smile (The Beach Boys album)

text: Two types of "Smile" bootlegs appeared in the 1990s: those in which the compilers attempted to assemble the album in a completed form, and others that simply presented the project as session recordings. The best-known releases were issued by the underground labels Vigotone and Sea of Tunes. They both released "Smile" sets that combined the two types of bootlegs and helped bring interest to the recordings among people outside of the Beach Boys fan community. Vigotone's 1993 version of the album was the heaviest-circulated "Smile" bootleg for that decade. In the late 1990s, Sea of Tunes released seven hours of "Smile" music spread out over eight CDs as part of their "Unsurpassed Masters" series.


title: Smile (The Beach Boys album)

text: By the end of the 1990s, "Smile" had become one of the most well-documented projects in the bootlegging community. Those involved with releasing the Sea of Tunes bootlegs were later apprehended by authorities, and it was reported that nearly 10,000 discs were seized. Vigotone planned to follow their 1998 bootleg, "Heroes and Vibrations", with a multi-disc "Smile" box set before they were similarly raided and closed down by law enforcement in 2001.


title: Smile (The Beach Boys album)

text: In the late 1980s, Domenic Priore collaborated with musicians Darian Sahanaja and Nick Walusko on a punk-style fanzine called "The Dumb Angel Gazette", the most comprehensive attempt to document information regarding the album. The second issue, "Look! Listen! Vibrate! Smile!", featured a 300-page summary of "Smile" history told through press clippings, reprints of older articles, and various primary sources, as well as original commentary. Additional assistance for this issue came from David Leaf, Andy Paley, journalist Greg Shaw, and musician Probyn Gregory, a friend of Sahanaja and Walusko. Afterward, Sahanaja, Gregory, and Walusko formed the pop group Wondermints, and later, the core nucleus of Wilson's supporting band in the late 1990s and early 2000s.


title: Smile (The Beach Boys album)

text: According to Priore, although some "questioned the sanity behind the publication of such a huge book on an album that had never been released", the book ultimately "received accolades from "Spin" and "Rolling Stone"", as well as "positive personal reactions" from musicians such as XTC, Apples in Stereo, and former Beatle George Harrison.


title: Smile (The Beach Boys album)

text: Wilson was able to complete a version of "Smile" in 2004 with the assistance of the "Smile" fan network that had developed since the 1970s. Following Wilson's early 2000s live performances of the "Pet Sounds" album, Sahanaja began suggesting "Smile" songs at band rehearsals, which led to plans for concerts that comprised a "Smile"-themed setlist. Sahanja was assigned the role of "musical secretary" for the project and Parks was recruited to assist with the sequencing and the writing of new lyrics. Together with Wilson, they configured the presentation into three movements. Sahanaja said: "At that point, he [Brian] and Van Dyke were talking as if they were finishing "Smile"."


title: Smile (The Beach Boys album)

text: "Brian Wilson Presents Smile" ("BWPS") premiered at the Royal Festival Hall in London in February 2004. A studio album adaptation was recorded six weeks later and released in September. "", a documentary film by Leaf, premiered on Showtime the next month. None of Wilson's bandmates were involved with "BWPS" or the documentary, and none of the original recordings were used on the album. The album debuted at number 13 on the "Billboard" Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's "15 Big Ones". In support of the album, Wilson embarked on a world tour that included stops in the US, Europe, and Japan.


title: Smile (The Beach Boys album)

text: "The Smile Sessions", released as a five-CD box set in October 2011, was the first official package dedicated to the Beach Boys' "Smile". It features comprehensive session highlights and outtakes, as well as an approximation of what the completed album might have sounded like, using the 2004 version as a model. Like "BWPS", many of the people involved with the making had been involved with the Beach Boys fan community for decades, including Priore and Reum, who contributed essays and were consulted for the project. The set received immediate critical acclaim, was ranked on "Rolling Stone"s 2012 list of the "500 Greatest Albums of All Time", and won Best Historical Album at the 55th Grammy Awards.


title: Smile (The Beach Boys album)

text: In the decades following "Smile"s non-release, it became the subject of intense speculation and mystique and gained status as the most legendary unreleased album in the history of popular music. Many of the writers and "hanger-ons" who surrounded Wilson at the time were largely responsible for the mythological status later afforded the project. In October 1967, "Cheetah" magazine published "Goodbye Surfing, Hello God!", a memoir written by Jules Siegel that originated many of the subsequent myths and legends related to "Smile". Flory credited the piece with giving "rock fans a manner in which to view Wilson as hip" as well as "venerat[ing] "Smile" as a relic of this hipness, intensifying audience interest in the unavailable work".


title: Smile (The Beach Boys album)

text: A published conversation between David Anderle and Paul Williams, serialized in "Crawdaddy" in 1968, was another early resource for information regarding the album. In his book "How Deep Is the Ocean", Williams also included a 1997 conversation between the two. Anderle acknowledged of his role in inflating the mythology, "I guess we all do that. We all extend the story, don't we? We all extend the moment. It's satisfying. But what a burden for Brian[...]"


title: Smile (The Beach Boys album)

text: Responding to Anderle's statement, Siegel countered, "Brian was a genius and, if anything, I underestimated him.[...] I wasn't aware of him as a myth. I just wrote down what I saw and heard." Williams shifted his opinion on the album after having heard many of the recordings for the first time in 16 years. He felt that when "the myth" that he and Anderle had "certainly helped create" is discounted from his evaluation, the tracks "clearly" reveal themselves as "the work of someone very stoned", and that even though "there are moments of great sensitivity and deep feeling", the "overall character [...] is not at all a "heart" album (as "Pet Sounds" certainly is); rather it is, and was clearly meant to be, a sort of three-ring circus of flashy musical ideas and avant-garde entertainment."


title: Smile (The Beach Boys album)

text: During the 1970s, the perceived mystique around the project was increasingly shared by music critics. In 1983, Dave Marsh bemoaned the hype, calling it "an exercise in myth-mongering almost unparalleled in show business. Brian Wilson became a Major Artist by making music no one outside of his coterie ever heard." Writing in his 2014-published 33⅓ book about the album, Luis Sanchez opined that album's myth had since lost its power to "lure and convince" as "writers and cultists kept the story alive by rehashing hyperbole and rumor that could only take the story so far.[...] the myth itself overtook and nearly consumed the artist and the music it was about."


title: Smile (The Beach Boys album)

text: Bootlegs of the sessions became influential in their own right and intensified the public's interest in the album. Their proliferation in the early 1990s informed the public that the album was closer to completion than Wilson had admitted in interviews. Journalist Bill Holdship reported in 1995, "Since moving to LA, I've encountered people who are as obsessed with "Smile" the same way people are obsessed with the Kennedy assassination." By 1999, fans had published many essays devoted to the album through the Internet, and by the early 2000s, several books had been devoted to the album. Writing in 2002, journalist Rob Chapman summarized that the album had become "the ultimate metaphor for pop's golden age; that moment when everything seemed possible, when heaven seemed reachable". In Courrier's words, the project "became oddly influential. While functioning mostly as a rumor, when some bootlegged tracks confirmed its existence, "Smile" became a catalyst for records that followed in its wake." In 2011, "Smile" topped "Uncut"s list of the greatest bootleg recordings of all time.


title: Smile (The Beach Boys album)

text: Many of the album's advocates believe that had it been released, it would have altered the group's direction and solidified their position at the vanguard of rock innovators. It may have also significantly impacted the development of concept albums, as Allan Moore argued, "it would have suggested an entirely different possible line of development for the concept album, wherein parts of tracks reappeared in others producing a form frankly far more sophisticated than any of its contemporaries." David Howard, writing in his book "Sonic Alchemy", said that "Had Wilson been able to connect all the dots, "Smile" would most certainly be regarded as one of pop's major artistic statements, rather than an infamous, unfortunate footnote." In 2003, Ed Howard of "Stylus Magazine" wrote that the album "could have expanded boundaries for both the Beach Boys and pop music as a whole. Instead, for the most part it remains unheard today, and that's quite possibly the saddest fact in all of music."


