Product	Opium
Plant	''Papaver somniferum''
Part	latex|originIndochina
Active	Morphine, Codeine
Producers	Afghanistan (primary), Pakistan, Northern India, Thailand, Turkey, Laos, Myanmar, Mexico, Colombia, Hungary
Consumers	worldwide (#1: U.S.)
Wholesale	$3,000 per kilogram
Retail	$16,000 per kilogram }}

Opium (poppy tears, ''lachryma papaveris'') is the dried latex obtained from the opium poppy (''Papaver somniferum''). Opium contains up to 12% morphine, an alkaloid, which is frequently processed chemically to produce heroin for the illegal drug trade. The latex also includes codeine and non-narcotic alkaloids such as papaverine, thebaine and noscapine. The traditional method of obtaining the latex is to scratch ("score") the immature seed pods (fruits) by hand; the latex leaks out and dries to a sticky yellowish residue that is later scraped off the fruit. The modern method is to harvest and process mature plants by machine. "Meconium" historically referred to related, weaker preparations made from other parts of the poppy or different species of poppies.

The production of opium itself has not changed since ancient times. Through selective breeding of the ''Papaver somniferum'' plant, the content of the phenanthrene alkaloids morphine, codeine, and to a lesser extent thebaine, has been greatly increased. In modern times, much of the thebaine, which often serves as the raw material for the synthesis for hydrocodone, hydromorphone, and other semi-synthetic opiates, originates from extracting ''Papaver orientale'' or ''Papaver bracteatum''.

Opium for illegal use is often converted into heroin, which is less bulky, making it easier to smuggle, and which multiplies its potency to approximately twice that of morphine. Heroin can be taken by intravenous injection, intranasally, or smoked (vaporized) and inhaled.

History

Cultivation of opium poppies for food, anaesthesia, and ritual purposes dates back to at least the Neolithic Age (new stone age). The Sumerian, Assyrian, Egyptian, Indian, Minoan, Greek, Roman, Persian and Arab Empires all made widespread use of opium, which was the most potent form of pain relief then available, allowing ancient surgeons to perform prolonged surgical procedures. Opium is mentioned in the most important medical texts of the ancient world, including the Ebers Papyrus and the writings of Dioscorides, Galen, and Avicenna. Widespread medical use of unprocessed opium continued through the American Civil War before giving way to morphine and its successors, which could be injected at a precisely controlled dosage.

In China recreational use of the drug began in the fifteenth century but was limited by its rarity and expense. Opium trade became more regular by the seventeenth century, when it was mixed with tobacco for smoking, and addiction was first recognized. Opium prohibition in China began in 1729 yet was followed by nearly two centuries of increasing opium use. China had a positive balance sheet in trading with the British, which led to a decrease of the British silver stocks. Therefore, the British tried to encourage Chinese opium use to enhance their balance, and they delivered it from Indian provinces under British control. In India, its cultivation, as well as the manufacture and traffic to China, were subject to the East India Company, as a strict monopoly of the British government. For supervising and managing the business, there was an extensive and complicated system of government agencies. A massive confiscation of opium by the Chinese emperor, who tried to stop the opium deliveries, led to two Opium Wars in 1839 and 1858, in which Britain suppressed China and traded opium all over the country. After 1860, opium use continued to increase with widespread domestic production in China, until more than a quarter of the male population were regular consumers by 1905. Recreational or addictive opium use in other nations remained rare into the late nineteenth century, recorded by an ambivalent literature that sometimes praised the drug.

Global regulation of opium began with the stigmatization of Chinese immigrants and opium dens in San Francisco, California, leading rapidly from town ordinances in the 1870s to the formation of the International Opium Commission in 1909. During this period, the portrayal of opium in literature became squalid and violent, British opium trade was largely supplanted by domestic Chinese production, purified morphine and heroin became widely available for injection, and patent medicines containing opiates reached a peak of popularity. Opium was prohibited in many countries during the early twentieth century, leading to the modern pattern of opium production as a precursor for illegal recreational drugs or tightly regulated legal prescription drugs. Illicit opium production, now dominated by Afghanistan, was decimated in 2000 when production was banned by the Taliban, but has increased steadily since the fall of the Taliban in 2001 and over the course of the War in Afghanistan. Worldwide production in 2006 was 6610 metric tonnes—nearly one-fifth the level of production in 1906.

Ancient use

Opium has been actively collected since prehistoric times, and may be the soma plant ubiquitously mentioned in the Rig Veda. Though western scholars typically date the text at 1500 BCE, Indian scholars maintain that the verses and the history contained in them have been orally transmitted thousands of years before. "Soma" is Vedic Sanskrit for moon, describing both the shape of the bulb and its nocturnal juice emission, which in ancient times would have been visible by moonlight only. A common name for males in Afghanistan is "Redey", which in Pashto means "poppy". This term may be derived from the Sanskrit words "rddhi" and "hrdya", which mean "magical", "a type of medicinal plant", and "heart-pleasing". The upper South Asian belt of Afghanistan, Pakistan, northern India, and Burma still account for the world's largest supply of opium.

At least seventeen finds of ''Papaver somniferum'' from Neolithic settlements have been reported throughout Switzerland, Germany, and Spain, including the placement of large numbers of poppy seed capsules at a burial site (the ''Cueva de los Murciélagos'', or "Bat cave," in Spain), which have been carbon-14 dated to 4200 BCE Numerous finds of ''Papaver somniferum'' or ''Papaver setigerum'' from Bronze Age and Iron Age settlements have also been reported. The first known cultivation of opium poppies was in Mesopotamia, approximately 3400 BCE, by Sumerians who called the plant ''Hul Gil'', the "joy plant." Tablets found at Nippur, a Sumerian spiritual center south of Baghdad, described the collection of poppy juice in the morning and its use in production of opium. Cultivation continued in the Middle East by the Assyrians, who also collected poppy juice in the morning after scoring the pods with an iron scoop; they called the juice ''aratpa-pal'', possibly the root of ''Papaver''. Opium production continued under the Babylonians and Egyptians.

Opium was used with poison hemlock to put people quickly and painlessly to death, but it was also used in medicine. The Ebers Papyrus, ca. 1500 BCE, describes a way to "stop a crying child" using grains of the poppy-plant strained to a pulp. ''Spongia somnifera'', sponges soaked in opium, were used during surgery. The Egyptians cultivated ''opium thebaicum'' in famous poppy fields around 1300 BCE. Opium was traded from Egypt by the Phoenicians and Minoans to destinations around the Mediterranean Sea, including Greece, Carthage, and Europe. By 1100 BCE, opium was cultivated on Cyprus, where surgical-quality knives were used to score the poppy pods, and opium was cultivated, traded, and smoked. Opium was also mentioned after the Persian conquest of Assyria and Babylonian lands in the sixth century BCE

From the earliest finds, opium has appeared to have ritual significance, and anthropologists have speculated that ancient priests may have used the drug as a proof of healing power. In Egypt, the use of opium was generally restricted to priests, magicians, and warriors, its invention credited to Thoth, and it was said to have been given by Isis to Ra as treatment for a headache. A figure of the Minoan "goddess of the narcotics," wearing a crown of three opium poppies, ca. 1300 BCE, was recovered from the Sanctuary of Gazi, Crete, together with a simple smoking apparatus. The Greek gods Hypnos (Sleep), Nyx (Night), and Thanatos (Death) were depicted wreathed in poppies or holding poppies. Poppies also frequently adorned statues of Apollo, Asklepios, Pluto, Demeter, Aphrodite, Kybele and Isis, symbolizing nocturnal oblivion.

Islamic societies (500–1500 CE)

As the power of the Roman Empire declined, the lands to the south, and east of the Mediterranean sea became incorporated into the Islamic Empires, which assembled the finest libraries and the most skilled physicians of the era. Some Muslims believe that hadiths such as in ''Sahih Bukhari'' prohibits every intoxicating substance, though the use of intoxicants in medicine has been widely permitted by scholars. Dioscorides' five-volume ''De Materia Medica'', the precursor of pharmacopoeias, remained in use (with some improvements in Arabic versions) from the 1st to 16th centuries and described opium and the wide range of uses prevalent in the ancient world.

Somewhere between 400 and 1200 CE, Arab traders introduced opium to China. The Persian physician Muhammad ibn Zakariya al-Razi ("Rhazes", 845–930 CE) maintained a laboratory and school in Baghdad, and was a student and critic of Galen, made use of opium in anesthesia and recommended its use for the treatment of melancholy in ''Fi ma-yahdara al-tabib'' "In the Absence of a Physician", a home medical manual directed toward ordinary citizens for self-treatment if a doctor was not available.

The renowned Andalusian ophthalmologic surgeon Abu al-Qasim al-Zahrawi ("Abulcasis", 936–1013 CE) relied on opium and mandrake as surgical anaesthetics and wrote a treatise, ''al-Tasrif'', that influenced medical thought well into the sixteenth century.

The Persian physician Abū ‘Alī al-Husayn ibn Sina ("Avicenna") described opium as the most powerful of the stupefacients, by comparison with mandrake and other highly effective herbs, in ''The Canon of Medicine''. This classic text was translated into Latin in 1175 and later into many other languages and remained authoritative into the seventeenth century. Şerafeddin Sabuncuoğlu used opium in the fourteenth century Ottoman Empire to treat migraine headaches, sciatica, and other painful ailments.

Reintroduction to Western medicine

Manuscripts of Pseudo-Apuleius's fifth-century work from the tenth and eleventh centuries refer to the use of wild poppy ''Papaver agreste'' or ''Papaver rhoeas'' (identified as ''Papaver silvaticum'') instead of ''Papaver somniferum'' for inducing sleep and relieving pain.

The use of Paracelsus' laudanum was introduced to Western medicine in 1527, when Philippus Aureolus Theophrastus Bombastus von Hohenheim, better known by the name Paracelsus, returned from his wanderings in Arabia with a famous sword, within the pommel of which he kept "Stones of Immortality" compounded from opium thebaicum, citrus juice, and "quintessence of gold." The name "Paracelsus" was a pseudonym signifying him the equal or better of Aulus Cornelius Celsus, whose text, which described the use of opium or a similar preparation, had recently been translated and reintroduced to medieval Europe. ''The Canon of Medicine'', the standard medical textbook that Paracelsus burned in a public bonfire three weeks after being appointed professor at the University of Basel, also described the use of opium, though many Latin translations were of poor quality. ''Laudanum'' was originally the sixteenth-century term for a medicine associated with a particular physician that was widely well-regarded, but became standardized as "tincture of opium," a solution of opium in ethanol, which Paracelsus has been credited with developing. During his lifetime, Paracelsus was viewed as an adventurer who challenged the theories and mercenary motives of contemporary medicine with dangerous chemical therapies, but his therapies marked a turning point in Western medicine. In the seventeenth century laudanum was recommended for pain, sleeplessness, and diarrhea by Thomas Sydenham, the renowned "father of English medicine" or "English Hippocrates," to whom is attributed the quote, "Among the remedies which it has pleased Almighty God to give to man to relieve his sufferings, none is so universal and so efficacious as opium." Use of opium as a cure-all was reflected in the formulation of mithridatium described in the 1728 ''Chambers Cyclopedia'', which included true opium in the mixture. Subsequently, laudanum became the basis of many popular patent medicines of the nineteenth century.