title: Smile (The Beach Boys album)

text: Spencer Owen of "Pitchfork" argued that the album could have dramatically altered the course of popular music history, such that "Perhaps we wouldn't be so monotheistic in our pop leanings, worshiping only at the Beatles' altar the way some do today." In Anderle's belief, "["Smile"] would have been a major influence in pop music[...] as significant if not a bigger influence than "Sgt. Pepper" was." Brian Boyd of "The Irish Times" rued that Wilson's desire to match the Beatles had contributed to the project's collapse, but also commented that since this competitive instinct was shared by his rivals, the release of "Smile" may have prolonged the group's break-up.


title: Smile (The Beach Boys album)

text: It is likely that the vast majority of the content recorded for "Smile" would have been left off the record due to the runtime constraints of vinyl discs. According to Linett, although contemporaries such as Frank Zappa and Bob Dylan had experimented with double albums, there is "no indication" that a multi-disc format for "Smile" "was ever contemplated" in 1966 or 1967. "Mojo"s Jim Irvin challenged "the assumption that, if completed, "Smile" would have been perfect" and proposed that "it might have simply been considered a giant, perplexing, forty-minute 'Heroes And Villains' with some stuff about vegetables in the middle. Would it really have gone over much bigger than Van Dyke's disastrous "Song Cycle" a year later? Would it be inviting such brouhaha today?"


title: Smile (The Beach Boys album)

text: Asked in a 1987 interview whether "Smile" would have topped his rivals' subsequent release, Wilson replied: "No. It wouldn't have come close. "Sgt. Pepper" would have "kicked our ass"." In 1993, Mike Love said he believed "Smile" "would have been a great record", but in its unfinished state, is "nothing, it's just fragments". Writing in his book about "Sgt. Pepper", Clinton Heylin criticized Parks' lyrics as "little more than columns of non sequiturs from a man who once swallowed a thesaurus" and decreed that much of the surviving "Smile" recordings "confirm that Wilson was nowhere near completing an album to rival "Revolver" let alone its psychedelic successor." In the opinion of "Kicks" co-editor Billy Miller, "nobody would have got too jazzed over electricity being invented for the second time" had "Smile" followed the release of "Sgt. Pepper", "And it's a damn shame, too".


title: Smile (The Beach Boys album)

text: Reviewing the available bootlegs and officially released tracks for AllMusic, Richie Unterberger said that "numerous exquisitely beautiful passages, great ensemble singing, and brilliant orchestral pop instrumentation" were in circulation, yet "the fact is that Wilson somehow lacked the discipline needed to combine them into a pop masterpiece that was both brilliant and commercial." Former "Record Collector" editor Peter Doggett states that "Smile" would most likely have had the same reception as that afforded "Song Cycle" – namely, critical acclaim but a commercial disaster. He wrote that the release of "Smile" "would surely have set the Beatles back for months while they considered a suitable reply[...] But it wouldn't have been commercial, in the way that the Doors, or Love, or Jefferson Airplane were."


title: Smile (The Beach Boys album)

text: With "Smile", Wilson anticipated editing practices that were not common until the digital age. "In a way", engineer Mark Linett said, "Brian invented the method of modular recording that we take for granted today." The album cover – considered to be among the most legendary in rock music, according to Priore – would have been one of the earliest instances of a popular music group featuring original commissioned artwork. Paul Williams argued that, with "Smile", Wilson had become one of the earliest pioneers of sampling. Priore wrote that Wilson "manipulated sound effects in a way that would later be extremely successful when Pink Floyd released "The Dark Side of the Moon" in 1973, the best-selling album of the entire progressive rock period".


title: Smile (The Beach Boys album)

text: Sanchez offered his view of the project as a "radical" expansion of "the glow and "sui generis" vision" of "Pet Sounds", one which "presents itself with a kind of directness that is unlike anything else in popular music". Ed Masley of "AZ Central" wrote that "Smile" "doesn't sound like" many other pop albums that were considered to be the vanguard of the "psychedelic revolution[...] but it clearly shares their spirit of adventure in a way that would have been unthinkable just two years earlier." Ed Howard wrote that the album's "arty experimentation", "exotic, often surprising arrangements", and "twisting wordplay" was "arguably" more innovative than contemporary work by the Beatles.


title: Smile (The Beach Boys album)

text: In 1999, "Freaky Trigger" wrote that "Smile" was not "the best album ever", but that it is "astoundingly original" and "tangible evidence of an alternative rock history which turned out differently". In 2011, despite its chosen focus being "new American music that is outside the commercial mainstream", online publication "NewMusicBox" made an exception with "Smile", citing its standing as "an album recorded more than 45 years ago by one of the biggest (and most financially lucrative) musical acts of all time". The site's reviewer, Frank Oteri, wrote: Oteri concluded that "the same pride of place in American music history held by other great innovators" such as Charles Ives, George Gershwin, John Cage, John Coltrane, and James Brown would "probably" never include "Smile", since, "For many people, the Beach Boys will always be perceived as a light-hearted party band that drooled over 'California Girls' while on a 'Surfing Safari'."


title: Smile (The Beach Boys album)

text: "Smile" was influential to indie rock and its mythology became a touchstone for chamber pop and the more art-inclined branches of post-punk. In Priore's estimation, the "alternate-rock" generation began embracing "Smile" after the early 1990s. In 2002, Chapman remarked that he had "yet to meet an ambient or electronica artist who doesn't have a soundfile full of "Smile" bytes".


title: Smile (The Beach Boys album)

text: The Elephant 6 Recording Company, a collective of bands that includes Apples in Stereo, the Olivia Tremor Control, Neutral Milk Hotel, Beulah, Elf Power, and of Montreal, was founded through a mutual admiration of 1960s pop music, with "Smile" being "their Holy Grail". Will Cullen Hart appreciated "the idea of the sections, each of them being a colorful world within itself. [Wilson's] stuff could be so cinematic and then he could just drop down to a toy piano going "plink, plink, plink" and then, when you least expect it, it can fly back into a million gorgeous voices." According to Kevin Barnes, of Montreal's album "" (2001) was partly based on "Smile".


title: Smile (The Beach Boys album)

text: Released exclusively in Japan, the 1998 tribute album "Smiling Pets" featured cover versions of "Pet Sounds" and "Smile" tracks by artists such as the Olivia Tremor Control, Jim O'Rourke, and Sonic Youth's Thurston Moore. Trey Spruance, who recorded a version of "Good Vibrations" for the album, said that "Smile" "definitely" influenced the Mr. Bungle album "California" (1999), "especially when it comes to the Faustian scale of it." The cover artwork for Velvet Crush's "Teenage Symphonies to God" (1994) was based on the "Smile" cover.


title: Smile (The Beach Boys album)

text: Kevin Shields of My Bloody Valentine said that his band's 2013 album "MBV" was inspired by the modular approach of "Smile". Priore believed that the "Smile" recordings influenced albums such as XTC's "Oranges & Lemons" (1989), the High Llamas' "Gideon Gaye" (1994) and "Hawaii" (1996), the Flaming Lips' "The Soft Bulletin" (1999), Mercury Rev's "All Is Dream" (2001), the Apples in Stereo's "Her Wallpaper Reverie" (1999), Heavy Blinkers' 2000 eponymous LP, and the Thrills' "So Much for the City" (2003).