During the 18th century, opium was found to be a good remedy for nervous disorders. Due to its sedative and tranquilizing properties, it was used to quiet the minds of those with psychosis, help with people that were considered insane, and also to help treat patients with insomnia. However, despite its medicinal values in these cases, it was noted that in cases of psychosis it could cause anger or depression and due to the drugs euphoric effects, it could cause depressed patients to become more depressed after the effects wore off because they would get used to being high.

The standard medical use of opium persisted well into the nineteenth century. U.S. president William Henry Harrison was treated with opium in 1841, and in the American Civil War, the Union Army used 2.8 million ounces of opium tincture and powder and about 500,000 opium pills. During this time of popularity, users called opium "God's Own Medicine."

Recreational use outside China (15th to 19th century)

Opium is said to have been used for recreational purposes from the 14th century onwards in Muslim societies. Testimonies of historians, diplomats, religious scholars, intellectuals and travellers, Ottoman and European, confirm that, from the 16th to the 19th century, Anatolian opium was eaten in Constantinople as much as it was exported to Europe. In 1573, for instance, a Venetian visitor to the Ottoman Empire observed that many of the Turkish natives of Constantinople regularly drink a "certain black water made with opium" that makes them feel good, but to which they become so addicted that if they try to go without they will "quickly die." From eating it, dervishes were said to draw ecstasy, soldiers courage, and others bliss and voluptuousness. It is not only to the pleasures of coffee and tulips that the Ottomans initiated Europe. It was also Turkey which, long before China, supplied the West with opium. In his ''Confessions of an English Opium-Eater'' (1821, p. 188), it is still about Ottoman, not Chinese, addicts that Thomas de Quincey writes: "I question whether any Turk, of all that ever entered the paradise of opium-eaters, can have had half the pleasure I had."

Extensive textual and pictorial sources also show that poppy cultivation and opium consumption were widespread in Safavid Iran and Moghol India.

The most important reason for the increase in opiate consumption in the United States during the 19th century was the prescribing and dispensing of legal opiates by physicians and pharmacists to women with ”female problems” (mostly to relieve menstrual pain). Between 150,000 and 200,000 opiate addicts lived in the United States in the late 19th century and between two-thirds and three-quarters of these addicts were women.

Recreational use in China

The earliest clear description of the use of opium as a recreational drug in China came from Xu Boling, who wrote in 1483 that opium was "mainly used to aid masculinity, strengthen sperm and regain vigor," and that it "enhances the art of alchemists, sex and court ladies." He described an expedition sent by the Chenghua Emperor in 1483 to procure opium for a price "equal to that of gold" in Hainan, Fujian, Zhejiang, Sichuan and Shaanxi where it is close to Xiyu. A century later, Li Shizhen listed standard medical uses of opium in his renowned ''Compendium of Materia Medica'' (1578), but also wrote that "lay people use it for the art of sex," in particular the ability to "arrest seminal emission." This association of opium with sex continued in China until the twentieth century. Opium smoking began as a privilege of the elite and remained a great luxury into the early nineteenth century, but by 1861, Wang Tao wrote that opium was used even by rich peasants, and even a small village without a rice store would have a shop where opium was sold.

Smoking of opium came on the heels of tobacco smoking and may have been encouraged by a brief ban on the smoking of tobacco by the Ming emperor, ending in 1644 with the Qing dynasty, which had encouraged smokers to mix in increasing amounts of opium. In 1705, Wang Shizhen wrote that "nowadays, from nobility and gentlemen down to slaves and women, all are addicted to tobacco." Tobacco in that time was frequently mixed with other herbs (this continues with clove cigarettes to the modern day), and opium was one component in the mixture. Tobacco mixed with opium was called madak (or madat) and became popular throughout China and its seafaring trade partners (such as Taiwan, Java and the Philippines) in the seventeenth century. In 1712, Engelbert Kaempfer described addiction to madak: "No commodity throughout the Indies is retailed with greater profit by the Batavians than opium, which [its] users cannot do without, nor can they come by it except it be brought by the ships of the Batavians from Bengal and Coromandel."

Fueled in part by the 1729 ban on madak, which at first effectively exempted pure opium as a potentially medicinal product, the smoking of pure opium became more popular in the eighteenth century. In 1736, the smoking of pure opium was described by Huang Shujing, involving a pipe made from bamboo rimmed with silver, stuffed with palm slices and hair, fed by a clay bowl in which a globule of molten opium was held over the flame of an oil lamp. This elaborate procedure, requiring the maintenance of pots of opium at just the right temperature for a globule to be scooped up with a needle-like skewer for smoking, formed the basis of a craft of "paste-scooping" by which servant girls could become prostitutes as the opportunity arose.

Chinese diaspora

Beginning in 19th-century China, famine and political upheaval, as well as rumors of wealth to be had in nearby Southeast Asia, led to the Chinese Diaspora. Chinese emigrants to cities such as San Francisco, London, and New York brought with them the Chinese manner of opium smoking and the social traditions of the opium den. The Indian Diaspora distributed opium-eaters in the same way, and both social groups survived as "lascars" (seamen) and "coolies" (manual laborers). French sailors provided another major group of opium smokers, having contracted the habit in French Indochina, where the drug was promoted by the colonial government as a monopoly and source of revenue. Among white Europeans, opium was more frequently consumed as laudanum or in patent medicines. Britain's All-India Opium Act of 1878 formalized social distinctions, limiting recreational opium sales to registered Indian opium-eaters and Chinese opium-smokers and prohibiting its sale to workers from Burma. Likewise, American law sought to contain addiction to immigrants by prohibiting Chinese from smoking opium in the presence of a white man.

Because of the low social status of immigrant workers, contemporary writers and media had little trouble portraying opium dens as seats of vice, white slavery, gambling, knife and revolver fights, a source for drugs causing deadly overdoses, with the potential to addict and corrupt the white population. By 1919, anti-Chinese riots attacked Limehouse, the Chinatown of London. Chinese men were deported for playing keno and sentenced to hard labor for opium possession. Both the immigrant population and the social use of opium fell into decline. Yet despite lurid literary accounts to the contrary, nineteenth-century London was not a hotbed of opium smoking. The total lack of photographic evidence of opium smoking in Britain, as opposed to the relative abundance of historical photos depicting opium smoking in North America and France, indicates that the infamous Limehouse opium smoking scene was little more than fantasy on the part of British writers of the day who were intent on scandalizing their readers while drumming up the threat of the "yellow peril."

Prohibition and conflict in China

Opium prohibition began in 1729, when Emperor Yongzheng of the Qing Dynasty, disturbed by madak smoking at court and carrying out the government's role of upholding Confucian virtue, officially prohibited the sale of opium, except for a small amount for medicinal purposes. The ban punished sellers and opium den keepers, but not users of the drug. Opium was banned completely in 1799 and this prohibition continued until 1860.

Under the Qing Dynasty, China opened itself to foreign trade under the Canton System through the port of Guangzhou ''(Canton)'', and traders from the British East India Company began visiting the port by the 1690s. Due to the growing British demand for Indian tea and the Chinese Emperor's prohibition of British commodities other than silver, British traders resorted to trade in opium as a high-value commodity for which China was not self-sufficient. The British traders had been purchasing small amounts of opium from India for trade since Ralph Fitch first visited in the mid-sixteenth century. Trade in opium was standardized, with production of balls of raw opium, 1.1 to 1.6 kilograms, 30% water content, wrapped in poppy leaves and petals, and shipped in chests of 60–65 kilograms (one picul). Chests of opium were sold in auctions in Calcutta with the understanding that the independent purchasers would then smuggle it into China.

After the 1757 Battle of Plassey and 1764 Battle of Buxar, the British East India Company gained the power to act as diwan of Bengal, Bihar, and Orissa ''(See company rule in India)''. This allowed the company to pursue a monopoly on opium production and export in India, to encourage ryots to cultivate the cash crops of indigo and opium with cash advances, and to prohibit the "hoarding" of rice. This strategy led to the increase of the land tax to 50% of the value of crops, the starvation of ten million people in the Bengal famine of 1770, and the doubling of East India Company profits by 1777. Beginning in 1773, the British government began enacting oversight of the company's operations, culminating in the establishment of British India in response to the Indian Rebellion of 1857. Bengal opium was highly prized, commanding twice the price of the domestic Chinese product, which was regarded as inferior in quality. The Sassoon family was heavily involved in the opium trade in both China and India.

Some competition came from the newly independent United States, which began to compete in Guangzhou ''(Canton)'' selling Turkish opium in the 1820s. Portuguese traders also brought opium from the independent Malwa states of western India, although by 1820, the British were able to restrict this trade by charging "pass duty" on the opium when it was forced to pass through Bombay to reach an entrepot. Despite drastic penalties and continued prohibition of opium until 1860, opium importation rose steadily from 200 chests per year under Yongzheng to 1,000 under Qianlong, 4,000 under Jiaqing, and 30,000 under Daoguang. The illegal sale of opium became one of the world's most valuable single commodity trades and has been called "the most long continued and systematic international crime of modern times."

In response to the ever-growing number of Chinese people becoming addicted to opium, Daoguang of the Qing Dynasty took strong action to halt the import of opium, including the seizure of cargo. In 1838, the Chinese Commissioner Lin Zexu destroyed 20,000 chests of opium in Guangzhou ''(Canton)''. Given that a chest of opium was worth nearly $1,000 in 1800, this was a substantial economic loss. The British, not willing to replace the cheap opium with costly silver, began the First Opium War in 1840, the British winning Hong Kong and trade concessions in the first of a series of Unequal Treaties. Following China's defeat in the Second Opium War in 1858, China was forced to legalize opium and began massive domestic production. Importation of opium peaked in 1879 at 6,700 tons, and by 1906, China was producing 85% of the world's opium, some 35,000 tons, and 27% of its adult male population regularly used opium —13.5 million people consuming 39,000 tons of opium yearly. From 1880 to the beginning of the Communist era, Britain attempted to discourage the use of opium in China, but this effectively promoted the use of morphine, heroin, and cocaine, further exacerbating the problem of addiction.