title: Smile (The Beach Boys album)

text: There remains no definitive form or content of "Smile", and whether "Smile" should be considered an "album" has itself been challenged. Quoted in Leaf's 1978 biography, Anderle felt that "Smile" should be viewed not as an album, but an epoch that includes "Pet Sounds" and "Good Vibrations". Heiser wrote, "Possibly the best term offered yet to describe the project is: 'sonic menagerie'", a term used by co-producer Dennis Wolfe in the liner notes of "The Smile Sessions". Priore had long suggested that the album was virtually finished in 1967, however, Ed Howard contended: ""Smile" was, simply put, nowhere near finished[...] Furthermore, any effort to guess at what the album might have sounded like would be nothing more than conjecture.[...] it's likely that [Brian] himself didn't have a clear, constant, single idea for the album".


title: Smile (The Beach Boys album)

text: Upon the release of "BWPS", critics popularly viewed "Smile" as "finally completed". In his review of "The Smile Sessions", Toop argued that such attempts to complete the album are "misguided". He described "Smile" as a "labyrinth" that exists "in a memory house into which Wilson invited all those who could externalize its elements". "Freaky Trigger" shared a similar view, writing: "There is no 'correct' track sequence, there is no completed album, because "Smile" isn't a linear progression of tracks. As a collection of modular melodic ideas it is by nature organic and resists being bookended." Toop said the project's demise and film-like editing process also "parallels the great lost projects by Orson Welles, Erich Von Stroheim and Sergei Eisenstein." Howard supported that the material "is best heard as a movie reel on the making of a record: multiple takes of each song, with no definitive version."


title: Smile (The Beach Boys album)

text: Academic Larry Starr opined that "the idea there could be a 'definitive' "Smile" decades after Brian Wilson abandoned the project was always chimerical". He added, "Those whimsically inclined might suggest that Smile's apparent malleability could represent just one additional illustration of the extent to which it was ahead of its time." In a 2004 conversation with Wilson, Parks suggested that, with "Smile", the pair may have inadvertently created the first ever interactive album.


title: Colorado River toad

text: The Colorado River toad ("Incilius alvarius"), formerly known as the Sonoran Desert toad, is found in northern Mexico and the southwestern United States. It exudes toxins from glands within its skin that have psychoactive properties.


title: Colorado River toad

text: The Colorado River toad can grow to about long and is the largest toad in the United States apart from the non-native cane toad ("Rhinella marina"). It has a smooth, leathery skin and is olive green or mottled brown in color. Just behind the large golden eye with horizontal pupil is a bulging kidney-shaped parotoid gland. Below this is a large circular pale green area which is the tympanum or ear drum. By the corner of the mouth there is a white wart and there are white glands on the legs. All these glands produce toxic secretions. Its call is described as, "a weak, low-pitched toot, lasting less than a second."


title: Colorado River toad

text: Dogs that have attacked toads have suffered paralysis or even death. Raccoons have learned to pull a toad away from a pond by the back leg, turn it on its back and start feeding on its belly, a strategy that keeps the raccoon well away from the poison glands. Unlike other vertebrates, this amphibian obtains water mostly by osmotic absorption across its abdomen. Toads in the family Bufonidae have a region of skin known as "the seat patch", which extends from mid abdomen to the hind legs and is specialized for rapid rehydration. Most of the rehydration is done through absorption of water from small pools or wet objects.


title: Colorado River toad

text: The Colorado River toad is found in the lower Colorado River and the Gila River catchment areas, in New Mexico, Mexico, and much of southern Arizona. It is considered possibly extirpated from California. It lives in both desert and semi-arid areas throughout its range. It is semiaquatic and is often found in streams, near springs, in canals and drainage ditches, and under water troughs. The Colorado River toad is known to breed in artificial water bodies (e.g., flood control impoundments, reservoirs) and as a result, the distributions and breeding habitats of these species may have been recently altered in south central Arizona. It often makes its home in rodent burrows and is nocturnal.


title: Colorado River toad

text: The Colorado River toad is sympatric with the spadefoot toad ("Scaphiopus" spp.), Great Plains toad ("Anaxyrus cognatus"), red-spotted toad ("Anaxyrus punctatus"), and Woodhouse's toad ("Anaxyrus woodhousei"). Like many other toads, they are active foragers and feed on invertebrates, lizards, small mammals, and amphibians. The most active season for toads is May–September, due to greater rainfalls (needed for breeding purposes). The age of "I. alvarius" individuals in a population at Adobe Dam in Maricopa County, Arizona, ranged from 2 to 4 years; other species of toad have a lifespan of 4 to 5 years. The taxonomic affinities of "I. alvarius" remain unclear, but immunologically, it is similarly close to the "boreas" and "valliceps" groups.


title: Colorado River toad

text: The breeding season starts in July, when the rainy season begins, and can last up to August. Normally, 1–3 days after the rain is when toads begin to lay eggs in ponds, slow-moving streams, temporary pools or man-made structures that hold water. Eggs are 1.6 mm in diameter, 5–7 mm apart, and encased in a long single tube of jelly with a loose but distinct outline. The female toad can lay up to 8,000 eggs.


title: Colorado River toad

text: The toad's primary defense system is glands that produce a poison that may be potent enough to kill a grown dog. These parotoid glands also produce the 5-MeO-DMT and bufotenin (which is named after the "Bufo" genus of toads); both of these chemicals belong to the family of hallucinogenic tryptamines.


title: Colorado River toad

text: When vaporized, a single deep inhalation of the poison produces strong psychoactive effects within 15 seconds. After inhalation, the user usually experiences a warm sensation, euphoria, and strong visual and auditory hallucinations, due to 5-MeO-DMT's high affinity for the 5-HT and 5-HT serotonin receptor subtypes.


title: Colorado River toad

text: Bufotenin is a chemical constituent in the secretions and eggs of several species of toads belonging to the genus "Bufo", but the Colorado River toad ("Incillius alvarius") is the only toad species in which bufotenin is present in large enough quantities for a psychoactive effect. Extracts of toad secretion, containing bufotenin and other bioactive compounds, have been used in some traditional medicines such as "ch’an su" (probably derived from "Bufo gargarizans"), which has been used medicinally for centuries in China, as a herbal remedy often illegally imported to the USA that can be prepared as a tea.


title: Colorado River toad

text: The toad was "recurrently depicted in Mesoamerican art", which some authors have interpreted as indicating that the effects of ingesting "Bufo" secretions have been known in Mesoamerica for many years; however, others doubt that this art provides sufficient "ethnohistorical evidence" to support the claim.


title: Colorado River toad

text: In addition to bufotenin, "Bufo" secretions also contain digoxin-like cardiac glycosides, and ingestion of the poison can be fatal. Ingestion of "Bufo" toad toxins and eggs by humans has resulted in several reported cases of poisoning, some of which resulted in death. The first reported death associated with the ingestion of ch'an su was that of a young woman who consumed it as a prescribed (by a Chinese herbalist) Chinese herbal remedy mixed into a tea (an approximately 100ml bowl). Immediately upon ingesting the ch'an tea, the woman experienced vomiting, difficulty breathing, and gastric tenderness, which spurred her husband to take her to the emergency room, where she died two and a half hours after drinking the tea.


title: Colorado River toad

text: Contemporary reports indicate that bufotenin-containing toad toxins have been used as a street drug; that is, as a supposed aphrodisiac, ingested orally in the form of "ch’an su", and as a psychedelic, by smoking or orally ingesting "Bufo" toad secretion or dried "Bufo" skins. The use of "chan'su" and "love stone" (a related toad toxin preparation used as an aphrodisiac in the West Indies) has resulted in several cases of poisoning and at least one death. The practice of orally ingesting toad secretions has been referred to in popular culture and in the scientific literature as "toad licking" and has drawn media attention. Albert Most published a booklet titled "Bufo alvarius: The Psychedelic Toad of the Sonoran Desert" in 1983 which explained how to extract and smoke the secretions.