Scientific evidence of the pernicious nature of opium use was largely undocumented in the 1890s when Protestant missionaries in China decided to strengthen their opposition to the trade by compiling data which would demonstrate the harm the drug did. Faced with the problem that many Chinese associated Christianity with opium, partly due to the arrival of early Protestant missionaries on opium clippers, at the 1890 Shanghai Missionary Conference, they agreed to establish the Permanent Committee for the Promotion of Anti-Opium Societies in an attempt to overcome this problem and to arouse public opinion against the opium trade. The members of the committee were John Glasgow Kerr, MD, American Presbyterian Mission in Canton; B.C. Atterbury, MD, American Presbyterian Mission in Peking; Archdeacon Arthur E. Moule, Church Missionary Society in Shanghai; Henry Whitney, MD, American Board of Commissioners for foreign Missions in Foochow; the Rev. Samuel Clarke, China Inland Mission in Kweiyang; the Rev. Arthur Gostick Shorrock, English Baptist Mission in Taiyuan; and the Rev. Griffith John, London Mission Society in Hankow. These missionaries were generally outraged over the British government's Royal Commission on Opium visiting India but not China. Accordingly, the missionaries first organized the Anti-Opium League in China among their colleagues in every mission station in China. American missionary Hampden Coit DuBose acted as first president. This organization, which had elected national officers and held an annual national meeting, was instrumental in gathering data from every Western-trained medical doctor in China, which was then published as William Hector Park compiled ''Opinions of Over 100 Physicians on the Use of Opium in China'' (Shanghai: American Presbyterian Mission Press, 1899). The vast majority of these medical doctors were missionaries; the survey also included doctors who were in private practices, particularly in Shanghai and Hong Kong, as well as Chinese who had been trained in medical schools in Western countries. In England, the home director of the China Inland Mission, Benjamin Broomhall, was an active opponent of the opium trade, writing two books to promote the banning of opium smoking: ''The Truth about Opium Smoking'' and ''The Chinese Opium Smoker''. In 1888, Broomhall formed and became secretary of the Christian Union for the Severance of the British Empire with the Opium Traffic and editor of its periodical, ''National Righteousness''. He lobbied the British Parliament to stop the opium trade. He and James Laidlaw Maxwell appealed to the London Missionary Conference of 1888 and the Edinburgh Missionary Conference of 1910 to condemn the continuation of the trade. When Broomhall was dying, his son Marshall read to him from ''The Times'' the welcome news that an agreement had been signed ensuring the end of the opium trade within two years.

Official Chinese resistance to opium was renewed on September 20, 1906, with an anti-opium initiative intended to eliminate the drug problem within ten years. The program relied on the turning of public sentiment against opium, with mass meetings at which opium paraphernalia was publicly burned, as well as coercive legal action and the granting of police powers to organizations such as the Fujian Anti-Opium Society. Smokers were required to register for licenses for gradually reducing rations of the drug. Addicts sometimes turned to missionaries for treatment for their addiction, though many associated these foreigners with the drug trade. The program was counted as a substantial success, with a cessation of direct British opium exports to China (but not Hong Kong) and most provinces declared free of opium production. Nonetheless, the success of the program was only temporary, with opium use rapidly increasing during the disorder following the death of Yuan Shikai in 1916.

Beginning in 1915, Chinese nationalist groups came to describe the period of military losses and Unequal Treaties as the "Century of National Humiliation," later defined to end with the conclusion of the Chinese Civil War in 1949.

In the northern provinces of Ningxia and Suiyuan in China, Chinese Muslim General Ma Fuxiang both prohibited and engaged in the opium trade. It was hoped that Ma Fuxiang would have improved the situation, since Chinese Muslims were well known for opposition to smoking opium Ma Fuxiang officially prohibited opium and made it illegal in Ningxia, but the Guominjun reversed his policy, by 1933, people from every level of society was abusing the drug, Ningxia was left in destitution In 1923, an officer of the Bank of China from Baotou found out that Ma Fuxiang was assisting the drug trade in opium which helped finance his military expenses. He earned $2 million from taxing those sales in 1923. General Ma had been using the bank, a branch of the Government of China's exchequer, to arrange for silver currency to be transported to Baotou to use it to sponsor the trade.

Mitsubishi and Mitsui were involved in the opium trade during the Japanese occupation of China.

The Mao Zedong government is generally credited with eradicating both consumption and production of opium during the 1950s using unrestrained repression and social reform. Ten million addicts were forced into compulsory treatment, dealers were executed, and opium-producing regions were planted with new crops. Remaining opium production shifted south of the Chinese border into the Golden Triangle region, at times with the involvement of Western intelligence agencies. The remnant opium trade primarily served Southeast Asia, but spread to American soldiers during the Vietnam War, with 20% of soldiers regarding themselves as addicted during the peak of the epidemic in 1971. In 2003, China was estimated to have four million regular drug users and one million registered drug addicts.

Prohibition outside China

There were no legal restrictions on the importation or use of opium in the United States until the San Francisco Opium Den Ordinance, which banned dens for public smoking of opium in 1875, a measure fueled by anti-Chinese sentiment and the perception that whites were starting to frequent the dens. This was followed by an 1891 California law requiring that narcotics carry warning labels and that their sales be recorded in a registry, amendments to the California Pharmacy and Poison Act in 1907 making it a crime to sell opiates without a prescription, and bans on possession of opium or opium pipes in 1909.

At the US federal level, the legal actions taken reflected constitutional restrictions under the Enumerated powers doctrine prior to reinterpretation of the Commerce clause, which did not allow the federal government to enact arbitrary prohibitions but did permit arbitrary taxation. Beginning in 1883, opium importation was taxed at $6 to $300 per pound, until the Opium Exclusion Act of 1909 prohibited the importation of opium altogether. In a similar manner the Harrison Narcotics Tax Act of 1914, passed in fulfillment of the International Opium Convention of 1912, nominally placed a tax on the distribution of opiates, but served as a ''de facto'' prohibition of the drugs. Today, opium is regulated by the Drug Enforcement Administration under the Controlled Substances Act.

Following passage of a regional law in 1895, Australia's Aboriginal Protection and restriction of the sale of opium act 1897 addressed opium addiction among Aborigines, though it soon became a general vehicle for depriving them of basic rights by administrative regulation. Opium sale was prohibited to the general population in 1905, and smoking and possession was prohibited in 1908.

Hardening of Canadian attitudes toward Chinese opium users and fear of a spread of the drug into the white population led to the effective criminalization of opium for non-medical use in Canada between 1908 and the mid-1920s.

In 1909, the International Opium Commission was founded, and by 1914, thirty-four nations had agreed that the production and importation of opium should be diminished. In 1924, sixty-two nations participated in a meeting of the Commission. Subsequently, this role passed to the League of Nations, and all signatory nations agreed to prohibit the import, sale, distribution, export, and use of all narcotic drugs, except for medical and scientific purposes. This role was later taken up by the International Narcotics Control Board of the United Nations under Article 23 of the Single Convention on Narcotic Drugs, and subsequently under the Convention on Psychotropic Substances. Opium-producing nations are required to designate a government agency to take physical possession of licit opium crops as soon as possible after harvest and conduct all wholesaling and exporting through that agency.

Regulation in Britain and the United States

Before the 1920's regulation in Britain was controlled by the pharmacists. Pharmacists that were found to have prescibed opium for illegitimate causes and anyone found to have sold opium without a proper qualifications would be prosecuted. Due to the passing of the Rolleston Act in Britain in 1926, doctors could prescribe opiates such as morphine and heroin on their own accord based on if they felt that their patients needed it. This Act came about due to the fact that Britain didn’t see people’s addiction as an indulgence, but rather as a medical problem that needed weaning of the drug rather than cutting the patient off all together. The passing of this act put the control of opium use in the hands of medical doctors instead of pharmacists. However, as the 20th century continued, the addiction to opiates, especially heroine in young people, continued to rise and so the sale and prescription of opiates was limited to doctors in treatment centers and if these doctors were found to be prescribing opiates without just cause, then they could lose their license to practice or prescribe drugs. The abuse of opium in the United States began in the late 19th century and was largely stigmatized with Chinese immigrants. During this time the use of opium had little negative connotation and was used freely until 1882 when a law was passed to confine opium smoking to specific dens. Until the full ban on opium based products came into effect just after the turn of the century, physicians in the US considered opium a miracle drug that could help with many ailments. Therefore, the ban on said products was more a result of negative connotations towards its use and distribution by Chinese immigrants who were heavily persecuted during this particular period in history. As the 19th century progressed however, there was a doctor by the name of Hamilton Wright that worked to decrease the use of opium in the US by submitting the Harrison Act to congress. This act put taxes and restrictions on the sale and prescription of opium, as well as trying to stigmatize the opium poppy and its derivatives as “demon drugs,” to try and scare people away from them. This act and the stigma of a demon drug on opium, led to the criminalization of people that used opium-based products.

Obsolescence

Globally, opium has gradually been superseded by a variety of purified, semi-synthetic, and synthetic opioids with progressively stronger effects, and by other general anesthetics. This process began in 1804, when Friedrich Wilhelm Adam Sertürner first isolated morphine from the opium poppy. The process continued until 1817, when Sertürner published the isolation of pure morphine from opium after at least thirteen years of research and a nearly disastrous trial on himself and three boys. The great advantage of purified morphine was that a patient could be treated with a known dose—whereas with raw plant material, as Gabriel Fallopius once lamented, "if soporifics are weak they do not help; if they are strong they are exceedingly dangerous." Morphine was the first pharmaceutical isolated from a natural product, and this success encouraged the isolation of other alkaloids: by 1820, isolations of narcotine, strychnine, veratrine, colchicine, caffeine, and quinine were reported. Morphine sales began in 1827, by Heinrich Emanuel Merck of Darmstadt, and helped him expand his family pharmacy into the Merck KGaA pharmaceutical company.

Codeine was isolated in 1832 by Pierre Jean Robiquet.

The use of diethyl ether and chloroform for general anesthesia began in 1846–1847, and rapidly displaced the use of opiates and tropane alkaloids from Solanaceae due to their relative safety.

Heroin, the first semi-synthetic opiate, was first synthesized in 1874, but was not pursued until its rediscovery in 1897 by Felix Hoffmann at the Bayer pharmaceutical company in Elberfeld, Germany. From 1898 to 1910 heroin was marketed as a non-addictive morphine substitute and cough medicine for children. By 1902, sales made up 5% of the company's profits, and "heroinism" had attracted media attention. Oxycodone, a thebaine derivative similar to codeine, was introduced by Bayer in 1916 and promoted as a less-addictive analgesic. Preparations of the drug such as Percocet and OxyContin remain popular to this day.

A range of synthetic opioids such as methadone (1937), pethidine (1939), fentanyl (late 1950s), and derivatives thereof have been introduced, and each is preferred for certain specialized applications. Nonetheless, morphine remains the drug of choice for American combat medics, who carry packs of syrettes containing 16 milligrams each for use on severely wounded soldiers. No drug has been found that can match the painkilling effect of opioids without also duplicating much of its addictive potential.

Modern production and usage

''Papaver somniferum''

In South American countries, opium poppies (''Papaver somniferum'') are technically illegal, but nonetheless appear in some nurseries as ornamentals. They are popular and attractive garden plants, whose flowers vary greatly in color, size and form. A modest amount of domestic cultivation in private gardens is not usually subject to legal controls. In part, this tolerance reflects variation in addictive potency: a cultivar for opium production, ''Papaver somniferum L. elite'', contains 92% morphine, codeine, and thebaine in its latex alkaloids, whereas the condiment cultivar "Marianne" has only one-fifth this total, with the remaining alkaloids made up mostly of narcotoline and noscapine.

Seed capsules can be dried and used for decorations, but they also contain morphine, codeine, and other alkaloids. These pods can be boiled in water to produce a bitter tea that induces a long-lasting intoxication ''(See Poppy tea)''. If allowed to mature, poppy pods (poppy straw) can be crushed and used to produce lower quantities of morphinans. In poppies subjected to mutagenesis and selection on a mass scale, researchers have been able to use poppy straw to obtain large quantities of oripavine, a precursor to opioids and antagonists such as naltrexone.

Poppy seeds are a common and flavorsome topping for breads and cakes. One gram of poppy seeds contains up to 33 micrograms of morphine and 14 micrograms of codeine, and the Substance Abuse and Mental Health Services Administration formerly mandated that all drug screening laboratories use a standard cutoff of 300 nanograms per milliliter in urine samples. A single poppy seed roll (0.76 grams of seeds) usually did not produce a positive drug test, but a positive result was observed from eating two rolls. A slice of poppy seed cake containing nearly five grams of seeds per slice produced positive results for 24 hours. Such results are viewed as false positive indications of drug abuse and were the basis of a legal defense. On November 30, 1998, the standard cutoff was increased to 2000 nanograms (two micrograms) per milliliter. During the Communist era in Eastern Europe, poppy stalks sold in bundles by farmers were processed by users with household chemicals to make ''kompot'' ("Polish heroin"), and poppy seeds were used to produce ''koknar'', an opiate.

Harvesting and processing

When grown for opium production, the skin of the ripening pods of these poppies is scored by a sharp blade at a time carefully chosen so that rain, wind, and dew cannot spoil the exudation of white, milky latex, usually in the afternoon. Incisions are made while the pods are still raw, with no more than a slight yellow tint, and must be shallow to avoid penetrating hollow inner chambers or ''loculi'' while cutting into the lactiferous vessels. In Indian Subcontinent, Afghanistan, Central Asia and Iran, the special tool used to make the incisions is called a ''nushtar'' or "nishtar" (from Persian, meaning a lancet) and carries three or four blades three millimeters apart, which are scored upward along the pod. Incisions are made three or four times at intervals of two to three days, and each time the "poppy tears," which dry to a sticky brown resin, are collected the following morning. One acre harvested in this way can produce three to five kilograms of raw opium. In the Soviet Union, pods were typically scored horizontally, and opium was collected three times, or else one or two collections were followed by isolation of opiates from the ripe capsules. Oil poppies, an alternative strain of ''P. somniferum'', were also used for production of opiates from their capsules and stems.

Raw opium may be sold to a merchant or broker on the black market, but it usually does not travel far from the field before it is refined into morphine base, because pungent, jelly-like raw opium is bulkier and harder to smuggle. Crude laboratories in the field are capable of refining opium into morphine base by a simple acid-base extraction. A sticky, brown paste, morphine base is pressed into bricks and sun-dried, and can either be smoked, prepared into other forms or processed into heroin.

The production of wheat in Deh Dehi has decreased dramatically since farmers had invested in the opium trade. Over some years, the opium trade has become the key economic activity in the village. A farmer reported that he can earn between 1000–2000 lakhs annual profit from poppy cultivation instead of the 20 he would make cultivating wheat. Now, all the irrigated land is given over to the poppy cultivation, and most of the men and women who worked in the livestock trade are either involved in the opium trade or work overseas.

Other methods of preparation (besides smoking), include processing into regular opium tincture (''tinctura opii''), laudanum, paregoric (''tinctura opii camphorata''), herbal wine (e.g. ''vinum opii''), opium powder (''pulvis opii''), opium sirup (''sirupus opii'') and opium extract (''extractum opii''). Vinum opii is made by combining sugar, white wine, cinnamon, and cloves. Opium syrup is made by combining 997.5 part sugar syrup with 2.5 parts opium extract. Opium extract (''extractum opii'') finally can be made by macerating raw opium with water. To make opium extract, 20 parts water are combined with 1 part raw opium which has been boiled for 5 minutes (the latter to ease mixing).

Heroin is widely preferred because of increased potency. One study in postaddicts found heroin to be approximately 2.2 times more potent than morphine by weight with a similar duration; at these relative quantities, they could distinguish the drugs subjectively but had no preference. Heroin was also found to be twice as potent as morphine in surgical anesthesia. Morphine is converted into heroin by a simple chemical reaction with acetic anhydride, followed by a varying degree of purification. Especially in Mexican production, opium may be converted directly to "black tar heroin" in a simplified procedure. This form predominates in the U.S. west of the Mississippi. Relative to other preparations of heroin, it has been associated with a dramatically decreased rate of HIV transmission among intravenous drug users (4% in Los Angeles vs. 40% in New York) due to technical requirements of injection, although it is also associated with greater risk of venous sclerosis and necrotizing fasciitis.

Illegal production

Opium production has fallen greatly since 1906, when 41,000 tons were produced, but because 39,000 tons of that year's opium were consumed in China, overall usage in the rest of the world was much lower. These figures from 1906 have been criticized as over-estimates. In 1980, 2,000 tons of opium supplied all legal and illegal uses. Recently, opium production has increased considerably, surpassing 5,000 tons in 2002. The World Health Organization has estimated that current production of opium would need to increase fivefold to account for total global medical need.

In 2002, the price for one kilogram of opium was $300 for the farmer, $800 for purchasers in Afghanistan, and $16,000 on the streets of Europe before conversion into heroin.

Afghanistan is currently the primary producer of the drug. After regularly producing 70% of the world's opium, Afghanistan decreased production to 74 tons per year under a ban by the Taliban in 2000, a move which cut production by 94 per cent. A year later, after American and British troops invaded Afghanistan, removed the Taliban and installed the interim government, the land under cultivation leapt back to , with Afghanistan supplanting Burma to become the world's largest opium producer once more. Opium production in that country has increased rapidly since, reaching an all-time high in 2006. According to DEA statistics, Afghanistan's production of oven-dried opium increased to 1,278 tons in 2002, more than doubled by 2003, and nearly doubled again during 2004. In late 2004, the U.S. government estimated that 206,000 hectares were under poppy cultivation, 4.5% of the country's total cropland, and produced 4,200 metric tons of opium, 76% of the world's supply, yielding 60% of Afghanistan's gross domestic product. In 2006, the UN Office on Drugs and Crime estimated production to have risen 59% to in cultivation, yielding 6,100 tons of opium, 82% of the world's supply. The value of the resulting heroin was estimated at $3.5 billion, of which Afghan farmers were estimated to have received $700 million in revenue. For farmers, the crop can be up to ten times more profitable than wheat. The price of opium is around $138 per kilo. Opium production has led to rising tensions in Afghan villages. Though direct conflict has yet to occur, the opinions of the new class of young, rich men involved in the opium trade are at odds with those of the traditional village leaders.

An increasingly large fraction of opium is processed into morphine base and heroin in drug labs in Afghanistan. Despite an international set of chemical controls designed to restrict availability of acetic anhydride, it enters the country, perhaps through its Central Asian neighbors which do not participate. A counternarcotics law passed in December 2005 requires Afghanistan to develop registries or regulations for tracking, storing, and owning acetic anhydride.

Besides Afghanistan, smaller quantities of opium are produced in Pakistan, the Golden Triangle region of Southeast Asia (particularly Myanmar), Colombia and Mexico.

Chinese production mainly trades with and profits from North America. In 2002, they were seeking to expand through eastern United States. In the post 9/11 era, trading between borders became difficult and because new international laws were set into place, the opium trade became more diffused. Power shifted from remote to high-end smugglers and opium traders. Outsourcing became a huge factor for survival for many smugglers and opium farmers.

Legal production

Legal opium production is allowed under the United Nations Single Convention on Narcotic Drugs and other international drug treaties, subject to strict supervision by the law enforcement agencies of individual countries. The leading legal production method is the Gregory process, whereby the entire poppy, excluding roots and leaves, is mashed and stewed in dilute acid solutions. The alkaloids are then recovered via acid-base extraction and purified. This process was developed in the UK during World War II, when wartime shortages of many essential drugs encouraged innovation in pharmaceutical processing.

Legal opium production in India is much more traditional. As of 2008, opium was collected by farmers who were licensed to grow of opium poppies, who to maintain their licenses needed to sell 56 kilograms of unadulterated raw opium paste. The price of opium paste is fixed by the government according to the quality and quantity tendered. The average is around 1500 rupees ($29 US) per kilogram. Some additional money is made by drying the poppy heads and collecting poppy seeds, and a small fraction of opium beyond the quota may be consumed locally or diverted to the black market. The opium paste is dried and processed in two government opium and alkaloid factories before it is packed into cases of 60 kilograms for export. Purification of chemical constituents is done in India for domestic production, but typically done abroad by foreign importers.

Legal opium importation from India and Turkey is conducted by Mallinckrodt, Noramco, Abbott Laboratories, Purdue Pharma, and Cody Laboratories Inc. in the United States, and legal opium production is conducted by GlaxoSmithKline, Johnson and Johnson, Johnson Matthey, and Mayne in Tasmania, Australia; Sanofi Aventis in France; Shionogi Pharmaceutical in Japan; and Macfarlan Smith in the United Kingdom. The UN treaty requires that every country submit annual reports to the International Narcotics Control Board, stating that year's actual consumption of many classes of controlled drugs as well as opioids and projecting required quantities for the next year. This is to allow trends in consumption to be monitored and production quotas allotted.