title: Colorado River toad

text: Among the notable people who have spoken publicly about their experiences with the psychoactive agents in the poison are boxer Mike Tyson, comedian Chelsea Handler, podcaster Joe Rogan, television personality Christina Haack, and motivational speaker Anthony Robbins.


title: Colorado River toad

text: On October 31, 2022 the United States National Park Service posted a warning on Facebook that people should not handle or lick the toad. Despite the warning's wide coverage in media, the post was made humorously and the Park Service has no records of people licking or otherwise harassing the toads in parks.


title: Colorado River toad

text: The substance, 5-MeO-DMT, which are often dried into crystals and smoked, found in the toxins the toad excretes when it is threatened is considered illegal in the United States, and categorized as a Schedule 1 substance, though law enforcement are increasingly less likely to enforce the laws with its growing popularity.


title: Colorado River toad

text: The toads received national attention in 1994 after "The New York Times Magazine" published an article about a California teacher who became the first person to be arrested for possessing secretion of the toads. Bufotenin had been outlawed in California since 1970.


title: Colorado River toad

text: In November 2007, a man in Kansas City, Missouri, was discovered with an "I. alvarius" toad in his possession, and charged with possession of a controlled substance after they determined he intended to use its secretions for recreational purposes. In Arizona, one may legally bag up to 10 toads with a fishing license, but it could constitute a criminal violation if it can be shown that one is in possession of this toad with the intent to smoke its secretions.


title: Colorado River toad

text: None of the U.S. states in which "I. alvarius" is or was indigenous – California, Arizona, and New Mexico – legally allows a person to remove the toad from the state. For example, the Arizona Game and Fish Department is clear about the law in Arizona: "An individual shall not...export any live wildlife from the state; 3. Transport, possess, offer for sale, sell, sell as live bait, trade, give away, purchase, rent, lease, display, exhibit, propagate...within the state."


title: Colorado River toad

text: In California, "I. alvarius" has been designated as "endangered" and possession of this toad is illegal. "It is unlawful to capture, collect, intentionally kill or injure, possess, purchase, propagate, sell, transport, import or export any native reptile or amphibian, or part thereof..."


title: Colorado River toad

text: Due to the rising popularity in collecting this toad, compounded with other threats such as motorists running over them, and predators such as raccoons eating them, U.S. states such as New Mexico have listed them as "threatened" and that collecting "I. alvarius" is unlawful in those states. Collecting these toads is also thought to cause stress to them, in particular during the process of "milking" where collectors rub the toads under the chin to cause it to secrete the poison in the form of a milky substance that is then scraped from the body of the toad. Robert Villa, who serves as president of the Tucson Herpetological Society, said in a 2022 New York Times interview, “There’s a perception of abundance, but when you begin to remove large numbers of a species, their numbers are going to collapse like a house of cards at some point."


title: Colorado River toad

text: Efforts to breed the toads in large quantities to offset their losses in the wild are criticized as potentially attracting predators to these areas, and creating a disease vector for pathogens such as chytrid fungus, which can then spread to devastate more of them in the wild. Synthetic forms of the drug that collectors seek in the toad poison are fairly easy to produce and may offset overcollection.


title: Hunger (2008 film)

text: Hunger is a 2008 historical drama film about the 1981 Irish hunger strike. It was directed by Steve McQueen (in his feature directorial debut) and starred Michael Fassbender, Liam Cunningham, and Liam McMahon.


title: Hunger (2008 film)

text: It premiered at the 2008 Cannes Film Festival, winning the prestigious Caméra d'Or award for first-time filmmakers. It went on to win the Sydney Film Prize at the Sydney Film Festival, the Grand Prix of the Belgian Syndicate of Cinema Critics, best picture from the Evening Standard British Film Awards, and received two BAFTA nominations, winning one. The film was also nominated for eight awards at the 2009 IFTAs, winning six at the event.


title: Hunger (2008 film)

text: The film stars Fassbender as Bobby Sands, the Provisional Irish Republican Army (IRA) member who led the second IRA hunger strike and participated in the no wash protest (led by Brendan "The Dark" Hughes) in which Irish republican prisoners tried to regain political status after it had been revoked by the British government in 1976. It outlines events in the Maze Prison in the period leading up to the hunger strike and its aftermath.


title: Hunger (2008 film)

text: Prison officer Raymond Lohan prepares to leave for work, cleaning his wounded knuckles and checking his car for bombs. At the Maze prison, he puts on his uniform and ignores his comrades.


title: Hunger (2008 film)

text: A new IRA inmate, Davey Gillen, is admitted and categorised as a "non-conforming prisoner" for his refusal to wear the prison uniform outfit. He is sent to his cell naked except for a blanket. His cellmate, Gerry Campbell, has smeared the walls with excrement from floor to ceiling as part of the no wash protest. Gerry's girlfriend sneaks a radio in by wrapping it and storing it in her vagina.


title: Hunger (2008 film)

text: Prison officers forcibly and violently remove the prisoners from their cells and beat them before pinning them down to cut their long hair and beards, grown as part of the no-wash protest. The prisoners resist, with prisoner Bobby Sands spitting into Lohan's face. He responds by punching Sands in the face and then swings again, only to miss and punch the wall, causing his knuckles to bleed. He cuts Sands' hair and beard; the men throw Sands in the bathtub and scrub him clean before hauling him away again.


title: Hunger (2008 film)

text: Later, the prisoners are taken out of their cells and given second-hand civilian clothing. The guards snicker as they hand the clothes to the prisoners, who respond, after Sands' initial action, by tearing up the clothes and wrecking their cells. A large number of riot police enter the prison on a truck. The prisoners are hauled from their cells and forced to run the gauntlet between the lines of riot police, during which they are abused and beaten with batons. Lohan and several of his colleagues then probe prisoners' rectums and mouths, using the same pair of latex gloves for each man.


title: Hunger (2008 film)

text: Lohan visits his catatonic mother in a retirement home. He is shot in the back of the head by an Irish Republican Army assassin and dies slumped onto his mother's lap.


title: Hunger (2008 film)

text: Sands is visited by Father Dominic Moran and discusses the morality of a hunger strike. Sands tells the priest about a trip to Donegal where he and his friends found a foal by a stream. It had cut itself on the rocks and broken a back leg. Sands tells the priest that he drowned the foal and that although he got into trouble for it, he knew he had done the right thing by ending the animal's suffering. He says he knows what he is doing and what it will do to him but refuses to stand by and do nothing.


title: Hunger (2008 film)

text: Sometime later, Bobby is well into his hunger strike, suffering from weeping sores, kidney failure, low blood pressure, and stomach ulcers. While Sands lies in a bath, a large orderly comes in to give his usual orderly a break. The orderly sits next to the tub and shows Bobby his knuckles, which are tattooed with the letters "UDA". Sands tries to stand on his own and eventually does so with all his strength, staring defiantly at the Ulster Defence Association orderly but crumples to the floor with no strength left to stand. The orderly carries him to his room. Sands' parents stay for his final days, his mother being at his side when he dies, 66 days after beginning the strike.


title: Hunger (2008 film)

text: A textual epilogue reveals that Sands was elected to the United Kingdom Parliament as MP for Fermanagh and South Tyrone while he was on the hunger strike. Nine other men died with him during the seven-month strike before it was called off, and paramilitary groups murdered 16 prison officers during the protests. Shortly afterward, the British government conceded in one form or another to virtually all of the prisoners' five demands despite never officially granting them political status.


title: Hunger (2008 film)

text: After financing for "Hunger" was turned down by the Irish Film Board, the film was instead co-funded by Northern Ireland Screen, Broadcast Commission of Ireland, Channel 4, Film4 Productions, and the Wales Creative IP Fund.