A recent proposal from the European Senlis Council hopes to solve the problems caused by the large quantity of opium produced illegally in Afghanistan, most of which is converted to heroin and smuggled for sale in Europe and the USA. This proposal is to license Afghan farmers to produce opium for the world pharmaceutical market, and thereby solve another problem, that of chronic underuse of potent analgesics where required within developing nations. Part of the proposal is to overcome the "80–20 rule" that requires the U.S. to purchase 80% of its legal opium from India and Turkey to include Afghanistan, by establishing a second-tier system of supply control that complements the current INCB regulated supply and demand system by providing poppy-based medicines to countries who cannot meet their demand under the current regulations. Senlis arranged a conference in Kabul that brought drug policy experts from around the world to meet with Afghan government officials to discuss internal security, corruption issues, and legal issues within Afghanistan. In June 2007, the Council launched a "Poppy for Medicines" project that provides a technical blueprint for the implementation of an integrated control system within Afghan village-based poppy for medicine projects: the idea promotes the economic diversification by redirecting proceeds from the legal cultivation of poppy and production of poppy-based medicines (See Senlis Council). There has been criticism of the Senlis report findings by Macfarlan Smith, who argue that though they produce morphine in Europe, they were never asked to contribute to the report.

Cultivation in the UK

In late 2006, the British government permitted the pharmaceutical company Macfarlan Smith (a Johnson Matthey company) to cultivate opium poppies in England for medicinal reasons, after Macfarlan Smith's primary source, India, decided to increase the price of export opium latex. This move is well received by British farmers, with a major opium poppy field located in Didcot, England. The British government has contradicted the Home Office's suggestion that opium cultivation can be legalized in Afghanistan for exports to the United Kingdom, helping lower poverty and internal fighting whilst helping the NHS to meet the high demand for morphine and heroin. Opium poppy cultivation in the United Kingdom does not need a license, but a license is required for those wishing to extract opium for medicinal products.

Consumption

In the industrialized world, the United States is the world's biggest consumer of prescription opioids, with Italy one of the lowest because of tighter regulations on prescribing narcotics for pain relief. Most opium imported into the United States is broken down into its alkaloid constituents, and whether legal or illegal, most current drug use occurs with processed derivatives such as heroin rather than with unrefined opium.

Intravenous injection of opiates is most used: by comparison with injection, "dragon chasing" (heating of heroin with barbital on a piece of foil), and madak and "ack ack" (smoking of cigarettes containing tobacco mixed with heroin powder) are only 40% and 20% efficient, respectively. One study of British heroin addicts found a 12-fold excess mortality ratio (1.8% of the group dying per year). Most heroin deaths result not from overdose ''per se'', but combination with other depressant drugs such as alcohol or benzodiazepines.

The smoking of opium does not involve the burning of the material as might be imagined. Rather, the prepared opium is indirectly heated to temperatures at which the active alkaloids, chiefly morphine, are vaporized. In the past, smokers would use a specially designed opium pipe which had a removable knob-like pipe-bowl of fired earthenware attached by a metal fitting to a long, cylindrical stem. A small "pill" of opium about the size of a pea would be placed on the pipe-bowl, which was then heated by holding it over an opium lamp, a special oil lamp with a distinct funnel-like chimney to channel heat into a small area. The smoker would lie on his or her side in order to guide the pipe-bowl and the tiny pill of opium over the stream of heat rising from the chimney of the oil lamp and inhale the vaporized opium fumes as needed. Several pills of opium were smoked at a single session depending on the smoker's tolerance to the drug. The effects could last up to twelve hours.

In Eastern culture, opium is more commonly used in the form of paregoric to treat diarrhea. This is a weaker solution than laudanum, an alcoholic tincture which was prevalently used as a pain medication and sleeping aid. Tincture of opium has been prescribed for, among other things, severe diarrhea. Taken thirty minutes prior to meals, it significantly slows intestinal motility, giving the intestines greater time to absorb fluid in the stool.

Despite negative stigmas towards opium in the United States, the use of opium derived products in the treatment of chronic pain has been reestablished. As seen in case studies today, the use of opiates in medicine, namely morphine, is seen as a safe and effective form of treatment for pain even if given over longer periods of time if given in controlled doses. Morphine generally doesn’t impair cognitive function when given in moderate, stable doses, and now is shown to help with neuropathic pain (pain of nerves or neurological diseases) which is was previously thought to have no effect on.

Chemical and physiological properties

Opium contains two main groups of alkaloids. Phenanthrenes such as morphine, codeine, and thebaine are the main narcotic constituents. Isoquinolines such as papaverine and noscapine have no significant central nervous system effects, and are not regulated under the Controlled Substances Act. Morphine is the most prevalent and important alkaloid in opium, consisting of 10%–16% of the total, and is responsible for most of its harmful effects such as lung edema, respiratory difficulties, coma, or cardiac or respiratory collapse, with a normal lethal dose of 120 to 250 milligrams—the amount found in approximately two grams of opium. Morphine binds to and activates mu opioid receptor in the brain, spinal cord, stomach and intestine. Regular use can lead to drug tolerance or physical dependence. Chronic opium addicts in 1906 China or modern-day Iran consume an average of eight grams of opium daily.

Both analgesia and drug addiction are functions of the mu opioid receptor, the class of opioid receptor first identified as responsive to morphine. Tolerance is associated with the superactivation of the receptor, which may be affected by the degree of endocytosis caused by the opioid administered, and leads to a superactivation of cyclic AMP signaling. Long-term use of morphine in palliative care and management of chronic pain cannot be managed without the possible development of drug tolerance or physical dependence. Many techniques of drug treatment exist, including pharmacologically based treatments with naltrexone, methadone, or ibogaine.

Slang terms

Some slang terms for opium include "O.P.", "hop", "midnight oil", "tar", "dope", and "Big O". ("Tar" and "dope" can also refer to heroin.) The traditional opium pipe is known as a "dream stick".

Cultural references

There is a longstanding literary history by and about opium users. Thomas de Quincey's ''Confessions of an English Opium-Eater'' (1822), one of the first and most famous literary accounts of opium addiction written from the point of view of an addict, details the pleasures and dangers of the drug. De Quincey writes about the great English Romantic poet, Samuel Taylor Coleridge (1772–1834), whose "Kubla Khan" is also widely considered to be a poem of the opium experience. Coleridge began using opium in 1791 after developing jaundice and rheumatic fever and became a full addict after a severe attack of the disease in 1801, requiring 80–100 drops of laudanum daily. George Crabbe is another early writer who wrote about opium. "The Lotos-Eaters", an 1832 poem by Alfred Lord Tennyson, reflects the generally favorable British attitude toward the drug. In ''The Count of Monte Cristo'' (1844) by Alexandre Dumas, père, the Count is assuaged by an edible form of opium and his experience with it is depicted vividly.

Edgar Allan Poe presents opium in a more disturbing context in his 1838 short story, "Ligeia", in which the narrator, deeply distraught for the loss of his beloved, takes solace in opium until he "had become a bounden slave in the trammels of opium," unable to distinguish fantasy from reality after taking immoderate doses of opium. In music, Hector Berlioz' ''Symphony Fantastique'' (1830) tells the tale of an artist who has poisoned himself with opium while in the depths of despair for a hopeless love. Each of the symphony's five movements takes place at a different setting and with increasingly audible effects from the drug. For example, in the fourth movement, "Marche au Supplice", the artist dreams that he is walking to his own execution. In the fifth movement, "Songe d’une Nuit du Sabbat", he dreams that he is at a witch's orgy, where he witnesses his beloved dancing wildly along to the demented Dies Irae.

Towards the end of the nineteenth century, references to opium and opium addiction, in the contexts of crime and the foreign underclass, abound within English literature, such as in Wilkie Collins' ''The Moonstone'' (1868), where it is used to attempt to uncover the jewel thief. Opium features in the opening paragraphs of Charles Dickens's 1870 serial, ''The Mystery of Edwin Drood'', and in Arthur Conan Doyle's 1891 Sherlock Holmes short story, "The Man with the Twisted Lip". In Jules Verne's novel ''Around the World in Eighty Days'' (1873), the character Passepartout is lured into an opium den by the detective Fix, which causes him to become separated from Phileas Fogg, his employer. In Oscar Wilde's ''The Picture of Dorian Gray'' (1890), the protagonist visits an opium den "for forgetfulness," unable to bear the guilt and shame of committing murder. Opium likewise underwent a transformation in Chinese literature, becoming associated with indolence and vice by the early twentieth century. Perhaps the best-known literary reference to opium is Karl Marx's metaphor in his "Contribution to the Critique of Hegel's 'Philosophy of Right'," wherein he refers to religion as "the opium of the people." (This phrase is more commonly quoted as "the opiate of the masses.")

In the twentieth century, as the use of opium was eclipsed by morphine and heroin, its role in literature became more limited and often focused on issues related to its prohibition. In ''The Good Earth'' by Pearl S. Buck, Wang Lung, the protagonist, gets his troublesome uncle and aunt addicted to opium in order to keep them out of his hair. William S. Burroughs autobiographically describes the use of opium and its derivatives. His associate, Jack Black's, memoir ''You Can't Win'', chronicles one man's experience both as an onlooker in the opium dens of San Francisco, and later as a "hop fiend" himself. The book and subsequent movie, ''The Wonderful Wizard of Oz'', may allude to opium at one point in the story, when Dorothy and her friends are drawn into a field of poppies, in which they fall asleep. Opium is also repeatedly mentioned in the novel, ''The House of the Scorpion'', by Nancy Farmer. The plot revolves partly around the poppy flower and opium drug. In George R.R. Martin's novel series ''A Song of Ice and Fire'', a drink referred to in the books as "milk of the poppy" is often used to relieve pain.

See also

Forbes family

Imperialism in Asia

Jardine Matheson Holdings

Laudanum

List of opioids

Nabidh

Opium den

Opium lamp

Opium of the people (metaphoric use)

Opium pipe

Opium poppy

Opium production in Afghanistan

Opium replacement

Opium wars

Protocol for Limiting and Regulating the Cultivation of the Poppy Plant, the Production of, International and Wholesale Trade in, and Use of Opium

Psychoactive drug

Sir Thomas Browne

Once Upon a Time in America

Poppy tea

References

Further reading

Ahmad, Diana L. ''The Opium Debate and Chinese Exclusion Laws in the Nineteenth-century American West'' (University of Nevada Press, 2007). Drugs and Racism in the Old West.

Armero and Rapaport. ''The Arts of an Addiction. Qing Dynasty Opium Pipes and Accessories'' (privately printed, 2005)

Booth, Martin. ''Opium: A History''. London: Simon & Schuster, Ltd., 1996.

Dikötter, Frank, Lars Laamann, and Zhou Xun. Narcotic culture: a history of drugs in China Chicago: University of Chicago Press, 2004.

Fairbank, J.K. (1978) ''The Cambridge History of China: volume 10 part I'', Cambridge, CUP

Franck Daninos, ''L'opium légal produit en France'', La Recherche, May 2005

Furek, Maxim W. (2008) The Death Proclamation of Generation X: A Self-Fulfilling Prophesy of Goth, Grunge and Heroin, i-Universe. ISBN 978-0-595-46319-0

Hideyuki Takano; ''The Shore Beyond Good and Evil: A Report from Inside Burma's Opium Kingdom'' (2002, Kotan, ISBN 0-9701716-1-7)

Latimer, Dean, and Jeff Goldberg with an Introduction by William Burroughs. ''Flowers in the Blood: The Story of Opium''. New York: Franklin Watts, 1981

Martin, Steven. ''The Art of Opium Antiques''. Chiang Mai: Silkworm Books, 2007. Photographs and history of Chinese and Vietnamese opium-smoking paraphernalia.