title: Hunger (2008 film)

text: In preparation for his role, Michael Fassbender went on a special diet of less than 900 calories a day for ten weeks. After meeting with a nutritionist, he settled on a diet of berries, nuts, and sardines, and underwent periodic medical checks. In an interview with "The Telegraph", Fassbender said that he skipped, did yoga, and walked four and a half miles a day, but also added that he had difficulty sleeping, and stopped seeing friends. He also said that the experience made him feel "grateful" and "strong".


title: Hunger (2008 film)

text: The film is also notable for an unbroken 17-minute shot, in which a priest played by Liam Cunningham tries to talk Bobby Sands out of his protest. In it, the camera remains in the same position for the duration of the entire shot. To prepare for the scene, Cunningham moved into Michael Fassbender's apartment for a time while they practiced the scene between twelve and fifteen times a day. According to Fassbender, they did only five takes.


title: Hunger (2008 film)

text: "Hunger" premiered at the Cannes Film Festival on 15 May 2008, where it opened the official sidebar section, "Un Certain Regard", sparking both walkouts and a standing ovation, before screening at the Sydney Film Festival on 7 June, the Toronto International Film Festival on 6 September, the New York Film Festival on 27 September, and the Chicago International Film Festival on 19 October 2008.


title: Hunger (2008 film)

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 90% based on 131 reviews, with an average score of 7.80/10. The website's critical consensus states, "Unflinching, uncompromising, vivid and vital, Steve McQueen's challenging debut is not for the faint hearted, but it's still a richly rewarding retelling of troubled times." On Metacritic, the film has a weighted average score of 82 out of 100, based on 25 critics, indicating "universal acclaim".


title: Hunger (2008 film)

text: Roger Ebert of the "Chicago Sun-Times" spoke most positively of the piece stating, "Hunger is not about the rights and wrongs of the British in Northern Ireland, but about inhumane prison conditions, the steeled determination of IRA members like Bobby Sands, and a rock and a hard place." Peter Travers of "Rolling Stone", regarded the film highly and said: "Shockingly immediate and philosophically reflective, Hunger is an indelibly moving tribute to what makes us human." and praised "... McQueen's way of showing the body itself as an arsenal, arguably the last weapon any of us have to fight back." Peter Bradshaw of "The Guardian" scored the piece a maximum five stars, writing, "There is an avoidance of affect and a repudiation of the traditional liberal-lenient gestures of dialogue, dramatic consensus and narrative resolution. This is a powerful, provocative piece of work, which leaves a zero-degree burn on the retina." while praising McQueen's work, "Hunger shows that McQueen is a real film-maker and his background in art has meant a fierce concentration on image, an unflinching attention to what things looked like, moment by moment."


title: Hunger (2008 film)

text: Lauren Wissot of "Slant Magazine" said of the film, "Hunger, with all its visual, sonic and editing elements flowing together in harmony like a five-star, six-course meal, exemplifies the phrase [art film]." and that, "McQueen's film is a nuanced masterpiece that never flaunts its artistry, but uses it humbly to serve the all-important story." Nigel Andrews of the "Financial Times" heralded the film and its director, Steve McQueen, "McQueen understands the first principle of cinema. On either side of its middle section, where the very wordiness stands ironic witness to the ultimate impossibility to explain, Hunger has the power and hieratic integrity of silent cinema." Matthew De Abaitua of "Film4" scored the film five out of five stars, "Intense, disturbing and powerful mix of vision and detail: a recreation of a terrible time combined with a vivid and distinctive artistic sensibility. Truly powerful filmmaking."


title: Hunger (2008 film)

text: Ian Freer of "Empire" magazine praised both McQueen and Fassbender, proclaiming, "Anchored by Fassbender's turn, Hunger is as much about the personal as the political. The real breakthrough, though, is McQueen, who turns in a film that dazzles and challenges in equal measure." Dave Calhoun of "Time Out", gave the film a maximum five stars, stating "Imagine how most filmmakers would tell this story and then see 'Hunger': the differences are bold and powerful and restore faith in cinema's ability to cover history free from the bounds of texts and personalities. It's not an easy watch – but it's an invigorating one. Long live McQueen." Noel Murray, writing for The A.V. Club highlighted "Hunger may be criticized for being willfully arty, or for reducing a complex political situation to a broadly allegorical vision of martyrdom, but it's never less than visually stunning."


title: Hunger (2008 film)

text: Critic J. Hoberman of "The Village Voice" called the film, "A superbly balanced piece of work" and a "compelling drama that's also a formalist triumph." Hoberman went on to say, "I've seen Hunger three times, and with each screening, the spectacle of violence, suffering, and pain becomes more awful and more awe-inspiring." Lisa Schwarzbaum of "Entertainment Weekly" gave "Hunger" an "A-" on an "A+" to "F" scale and stated, "For your art-house pleasure and discomfort, here's one of the most talked-about film-festival triumphs of 2008, a disturbingly avid re-creation of the last six weeks in the life and slow, self-imposed wasting of Irish hunger striker Bobby Sands."


title: Hunger (2008 film)

text: Writing for "The New York Post", Kyle Smith praised McQueen's film, "Regardless of politics, one must grant McQueen's substantial gifts, which bring to mind Paul Greengrass in another Northern Ireland film, Bloody Sunday." Liam Lacey of "The Globe and Mail" gave the film a maximum of four out of four stars, "Hunger -- the disturbing, provocative, brilliant feature debut from British director Steve McQueen -- does for modern film what Caravaggio did to Renaissance painting." Reyhan Harmanci of the "San Francisco Chronicle" wrote, "It's horrific. But Hunger displays uncommon intelligence and visual panache, transcending the goal of making the situation seem real. It feels more than real. It's art." in addition to praising McQueen's work by stating "Steve McQueen is a well-known visual artist turned feature film director who makes you wish more moviemakers went to art school." Ann Hornaday of "The Washington Post" was very praising of the film, writing, "McQueen has taken the raw materials of filmmaking and committed an act of great art." and calling the piece "An artistic masterpiece."


title: Hunger (2008 film)

text: Wendy Ide of "The Times" praised McQueen's directing and screenwriting talents by stating, "Ultimately, the one thing that can't be questioned is McQueen's bold and unflinching talent."


title: Hunger (2008 film)

text: The film appeared on some critics' top ten lists of the best films of 2008. Andrea Gronvall of "Chicago Reader" named it the 3rd best film of 2008, and Scott Foundas of "LA Weekly" named it the 3rd best film of 2008 (along with "Che").


title: Hunger (2008 film)

text: "Hunger" was voted the best film of 2008 by the British film magazine "Sight & Sound", and that year McQueen received the Discovery Award and $10,000 at the 33rd annual Toronto film festival. It also won in the best film category at the 2009 Evening Standard British Film Awards. The film also was named the "Best Film of 2009" by the Toronto Film Critics Association Awards; it shared the award with Quentin Tarantino's "Inglourious Basterds". Director McQueen won the BAFTA Award for "Special Achievement by a British Director, Writer or Producer for their First Feature Film".


title: Simple present

text: The simple present, present simple or present indefinite is one of the verb forms associated with the present tense in modern English. It is commonly referred to as a tense, although it also encodes certain information about aspect in addition to present time. The simple present is the most commonly used verb form in English, accounting for more than half of verbs in spoken English.


title: Simple present

text: It is called "simple" because its basic form consists of a single word (like "write" or "writes"), in contrast with other present tense forms such as the present progressive ("is writing") and present perfect ("has written"). For nearly all English verbs the simple present is identical to the base form (dictionary form) of the verb, except when the subject is third-person singular, in which case the ending "-(e)s" is added. There are a few verbs with irregular forms, the most notable being the copula "be", which has the simple present forms "am", "is", and "are"...


title: Simple present

text: And a special situation happens with the verb "to have" in which the letters ve are omitted before adding s.


title: Simple present

text: The basic form of the simple present is the same as the base form of the verb, unless the subject is third person singular, in which case a form with the addition of "-(e)s" is used. For details of how to make this inflected form, see .