McCoy, Alfred W. ''The Politics of Heroin: CIA Complicity in the Global Drug Trade''. New York: Lawrence Hill Books, 1991.

Musto, David F. ''The American Disease: Origins of Narcotic Control''. New York: Oxford University Press, 1987.

Peters, Gretchen. ''Seeds of Terror: How Heroin is Bankrolling the Taliban and Al Qaeda'', Thomas Dunne Books (2009).

External links

DEA drug information: Opium, morphine, and heroin

UNODC – United Nations Office on Drugs and Crime – Afghan Opium Survey 2009

Erowid: Opiates / Opioids

Opium Museum: Opium paraphernalia and historical photos of opium smokers

''Opium Made Easy'' by Michael Pollan (originally appeared in ''Harper's''.)

Confessions of a Poppy Tea addict

Opium in India

A fleet of opium clippers on the River Ganges

From Flowers to Heroin, CIA publication

BLTC Research: Speculations on the future of opioids

Thailex photo: Traditional method of using opium in Thailand

Tsur Shezaf, Witer, The Opium Growers of Sinai

Category:Euphoriants Category:Medicinal plants

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name	David Lynch
birth place	Missoula, Montana, U.S.
birth name	David Keith Lynch January 20, 1946
spouse	Peggy Lentz (1967–1974)Mary Fisk (1977–1987)Mary Sweeney (2006) Emily Stofle (2009–present)
partner	Isabella Rossellini (1986–1991)
citizenship	United States
education	Pennsylvania Academy of Fine Arts, AFI Conservatory
occupation	Film director, screenwriter, producer, painter, musician
years active	1966–present
style	Nonlinear, Psychological, Neo-noir, Surrealistic, Horror
Notable works	''Twin Peaks'', '' Mulholland Drive'', '' Blue Velvet'', '' The Elephant Man'', ''Eraserhead''
influences	Franz Kafka, Stanley Kubrick, Federico Fellini, Alfred Hitchcock, Werner Herzog, Luis Buñuel, Billy Wilder, Jacques Tati, Ingmar Bergman, Roman Polanski, Alejandro Jodorowsky, Kenneth Anger, Maya Deren
influenced	Coen brothers, Quentin Tarantino, Darren Aronofsky, Jonathan Caouette, Adam Goldberg, Greg Harrison, Martin McDonagh }}

David Keith Lynch (born January 20, 1946) is an American filmmaker, television director, visual artist, musician and occasional actor. Known for his surrealist films, he has developed his own unique cinematic style, which has been dubbed "Lynchian", and which is characterized by its dream imagery and meticulous sound design. Indeed, the surreal and in many cases violent elements to his films have earned them the reputation that they "disturb, offend or mystify" their audiences.

Born to a middle class family in Missoula, Montana, Lynch spent his childhood travelling around the United States, before going on to study painting at the Pennsylvania Academy of Fine Arts in Philadelphia, where he first made the transition to producing short films. Deciding to devote himself more fully to this medium, he moved to Los Angeles, where he produced his first motion picture, the surrealist horror ''Eraserhead'' (1977). After ''Eraserhead'' became a cult classic on the midnight movie circuit, Lynch was employed to direct ''The Elephant Man'' (1980), from which he gained mainstream success. Then being employed by the De Laurentiis Entertainment Group, he proceeded to make two films: the science-fiction epic ''Dune'' (1984), which proved to be a critical and commercial failure, and then a neo-noir crime film, ''Blue Velvet'' (1986), which was highly critically acclaimed.

Proceeding to create his own television series with Mark Frost, the highly popular murder mystery ''Twin Peaks'' (1990–1992), he also created a cinematic prequel, ''Fire Walk With Me'' (1992); a road movie, ''Wild at Heart'' (1990) and a family film, ''The Straight Story'' (1999), in the same period. Turning further towards surrealist filmmaking, three of his following films worked on "dream logic" non-linear narrative structures, ''Lost Highway'' (1997), ''Mulholland Drive'' (2001) and ''Inland Empire'' (2006). Meanwhile, Lynch proceeded to embrace the internet as a medium, producing several web-based shows, such as the animation ''Dumbland'' (2002) and the surreal sitcom ''Rabbits'' (2002).

In the course of his career, Lynch has received three Academy Award nominations for Best Director, and a nomination for best screenplay. Lynch has twice won France's César Award for Best Foreign Film, as well as the Palme d'Or at the Cannes Film Festival and a Golden Lion award for lifetime achievement at the Venice Film Festival. The French government awarded him the Legion of Honor, the country's top civilian honor, as a ''Chevalier'' in 2002 and then an ''Officier'' in 2007, while that same year, ''The Guardian'' described Lynch as "the most important director of this era". Allmovie called him "the Renaissance man of modern American filmmaking", whilst the success of his films have led to him being labelled "the first popular Surrealist."

Life and career

Early life: 1946–1965

Lynch was born in Missoula, Montana on January 20, 1946. His father, Donald Walton Lynch, was a research scientist working for the U.S. Department of Agriculture, and his mother, Edwina "Sunny" Lynch (née Sundholm), was an English language tutor whose grandfather's parents had immigrated to the United States from Finland in the 19th century. Lynch was raised a Presbyterian. Due to Donald's job, the Lynch family often moved around according to where the Department of Agriculture assigned him. It was because of this that when he was two months old, David Lynch moved with his parents to Sandpoint, Idaho, and only two years after that, following the birth of his brother John, the family again moved, this time to Spokane, Washington. It was here that his sister Martha was born, before they once more moved, this time to Durham, North Carolina, then to Boise, Idaho and then to Alexandria, Virginia. Lynch found this transitory early life relatively easy to adjust to, noting that he found it fairly easy to meet new friends whenever he started attending a new school. Commenting on much of his early life, Lynch has remarked that "I found the world completely and totally fantastic as a child. Of course, I had the usual fears, like going to school… For me, back then, school was a crime against young people. It destroyed the seeds of liberty. The teachers didn't encourage knowledge or a positive attitude." Alongside this schooling, his father made him join the Boy Scouts, although he would later note that he only "became one so I could quit, and put it behind me." He rose to the highest rank of Eagle Scout. It was through being an Eagle Scout that he was present with other Boy Scouts outside of the White House at the inauguration of President John F. Kennedy, which took place on Lynch's birthday in 1961.

Lynch had become interested in painting and drawing from an early age, becoming intrigued by the idea of pursuing it as a career path when living in Virginia, where his friend's father was a professional painter. At Francis C. Hammond High School in Alexandria, Virginia, he did poorly academically, having little interest in school work, but was popular with other students, and after leaving decided that he wanted to study painting at college, thereby beginning his studies at School of the Museum of Fine Arts, Boston in 1964, where he was a roommate of Peter Wolf. Nonetheless, he left after only a year, stating that "I was not inspired AT ALL in that place", and instead deciding that he wanted to travel around Europe for three years with his friend Jack Fisk, who was similarly unhappy with his studies at Cooper Union. They had some hopes that in Europe they could train with the expressionist painter Oskar Kokoschka at his school, however upon reaching Salzburg they found that he was not available, and disillusioned, they returned to the United States after spending only 15 days of their planned three years in Europe.

Philadelphia and short films: 1966–1970

Back in the United States, Lynch returned to Virginia, but since his parents had moved to Walnut Creek, California, he was forced to stay with his friend Tony Keeler for a while, before he decided to move to the city of Philadelphia, where, at the advice of Jack Fisk, who was already attending it, he decided to enroll at the Pennsylvania Academy of Fine Arts, something he preferred far more than his previous art college in Boston, claiming that "In Philadelphia there were great and serious painters, and everybody was inspiring one another and it was a beautiful time there." It was here that he began a relationship with a fellow student, Peggy Reavey, and they were married in 1967. The following year, Peggy gave birth to their child, a girl whom they named Jennifer. Later describing this situation, Peggy stated that "[Lynch] definitely was a reluctant father, but a very loving one. Hey, I was pregnant when we got married. We were both reluctant." As a family, they moved to the Fairmount neighbourhood of Philadelphia, where they were able to purchase a large 12-room house for a relatively low $3,500 due to the high crime and poverty rates in the area. Later describing living there, Lynch stated that "We lived cheap, but the city was full of fear. A kid was shot to death down the street… We were robbed twice, had windows shot out and a car stolen. The house was first broken into only three days after we moved in… The feeling was so close to extreme danger, and the fear was so intense. There was violence and hate and filth. But the biggest influence in my whole life was that city." Meanwhile, in order to help financially support his family alongside his art studies, he took up a job printing engravings.

It was at the Philadelphia Academy that Lynch made his very first short film, which was entitled ''Six Men Getting Sick'' (1966). He had first come up with the idea when he developed a wish to see his paintings move, and he subsequently began discussing the idea of creating an animation with an artist named Bruce Samuelson. When this project never came about, Lynch decided to work on a film alone, and so purchased the cheapest 16mm camera that he could find in order to do so. Taking one of the abandoned upper rooms of the Academy as a working space, he spent $200 – which at the time he felt to be a lot of money – to produce ''Six Men Getting Sick''. Describing the work as "57 seconds of growth and fire, and three seconds of vomit", Lynch played the film on a loop at the Academy's annual end-of-year exhibit, where it shared joint first prize with a painting by Noel Mahaffey. This led to a commission from one of his fellow students, the wealthy H. Barton Wasserman, who offered him $1000 to create a film installation in his home. Spending $450 of that on purchasing a second-hand Bolex camera, Lynch produced a new animated short, but upon getting the film developed, realized that the result was simply a blurred, frameless print. As he would later relate, "So I called up Bart [Wasserman] and said, 'Bart, the film is a disaster. The camera was broken and what I've done hasn't turned out.' And he said, 'Don't worry, David, take the rest of the money and make something else for me. Just give me a print.' End of story."

Using this leftover money, Lynch decided to experiment on making a work that was a mix of animation with live action, producing a four minute short entitled ''The Alphabet'' (1968). The film starred Lynch's wife Peggy as a character known as The Girl, who chants the alphabet to a series of images of horses before dying at the end by haemorrhaging blood all over her bed sheets. Adding a sound effect, Lynch used a broken Uher tape recorder to record the sound of his baby daughter Jennifer crying, creating a distorted sound that Lynch felt to be particularly effective. Later describing where he had got inspiration for this work from, Lynch stated that "Peggy's niece was having a bad dream one night and was saying the alphabet in her sleep in a tormented way. So that's sort of what started ''The Alphabet'' going. The rest of it was just subconscious."