title: Simple present

text: The copula verb "be" has irregular forms: "am" (first person singular), "is" (third person singular) and "are" (second person singular and all persons plural). The modal verbs ("can", "must", etc.) have only a single form, with no addition of "-s" for the third person singular.


title: Simple present

text: The above refers to the indicative mood of the simple present; for the formation and use of the subjunctive mood, see English subjunctive. (The defective verb "beware" has no simple present indicative, although it can be used in the subjunctive.)


title: Simple present

text: The present simple of lexical verbs has an expanded form which uses "do" (or "does", in the third person indicative) as an auxiliary verb. This is used particularly when forming questions and other clauses requiring inversion, negated clauses with "not", and clauses requiring emphasis. For details see "do"-support. For the verbs (auxiliary and copular) which do not make this form, as well as the formation and use of contracted forms such as " 's", "isn't", and "don't", see English auxiliaries and contractions.


title: Simple present

text: To refer to an action or event that takes place habitually. In the other hand to remark habits, facts and general realities, repeated actions or unchanging situations, emotions, and wishes. Such uses are often accompanied by frequency adverbs and adverbial phrases such as "always", "sometimes", "often", "usually", "from time to time", "rarely", and "never".


title: Simple present

text: This contrasts with the present progressive (present continuous), which is used to refer to something taking place at the present moment: "I am walking now"; "He is writing a letter at the moment".


title: Simple present

text: With stative verbs in senses that do not use progressive aspect (see ), to refer to a present or general state, whether temporary, permanent or habitual;


title: Simple present

text: It can similarly be used when quoting someone or something, even if the words were spoken in the past:


title: Simple present

text: To refer to a single completed action, as in recounting the events of a story in the present tense (see historical present), and in such contexts as newspaper headlines, where it replaces the present perfect:


title: Simple present

text: In many dependent clauses referring to the future, particularly condition clauses, clauses expressing place and time, and many relative clauses (see ):


title: Simple present

text: In colloquial English it is common to use "can see", "can hear" for the present tense of "see", "hear", etc., and "have got" for the present tense of "have" (denoting possession). See .


title: SeaWorld Orlando

text: SeaWorld Orlando is a theme park and marine zoological park, in Orlando, Florida. It is owned and operated by SeaWorld Parks & Entertainment. When combined with its neighbor Discovery Cove and Aquatica, it forms SeaWorld Parks and Resorts Orlando, an entertainment complex consisting of the three parks and many hotels. In 2018, SeaWorld Orlando hosted an estimated 4.594 million guests, ranking it the 10th most visited amusement park in the United States.


title: SeaWorld Orlando

text: SeaWorld Orlando opened on December 15, 1973 as the third of the chain and just 2 years after Walt Disney World Resort's Magic Kingdom. This made Central Florida a multi-park vacation destination. SeaWorld was sold in 1976 to Harcourt Brace Jovanovich then to Anheuser-Busch, owners of Busch Gardens, in 1989.


title: SeaWorld Orlando

text: Busch was more experienced with theme parks thus developed SeaWorld in a competitive and aggressive manner, moving the park from a show-based to a ride-based park. The park joined in the Disneyland-started simulator ride wave in 1992 with Mission: Bermuda Triangle (later rethemed into Wild Arctic). The nation's first combination roller coaster and flume ride, Journey to Atlantis, was installed in 1998. In 2000, the Kraken, a Bolliger & Mabillard floorless roller coaster, was added to the park. The flying coaster, Manta, came to the park in 2009 and won Theme Park Insider Award as the best new attraction.


title: SeaWorld Orlando

text: SeaWorld Orlando contains two sister parks. Discovery Cove opened in 2000 followed by water park Aquatica in 2008. The 2008 purchase of Anheuser-Busch by Belgian brewer InBev led to the sale of Busch's parks to a private equity firm in 2009. The sale also led to the closure of the park's Hospitality Center on February 1, 2009.


title: SeaWorld Orlando

text: On February 24, 2010, during a small show at "Dine with Shamu", one of the orca whales, Tilikum, pulled trainer Dawn Brancheau into the water and ultimately killed her. An autopsy determined that Brancheau's death was attributed to blunt force trauma and drowning; injuries included her scalp being removed and her left arm being severed below the shoulder. In August 2010, the United States Department of Labor's Occupational Safety and Health Administration cited SeaWorld of Florida LLC for three safety violations, following the death of an animal trainer in February. The total penalty was $75,000 and SeaWorld was initially required to keep a barrier between its trainers and the whales during shows.


title: SeaWorld Orlando

text: Its Turtle Trek exhibit opened in 2012 includes a 360-degree, 3D dome theater for a movie. In 2013, its pavilion had the nation's first trackless dark ride system.


title: SeaWorld Orlando

text: In 2013, Antarctica, Empire of the Penguin (or Sea of Ice) section opened to replace the Penguin Encounter. It contains a trackless family ride (which closed in 2020), plus an improved penguin exhibit.


title: SeaWorld Orlando

text: On March 27, 2019, the park reopened the Sea of Fun area as "Sesame Street Land", themed after "Sesame Street".


title: SeaWorld Orlando

text: On June 1, 2019, a new roller coaster (later revealed as Ice Breaker) was announced through a teaser video released by SeaWorld Orlando. It opened on February 18, 2022.


title: SeaWorld Orlando

text: In mid-March 2020, in line with other SeaWorld parks, as a result of the ongoing COVID-19 pandemic, the park had to temporarily shut down. The park reopened nearly three months later.


title: SeaWorld Orlando

text: In summer 2014, as a part of the company's 50th anniversary, SeaWorld Orlando was separated into different areas, called "seas". Each with a unique themed element. Starting at the lower center and continuing clockwise they are:


title: SeaWorld Orlando

text: SeaWorld Orlando has many live shows and attractions including rides and animal exhibits. Many of these attractions, such as Manta combine the two, with both animal exhibits and a ride.


title: SeaWorld Orlando

text: SeaWorld Orlando has a nearby sister park named Aquatica Orlando, which opened in 2008, part of the greater chain of Aquatica water parks.


title: Datadog

text: Datadog is an observability service for cloud-scale applications, providing monitoring of servers, databases, tools, and services, through a SaaS-based data analytics platform.


title: Datadog

text: Datadog was founded in 2010 by Olivier Pomel and Alexis Lê-Quôc, who met while working at Wireless Generation. After Wireless Generation was acquired by NewsCorp, the two set out to create a product that could reduce the friction they experienced between developer and systems administration teams, who were often working at cross-purposes.


title: Datadog

text: They built Datadog to be a cloud infrastructure monitoring service, with a dashboard, alerting, and visualizations of metrics. As cloud adoption increased, Datadog grew rapidly and expanded its product offering to cover service providers including Amazon Web Services (AWS), Microsoft Azure, Google Cloud Platform, Red Hat OpenShift, VMware, and OpenStack.


title: Datadog

text: In 2015, Datadog announced the acquisition of Mortar Data, bringing on its team and adding its data and analytics capabilities to Datadog's platform. That year, Datadog also opened a research and development office in Paris.


title: Datadog

text: In 2016, Datadog moved its New York City headquarters to a full floor of the New York Times Building to support its growing team, which doubled over the course of the year. Datadog announced the beta-release of Application Performance Monitoring in 2016, offering for the first time a full-stack monitoring solution. As of 2017, the company has close to 300 employees, the vast majority of which are located in the US (with offices in Manhattan, Boston, and Baltimore) and a new R&D facility in Paris.


title: Datadog

text: In 2017, Datadog acquired the Paris-based Logmatic.io, a platform-agnostic service for querying and visualizing logs to monitor and troubleshoot online services. In 2019, Madumbo, an AI-based application testing platform, joined Datadog.


title: Datadog

text: In 2019, Datadog established a Japanese subsidiary in Tokyo with enterprise technology veteran, Akiyoshi Kunimoto, as Country Manager for Japan.


title: Datadog

text: The mascot is a dog named Bits. In August 2022, Datadog acquired Seekret, an API observability company.


title: Datadog

text: In November 2022, it was announced Datadog had acquired the New York-based visualisation service for cloud and system architects, Cloudcraft, for an undisclosed sum.


title: Datadog

text: Datadog uses a Go based agent, rewritten from scratch since its major version 6.0.0 released on February 28, 2018. It was formerly Python based, forked from the original created in 2009 by David Mytton for Server Density (previously called Boxed Ice). Its backend is built using a number of open and closed source technologies including D3, Apache Cassandra, Kafka, PostgreSQL, etc.


title: Datadog

text: In 2014, Datadog support was broadened to multiple cloud service providers including Amazon Web Services (AWS), Microsoft Azure, Google Cloud Platform and Red Hat OpenShift. Today, the company supports over 450 integrations.


title: Datadog

text: In 2010, Datadog launched with a seed round, with participation by NYC Seed, Contour Venture Partners, IA Ventures, Jerry Neumann and Alex Payne, among others. In 2012, it raised a $6.2 million Series A round co-led by Index Ventures and RTP Ventures. In 2014, Datadog raised a $15 million Series B round led by OpenView Venture Partners, followed by a $31 million Series C round led by Index Ventures in 2015. Datadog opened 2016 with a $94.5 million Series D round led by ICONIQ Capital, one of the largest funding rounds for a New York City company during that year.


title: Datadog

text: Datadog went public on the Nasdaq exchange on September 19, 2019, selling 24 million shares and raising $648 million.


title: Datadog

text: Datadog was listed in Forbes’ Cloud 100 and was ranked in the top ten fastest growing companies in North America in Deloitte's 2016 Fast 500 List. In both 2015 and 2016, Crain's named Datadog to its list of the 100 Best Places to Work in New York City. Datadog was also listed on Wealth front's 2017 Career-Launching Companies List and Business Insider's 51 enterprise startups to bet your career on in 2017. BuiltIn named it Boston's 5th top company to work for in 2019.


title: Iodine-131

text: Iodine-131 (I, I-131) is an important radioisotope of iodine discovered by Glenn Seaborg and John Livingood in 1938 at the University of California, Berkeley. It has a radioactive decay half-life of about eight days. It is associated with nuclear energy, medical diagnostic and treatment procedures, and natural gas production. It also plays a major role as a radioactive isotope present in nuclear fission products, and was a significant contributor to the health hazards from open-air atomic bomb testing in the 1950s, and from the Chernobyl disaster, as well as being a large fraction of the contamination hazard in the first weeks in the Fukushima nuclear crisis. This is because I is a major fission product of uranium and plutonium, comprising nearly 3% of the total products of fission (by weight). See fission product yield for a comparison with other radioactive fission products. I is also a major fission product of uranium-233, produced from thorium.


title: Iodine-131

text: Due to its mode of beta decay, iodine-131 causes mutation and death in cells that it penetrates, and other cells up to several millimeters away. For this reason, high doses of the isotope are sometimes less dangerous than low doses, since they tend to kill thyroid tissues that would otherwise become cancerous as a result of the radiation. For example, children treated with moderate dose of I for thyroid adenomas had a detectable increase in thyroid cancer, but children treated with a much higher dose did not. Likewise, most studies of very-high-dose I for treatment of Graves' disease have failed to find any increase in thyroid cancer, even though there is linear increase in thyroid cancer risk with I absorption at moderate doses. Thus, iodine-131 is increasingly less employed in small doses in medical use (especially in children), but increasingly is used only in large and maximal treatment doses, as a way of killing targeted tissues. This is known as "therapeutic use".


title: Iodine-131

text: Iodine-131 can be "seen" by nuclear medicine imaging techniques (e.g., gamma cameras) whenever it is given for therapeutic use, since about 10% of its energy and radiation dose is via gamma radiation. However, since the other 90% of radiation (beta radiation) causes tissue damage without contributing to any ability to see or "image" the isotope, other less-damaging radioisotopes of iodine such as iodine-123 (see isotopes of iodine) are preferred in situations when "only" nuclear imaging is required. The isotope I is still occasionally used for purely diagnostic (i.e., imaging) work, due to its low expense compared to other iodine radioisotopes. Very small medical imaging doses of I have not shown any increase in thyroid cancer. The low-cost availability of I, in turn, is due to the relative ease of creating I by neutron bombardment of natural tellurium in a nuclear reactor, then separating I out by various simple methods (i.e., heating to drive off the volatile iodine). By contrast, other iodine radioisotopes are usually created by far more expensive techniques, starting with cyclotron radiation of capsules of pressurized xenon gas.


title: Iodine-131

text: Iodine-131 is also one of the most commonly used gamma-emitting radioactive industrial tracer. Radioactive tracer isotopes are injected with hydraulic fracturing fluid to determine the injection profile and location of fractures created by hydraulic fracturing.


title: Iodine-131

text: Much smaller incidental doses of iodine-131 than those used in medical therapeutic procedures, are supposed by some studies to be the major cause of increased thyroid cancers after accidental nuclear contamination. These studies suppose that cancers happen from residual tissue radiation damage caused by the I, and should appear mostly years after exposure, long after the I has decayed. Other studies did not find a correlation.


title: Iodine-131

text: Most I production is from neutron irradiation of a natural tellurium target in a nuclear reactor. Irradiation of natural tellurium produces almost entirely I as the only radionuclide with a half-life longer than hours, since most lighter isotopes of tellurium become heavier stable isotopes, or else stable iodine or xenon. However, the heaviest naturally occurring tellurium nuclide, Te (34% of natural tellurium) absorbs a neutron to become tellurium-131, which beta decays with a half-life of 25 minutes to I.


title: Iodine-131

text: A tellurium compound can be irradiated while bound as an oxide to an ion exchange column, with evolved I then eluted into an alkaline solution. More commonly, powdered elemental tellurium is irradiated and then I separated from it by dry distillation of the iodine, which has a far higher vapor pressure. The element is then dissolved in a mildly alkaline solution in the standard manner, to produce I as iodide and hypoiodate (which is soon reduced to iodide).


title: Iodine-131

text: I is a fission product with a yield of 2.878% from uranium-235, and can be released in nuclear weapons tests and nuclear accidents. However, the short half-life means it is not present in significant quantities in cooled spent nuclear fuel, unlike iodine-129 whose half-life is nearly a billion times that of I.


title: Iodine-131

text: I decays with a half-life of 8.02 days with beta minus and gamma emissions. This isotope of iodine has 78 neutrons in its nucleus, while the only stable nuclide, I, has 74. On decaying, I most often (89% of the time) expends its 971 keV of decay energy by transforming into stable xenon-131 in two steps, with gamma decay following rapidly after beta decay:


title: Iodine-131

text: The primary emissions of I decay are thus electrons with a maximal energy of 606 keV (89% abundance, others 248–807 keV) and 364 keV gamma rays (81% abundance, others 723 keV). Beta decay also produces an antineutrino, which carries off variable amounts of the beta decay energy. The electrons, due to their high mean energy (190 keV, with typical beta-decay spectra present) have a tissue penetration of .


title: Iodine-131

text: Iodine in food is absorbed by the body and preferentially concentrated in the thyroid where it is needed for the functioning of that gland. When I is present in high levels in the environment from radioactive fallout, it can be absorbed through contaminated food, and will also accumulate in the thyroid. As it decays, it may cause damage to the thyroid. The primary risk from exposure to I is an increased risk of radiation-induced cancer in later life. Other risks include the possibility of non-cancerous growths and thyroiditis.