Learning about the newly founded American Film Institute, which gave grants to film makers who could produce for them both a prior work and a script for a new project, Lynch decided to send them a copy of ''The Alphabet'' along with a script that he had written for a new short film, one that would be almost entirely live action, and which would be entitled ''The Grandmother''. The Institute agreed to help finance the work, initially offering him $5000, out of his requested budget of $7,200, but later granting him the further $2,200 which he needed. Starring people he knew from both work and college and filmed in his own house, ''The Grandmother'' revolved around the story of a neglected boy who "grows" a grandmother from a seed to care for him. The film critics Michelle Le Blanc and Colin Odell later remarked that "this film is a true oddity but contains many of the themes and ideas that would filter into his later work, and shows a remarkable grasp of the medium".

Los Angeles and ''Eraserhead'': 1971–1979

In 1971, Lynch moved with his wife and daughter to the city of Los Angeles in California, where he began studying filmmaking at the AFI Conservatory, a place that he would later describe as being "completely chaotic and disorganized, which was great… you quickly learned that if you were going to get something done, you would have to do it yourself. They wanted to let people do their thing." He began writing a script for a proposed work entitled ''Gardenback'', which had "unfolded from this painting I'd done." In this venture he was supported by a number of figures at the Conservatory, who encouraged him to lengthen the script and add in more dialogue, something that he reluctantly agreed to do. Nonetheless, with all the interference on his ''Gardenback'' project, he became fed up with the Conservatory, and announced that he was quitting. Attempting to prevent this, many of the teachers at the centre asked him to reconsider, believing that he was one of their best students, and he finally agreed, albeit on the condition that he could create his own project that would not be interfered with. Feeling that ''Gardenback'' was "wrecked", he instead set about on a new film, which he called ''Eraserhead''.

Despite the fact that the film was planned to be about forty-two minutes long (it would end up being eighty-nine minutes long), the script for ''Eraserhead'' was only 21 pages long, and some of the teachers at the Conservatory were concerned that the film would not be a success with such little dialogue and action. Nonetheless, they agreed not to interfere as they had done with ''Gardenback'', and as such Lynch was able to create the film free from interference. Filming, which began in 1972, took place at night in some abandoned stables, allowing the production team, which was largely Lynch and some of his friends, including Sissy Spacek, Jack Fisk, cinematographer Frederick Elmes and sound designer Alan Splet to set up a camera room, green room, editing room, sets as well as a food room and a bathroom. Initially, funding for the project came from the AFI, who gave Lynch a $10,000 grant, but it was not enough to complete the work, and under pressure from studios after the success of the relatively cheap feature film ''Easy Rider'', they were unable to provide him with any more. Following this, Lynch was also supported by a loan given to him by his father, and by money that he was able to bring in from a paper round that he took up delivering the ''Wall Street Journal''. Not long into the production of ''Eraserhead'', Lynch and his wife Peggy amicably separated and divorced, and so he began living full-time on set. In 1977, Lynch would remarry, this time to a woman named Mary Fisk.

Filmed in black and white, ''Eraserhead'' tells the story of a quiet young man named Henry (Jack Nance) living in a dystopian industrial wasteland, whose girlfriend gives birth to a deformed baby whom she leaves in his care. The baby constantly cries, eventually leading to its accidental death, at which the world itself begins to fall apart. Lynch has consistently refused to either confirm or deny any interpretation of ''Eraserhead'', or to "confess his own thinking behind the many abstractions in the film." Nonetheless, he admits that it was heavily influenced by the fearful mood of Philadelphia, and referred to the film as "my ''Philadelphia Story''".

It was due to the financial problems with the production of ''Eraserhead'' that filming was haphazard, regularly stopping and starting again. It was in one such break in 1974 that Lynch created a short film entitled ''The Amputee'', which revolved around a woman with two amputated legs (played by Jack Nance's wife, Catherine Coulson) reading aloud a letter and having her stumps washed by a doctor (played by Lynch himself).

''Eraserhead'' was finally finished in 1976, after five years of production. Lynch subsequently tried to get the film entered into the Cannes Film Festival, but whilst some reviewers liked it, others felt that it was awful, and so it was not selected for screening. Similarly, reviewers from the New York Film Festival also rejected it, but it was indeed screened at the Los Angeles Film Festival, from where Ben Barenholtz, the distributor of the Elgin Theater, heard about it. He was very supportive of the movie, helping to distribute it around the United States in 1977, and ''Eraserhead'' subsequently became popular on the midnight movie underground circuit, and was later described as one of the most important midnight movies of the seventies along with ''El Topo'', ''Pink Flamingos'', ''The Rocky Horror Picture Show'', ''The Harder They Come'' and ''Night of the Living Dead''. The acclaimed film maker Stanley Kubrick said that it was one of his all-time favorite films.

''The Elephant Man'' and mainstream success: 1980–1982

The cult success of ''Eraserhead'' on the underground circuit led to it being seen by Stuart Cornfeld, an executive producer to the producer Mel Brooks, who later remarked that "I was just 100 per cent blown away… I thought it was the greatest thing I'd ever seen. It was such a cleansing experience." Contacting Lynch, he agreed to help him with his next planned project, a film entitled ''Ronnie Rocket'' for which Lynch had already written a script. Nonetheless, Lynch soon realized that ''Ronnie Rocket'', a film that he described as being about "electricity and a three-foot guy with red hair", was not going to be picked up by any financiers, and so he asked Cornfeld to find him a script written by someone else which he could direct. Cornfeld went away and found him four possible scripts, but upon hearing the title of the first, ''The Elephant Man'', Lynch was already sure that that was the script for him, going on nothing but the title.

''The Elephant Man'' script – written by Chris de Vore and Eric Bergren – was based upon a true story, that of Joseph Merrick, a heavily deformed man living in Victorian London, who was held in a sideshow but was later taken under the care of a London surgeon, Frederick Treves. Lynch wanted to film it, but at the same time also had to make some alterations that would alter the story from true events, but in his view make a better plot. However, in order to do so he would have to get the permission of Mel Brooks, whose company, BrookFilms, would be responsible for production; subsequently Brooks viewed ''Eraserhead'', and after coming out of the screening theatre, embraced Lynch, declaring that "You're a madman, I love you! You're in."

The resulting film, ''The Elephant Man'', starred John Hurt as John Merrick (his name was changed from Joseph), as well as Anthony Hopkins as Frederick Treves. Filming took place in London, and Lynch brought his own distinctively surrealist approach to the film, filming it in color stock black and white, but nonetheless it has been described as "one of the most conventional" of his films. ''The Elephant Man'' was a huge critical and commercial success, and earned eight Academy Award nominations, including Best Director and Best Adapted Screenplay nods for Lynch.

The De Laurentiis films, ''Dune'' and ''Blue Velvet'': 1983–1986

Following on from the success of ''The Elephant Man'', the film maker George Lucas, himself a fan of ''Eraserhead'', offered Lynch the opportunity to direct the third film in his ''Star Wars'' trilogy, ''Return of the Jedi''. Lynch however refused, arguing that Lucas should direct the film himself as the movie should reflect his own vision, not Lynch's take on it. Soon after however, the opportunity to direct another big-budget science fiction epic arose when Dino de Laurentiis of the De Laurentiis Entertainment Group asked him to create a film adaptation of Frank Herbert's science fiction novel ''Dune'' (1965). Lynch agreed, and in doing so was also contractually obliged to produce two other works for the company. He then set about writing a script based upon the original novel, initially with both Chris de Vore and Eric Bergren, and then just by himself when De Laurentiis wasn't happy with their ideas. Lynch also helped build some of the sets, attempting to create "a certain look" for the film, and he particularly enjoyed building the set for the oil planet of Giedi Prime, for which he "used steel, bolts, and porcelain to construct" it.

''Dune'' is set in the far future, when humans live in an interstellar empire run along a feudal system. The main character, Paul Atreides (played by Kyle MacLachlan), is the son of a noble who takes control of the desert planet Arrakis which grows the rare spice melange, the most highly prized commodity in the empire. Lynch however was unhappy with the work, later remarking that "''Dune'' was a kind of studio film. I didn’t have final cut. And, little by little, I was subconsciously making compromises" to his own vision. He produced much footage for the film that was eventually removed out from the final theatrical cut, dramatically condensing the plot. Although De Laurentiis hoped it would be as successful as ''Star Wars'', Lynch's ''Dune'' (1984) was a critical and commercial dud; it had cost $45 million to make, and grossed a mere $27.4 million domestically. Later on, Universal Studios released an "extended cut" of the film for syndicated television, containing almost an hour of cutting-room-floor footage and new narration. Such was not representative of Lynch's intentions, but the studio considered it more comprehensible than the original two-hour version. Lynch objected to these changes and had his name struck from the extended cut, which has "Alan Smithee" credited as the director and "Judas Booth" (a pseudonym which Lynch himself invented, inspired by his own feelings of betrayal) as the screenwriter.

Meanwhile in 1983 he had begun the writing and drawing of a comic strip, ''The Angriest Dog in the World'', which featured unchanging graphics of a tethered dog that was so angry that it could not move, alongside cryptic philosophical references. It ran from 1983 until 1992 in the ''Village Voice'', ''Creative Loafing'' and other tabloid and alternative publications. It was around this period that Lynch also got increasingly interested in photography as an art form, and travelled to northern England to take photos of the degrading industrial landscape, something that he was particularly interested in.

Following on from ''Dune'', Lynch was contractually still obliged to produce two other projects for De Laurentiis: the first of these was a planned sequel, which due to the film's lack of success never went beyond the script stage. The other was a more personal work, based upon a script that Lynch had been working on for some time. Developing from ideas that Lynch had had since 1973, the resulting film, ''Blue Velvet'', was set in the fictional town of Lumberton, USA, and revolves around a college student named Jeffrey Beaumont (Kyle MacLachlan), who finds a severed ear in a field. Subsequently investigating further with the help of friend Sandy (Laura Dern), he uncovers that it is related to a criminal gang led by psychopath Frank Booth (Dennis Hopper), who has kidnapped the husband and child of singer Dorothy Vallens (Isabella Rossellini) and repeatedly subjects her to rape. Lynch himself characterizes the story as "a dream of strange desires wrapped inside a mystery story."