title: Iodine-131

text: The risk of thyroid cancer in later life appears to diminish with increasing age at time of exposure. Most risk estimates are based on studies in which radiation exposures occurred in children or teenagers. When adults are exposed, it has been difficult for epidemiologists to detect a statistically significant difference in the rates of thyroid disease above that of a similar but otherwise-unexposed group.


title: Iodine-131

text: The risk can be mitigated by taking iodine supplements, raising the total amount of iodine in the body and, therefore, reducing uptake and retention in the face and chest and lowering the relative proportion of radioactive iodine. However, such supplements were not consistently distributed to the population living nearest to the Chernobyl nuclear power plant after the disaster, though they were widely distributed to children in Poland.


title: Iodine-131

text: Within the US, the highest I fallout doses occurred during the 1950s and early 1960s to children having consumed fresh milk from sources contaminated as the result of above-ground testing of nuclear weapons. The National Cancer Institute provides additional information on the health effects from exposure to I in fallout, as well as individualized estimates, for those born before 1971, for each of the 3070 counties in the USA. The calculations are taken from data collected regarding fallout from the nuclear weapons tests conducted at the Nevada Test Site.


title: Iodine-131

text: On 27 March 2011, the Massachusetts Department of Public Health reported that I was detected in very low concentrations in rainwater from samples collected in Massachusetts, USA, and that this likely originated from the Fukushima power plant. Farmers near the plant dumped raw milk, while testing in the United States found 0.8 pico-curies per liter of iodine-131 in a milk sample, but the radiation levels were 5,000 times lower than the FDA's "defined intervention level".


title: Iodine-131

text: A common treatment method for preventing iodine-131 exposure is by saturating the thyroid with regular, stable iodine-127, as an iodide or iodate salt. Free elemental iodine should not be used for saturating the thyroid because it is a corrosive oxidant and therefore is toxic to ingest in the necessary quantities. The thyroid will absorb very little of the radioactive iodine-131 after it is saturated with non-radioactive iodide, thereby avoiding the damage caused by radiation from radioiodine.


title: Iodine-131

text: The most common method of treatment is to give potassium iodide to those at risk. The dosage for adults is 130 mg potassium iodide per day, given in one dose, or divided into portions of 65 mg twice a day. This is equivalent to 100 mg of iodine, and is about 700 times bigger than the nutritional dose of iodine, which is 0.150 mg per day (150 micrograms per day). See potassium iodide for more information on prevention of radioiodine absorption by the thyroid during nuclear accident, or for nuclear medical reasons. The FDA-approved dosing of potassium iodide for this purpose are as follows: infants less than 1 month old, 16 mg; children 1 month to 3 years, 32 mg; children 3 years to 18 years, 65 mg; adults 130 mg. However, some sources recommend alternative dosing regimens.


title: Iodine-131

text: The ingestion of prophylaxis iodide and iodate is not without its dangers, There is reason for caution about taking potassium iodide or iodine supplements in high dosage, as their unnecessary use can cause conditions such as the Plummer effect, the Jod-Basedow phenomena, and the Wolff–Chaikoff effect, trigger and/or worsen hyperthyroidism and hypothyroidism respectively, and ultimately cause temporary or even permanent thyroid conditions. It can also cause sialadenitis (an inflammation of the salivary gland), gastrointestinal disturbances, allergic reactions and rashes.


title: Iodine-131

text: The use of a particular "iodine tablet" used in portable water purification has also been determined as somewhat effective at reducing radioiodine uptake. In a small study on human subjects who, for each day of their 90-day trial, ingested four 20 milligram tetraglycine hydroperiodide (TGHP) water tablets, with each tablet releasing 8 milligrams (ppm) of free titratable iodine; it was found that the biological uptake of radioactive iodine in these human subjects dropped to and remained at a value of less than 2% the radioiodine uptake rate of that observed in control subjects who were fully exposed to radioiodine without treatment.


title: Iodine-131

text: The administration of known goitrogen substances can also be used as a prophylaxis in reducing the bio-uptake of iodine, (whether it be the nutritional non-radioactive iodine-127 or radioactive iodine, radioiodine – most commonly iodine-131, as the body cannot discern between different iodine isotopes). Perchlorate ions, a common water contaminant in the USA due to the aerospace industry, has been shown to reduce iodine uptake and thus is classified as a goitrogen. Perchlorate ions are a competitive inhibitor of the process by which iodide, is actively deposited into thyroid follicular cells. Studies involving healthy adult volunteers determined that at levels above 0.007 milligrams per kilogram per day (mg/(kg·d)), perchlorate begins to temporarily inhibit the thyroid gland's ability to absorb iodine from the bloodstream ("iodide uptake inhibition", thus perchlorate is a known goitrogen). The reduction of the iodide pool by perchlorate has dual effects—reduction of excess hormone synthesis and hyperthyroidism, on the one hand, and reduction of thyroid inhibitor synthesis and hypothyroidism on the other. Perchlorate remains very useful as a single dose application in tests measuring the discharge of radioiodide accumulated in the thyroid as a result of many different disruptions in the further metabolism of iodide in the thyroid gland.


title: Iodine-131

text: Treatment of thyrotoxicosis (including Graves' disease) with 600–2,000 mg potassium perchlorate (430–1,400 mg perchlorate) daily for periods of several months or longer was once common practice, particularly in Europe, and perchlorate use at lower doses to treat thyroid problems continues to this day. Although 400 mg of potassium perchlorate divided into four or five daily doses was used initially and found effective, higher doses were introduced when 400 mg/day was discovered not to control thyrotoxicosis in all subjects.


title: Iodine-131

text: Current regimens for treatment of thyrotoxicosis (including Graves' disease), when a patient is exposed to additional sources of iodine, commonly include 500 mg potassium perchlorate twice per day for 18–40 days.


title: Iodine-131

text: Prophylaxis with perchlorate-containing water at concentrations of 17 ppm, which corresponds to 0.5 mg/kg-day personal intake, if one is 70 kg and consumes two litres of water per day, was found to reduce baseline radioiodine uptake by 67% This is equivalent to ingesting a total of just 35 mg of perchlorate ions per day. In another related study where subjects drank just 1 litre of perchlorate-containing water per day at a concentration of 10 ppm, i.e. daily 10 mg of perchlorate ions were ingested, an average 38% reduction in the uptake of iodine was observed.


title: Iodine-131

text: However, when the average perchlorate absorption in perchlorate plant workers subjected to the highest exposure has been estimated as approximately 0.5 mg/kg-day, as in the above paragraph, a 67% reduction of iodine uptake would be expected. Studies of chronically exposed workers though have thus far failed to detect any abnormalities of thyroid function, including the uptake of iodine. This may well be attributable to sufficient daily exposure or intake of healthy iodine-127 among the workers and the short 8-hr biological half life of perchlorate in the body.


title: Iodine-131

text: To completely block the uptake of iodine-131 by the purposeful addition of perchlorate ions to a population's water supply, aiming at dosages of 0.5 mg/kg-day, or a water concentration of 17 ppm, would therefore be grossly inadequate at truly reducing radioiodine uptake. Perchlorate ion concentrations in a region's water supply would therefore need to be much higher, with at least a total dosage of 7.15 mg/kg of body weight per day needing to be aimed for, with this being achievable for most adults by consuming 2 liters of water per day with a water concentration of 250 mg/kg of water, or 250 ppm of perchlorate ions per liter; only at this level would perchlorate consumption offer adequate protection, and be truly beneficial to the population at preventing bioaccumulation when exposed to a radioiodine environment. This being entirely independent of the availability of iodate or iodide drugs.


title: Iodine-131

text: The continual addition of perchlorate to the water supply would need to continue for no less than 80–90 days, beginning immediately after the initial release of radioiodine is detected; after 80–90 days have passed, released radioactive iodine-131 will have decayed to less than 0.1% of its initial quantity, and thus the danger from biouptake of iodine-131 is essentially over.