For the film, Lynch decided to include pop songs from the 1950s, including "In Dreams" by Roy Orbison and "Blue Velvet" by Bobby Vinton, the latter of which was largely inspirational for the film, with Lynch stating that "It was the song that sparked the movie… There was something mysterious about it. It made me think about things. And the first things I thought about were lawns – lawns and the neighbourhood." Other music for the film was also produced, this time composed by Angelo Badalamenti, who would go on to produce the music for most of Lynch’s subsequent cinematic works. Dino de Laurentiis loved the film, and it achieved support from some of the early specialist screenings, but the preview screenings to a mainstream audience were instead highly negative, with most of the audience hating the film. Although Lynch had found success previously with ''The Elephant Man'', ''Blue Velvet'''s controversy with audiences and critics introduced him into the mainstream, and became a huge critical and moderate commercial success. The film earned Lynch his second Academy Award nomination for Best Director. Woody Allen, whose film ''Hannah and Her Sisters'' was nominated for Best Picture, said that ''Blue Velvet'' was his favorite film of the year.

''Twin Peaks'', ''Wild at Heart'' and ''Fire Walk With Me'': 1987–1996

During the late 1980s, Lynch had begun to work in television as well as cinema, directing a short piece entitled ''The Cowboy and the Frenchman'' for French television in 1989. Around this time, he met the television producer Mark Frost, who had formerly worked on such projects as the television police series ''Hill Street Blues'', and they decided to start working together on a biopic of singer and actress Marilyn Monroe based upon Anthony Summers's book, ''The Goddess: The Secret Lives of Marilyn Monroe''. Whilst this project never got off the ground, the duo went on to work on a comedy script entitled ''One Saliva Bubble'', but that did not see completion either. It was whilst they were talking in a coffee shop that Lynch and Frost both had the idea of a corpse washing up on the shore of a lake, and using this image as a basis subsequently set about on their third project, which they initially named ''Northwest Passage'' but which would eventually come to fruition as the television series ''Twin Peaks'' (1990–1991). A drama series set in a small Washington town where popular high school student Laura Palmer has been raped and murdered, ''Twin Peaks'' featured FBI Special Agent Dale Cooper (Kyle MacLachlan) as the investigator trying to unearth the killer, and discovering not only the supernatural elements to the murder but also the secrets of many of the local townsfolk – as Lynch himself summed it up, "The project was to mix a police investigation with the ordinary lives of the characters." In plotting out the series, Lynch later related that "[Mark Frost and I] worked together, especially in the initial stages. Later on we started working more apart." They subsequently pitched the series to the ABC Network, who agreed to finance the pilot episode, and once this was completed they also commissioned the first season, which comprised seven episodes.

A second season went into production soon after, which would last for a further 22 episodes. In all, Lynch himself only directed six episodes out of the whole series due to other responsibilities, namely his work on the film ''Wild at Heart'' (see below), but carefully chose those other directors whom he entrusted with the job. Meanwhile, Lynch also appeared in several episodes of the series, acting in the role of deaf FBI agent Gordon Cole. The series was a success, with high viewing figures both in the United States and in many nations abroad, and soon spawned a cult following. Nonetheless, the executives at the ABC Network, believing that public interest in the show was decreasing, insisted that Lynch and Frost reveal who the killer of Laura Palmer was prematurely, something that they only begrudgingly agreed to do, and Lynch has always felt that agreeing to do so is one of his biggest professional regrets. Following the revealing of the murderer and the series' move from Thursday to Saturday night on the ABC Network, ''Twin Peaks'' continued on for several more episodes, but following a ratings drop was cancelled. Lynch, who disliked the direction that the writers and directors had taken in the previous few episodes, chose to direct the final episode, which he ended on a cliffhanger, later stating that "that's not the ending. That's the ending that people were stuck with."

While ''Twin Peaks'' was in production, the Brooklyn Academy of Music asked Lynch and the composer Angelo Badalamenti, who had been responsible for the music in ''Twin Peaks'', to create a theatrical piece which would only be performed twice at their academy in New York City in 1989 as a part of the New Music America Festival. The result was ''Industrial Symphony No. 1: The Dream of the Broken Hearted'', which starred such frequent Lynch collaborators as Laura Dern, Nicolas Cage and Michael J. Anderson as well as containing five songs sung by Julee Cruise. David Lynch produced a fifty-minute video of the performance in 1990. Meanwhile, Lynch was also involved in the creation of various commercials for different companies, including perfume companies like Yves Saint Laurent, Calvin Klein and Giorgio Armani and for the Japanese coffee company Namoi, the latter of which involved a Japanese man searching the town of Twin Peaks for his missing wife.

Whilst still working on the first few episodes of ''Twin Peaks'', Lynch's friend, Monty Montgomery "gave me a book that he wanted to direct as a movie. He asked if I would maybe be executive producer or something, and I said 'That's great, Monty, but what if I read it and fall in love with it and want to do it myself?' And he said, 'In that case, you can do it yourself'." The book was Barry Gifford's novel ''Wild at Heart: The Story of Sailor and Lula'', which told the tale of two lovers on a road trip, and Lynch felt that it was "just exactly the right thing at the right time. The book and the violence in America merged in my mind and many different things happened." With Gifford's support, Lynch set about to adapt the novel into a film, with the result being ''Wild at Heart'', a crime and road movie starring Nicolas Cage as Sailor and Laura Dern as Lula. Describing his plot as a "strange blend" of "a road picture, a love story, a psychological drama and a violent comedy", he altered much from the original novel, changing the ending, and incorporating numerous references to the classic film ''The Wizard of Oz''. Despite receiving a muted response from American critics and viewers, it won the prestigious Palme d'Or at the 1990 Cannes Film Festival.

Following on from the success of ''Wild at Heart'', Lynch decided to return to the world of the now-cancelled ''Twin Peaks'', this time without Mark Frost, to create a film that acted primarily as a prequel but also, in part, as a sequel, with Lynch stating that "I liked the idea of the story going back and forth in time." The result, ''Twin Peaks: Fire Walk With Me'' (1992), primarily revolved around the last few days in the life of Laura Palmer, and was much "darker" in tone than the television series, having much of the humour removed, and dealing with such topics as incest and murder. Lynch himself stated that the film was about "the loneliness, shame, guilt, confusion and devestation of the victim of incest." ''Twin Peaks: Fire Walk With Me'' was financed by the company CIBY-2000, and most of the cast of the series agreed to reprise their roles for the film, although some refused, and many were not enthusiastic about the project. The film was, for the most part, a commercial and critical failure in the United States; however, it was a hit in Japan and British critic Mark Kermode (among others) has hailed it as Lynch's "masterpiece".

Meanwhile, Lynch continued working on a series of television shows with Mark Frost. After ''Twin Peaks'', they produced a series of documentaries entitled ''American Chronicles'' (1990) which examined life across the United States, the comedy series ''On the Air'' (1992), which was cancelled after only three episodes had aired, and the three-episode HBO mini-series ''Hotel Room'' (1993) about events that happened in the same hotel room but at different dates in time.

''Lost Highway'', ''The Straight Story'' and ''Mulholland Drive'': 1997–2001

Following his unsuccessful television ventures since ''Twin Peaks'', Lynch returned to making feature films. In 1997 he released the non-linear, noiresque ''Lost Highway'', co-written by Barry Gifford and starring Bill Pullman and Patricia Arquette. The film failed commercially and received a mixed response from critics. However, thanks in part to a soundtrack featuring David Bowie, Marilyn Manson, Rammstein, Nine Inch Nails and The Smashing Pumpkins, it helped gain Lynch a new audience of Generation X viewers.

Following ''Lost Highway'', Lynch went on to work on directing a film from a script written by Mary Sweeney and John E. Roach. The resulting motion picture, ''The Straight Story'', was, like ''The Elephant Man'' before it, based upon a true story, that of Alvin Straight (played in the film by Richard Farnsworth), an elderly man from Laurens, Iowa, who goes on three hundred mile journey to visit his sick brother (played by Harry Dean Stanton) in Mount Zion, Wisconsin, riding the whole way there upon an electric lawnmower. Commenting on why he chose this script, Lynch would simply relate that "that's what I fell in love with next", and displayed his admiration for Straight, describing him as being "like James Dean, except he's old." Once more, Angelo Badalamenti produced the music for the film, although he created instrumentation that was "very different from the kind of score he's done for [Lynch] in the past." Having many differences with most of his work, particularly in that it did not contain any profanities, sexual content or violence, ''The Straight Story'' was rated G (general viewing) by the Motion Picture Association of America, and as such came as "shocking news" to many in the film industry, who were surprised that it "did not disturb, offend or mystify." As Le Blanc and Odell stated, the plot made it "seem as far removed from Lynch's earlier works as could be imagined, but in fact right from the very opening, this is entirely his film – a surreal road movie".

The same year, Lynch approached ABC once again with ideas for a television drama. The network gave Lynch the go-ahead to shoot a two-hour pilot for the series ''Mulholland Drive'', but disputes over content and running time led to the project being shelved indefinitely. However, with seven million dollars from the French production company StudioCanal, Lynch completed the pilot as a film, ''Mulholland Drive''. The film, a non-linear narrative surrealist tale of the dark side of Hollywood, stars Naomi Watts, Laura Harring and Justin Theroux. The film performed relatively well at the box office worldwide and was a critical success, earning Lynch a Best Director prize at the 2001 Cannes Film Festival (shared with Joel Coen for ''The Man Who Wasn't There'') and a Best Director award from the New York Film Critics Association. In addition, Lynch also received his third Academy Award nomination for Best Director.

Internet work and ''Inland Empire'': 2002–present

With the onset of popularity of the internet, Lynch decided to utlilize this new medium, releasing several new series that he had created exclusively on his website, davidlynch.com. In 2002, he created a series of online shorts entitled ''Dumbland''. Intentionally crude both in content and execution, the eight-episode series was later released on DVD. The same year, Lynch released a surreal sitcom via his website – ''Rabbits'', which revolved around a family of humanoid rabbits. Later, he showed his experiments with Digital Video in the form of the Japanese-style horror short ''Darkened Room''.

In 2006, Lynch's feature film ''Inland Empire'' was released. At almost three hours, it was the longest of Lynch's films. Like ''Mulholland Drive'' and ''Lost Highway'' before it, the film did not follow a traditional narrative structure. It starred Lynch regulars Laura Dern, Harry Dean Stanton, and Justin Theroux, with cameos by Naomi Watts and Laura Harring (voices of Suzie and Jane Rabbit), and a performance by Jeremy Irons. Lynch described the piece as "a mystery about a woman in trouble". In an effort to promote the film, Lynch made appearances with a cow and a placard bearing the slogan "Without cheese there would be no ''Inland Empire''".

In 2009, Lynch produced a documentary web series directed by his son, Austin Lynch and friend Jason S. called Interview Project. Interested in working with Werner Herzog, Lynch collaborated with him in 2009 to produce Herzog's film ''My Son, My Son, What Have Ye Done''. Another film with with a nonstandard narrative, the film was based on the true story of an actor who committed matricide whilst acting in a production of the Oresteia, and starred Grace Zabriskie, a Lynch regular.

Lynch plans to direct a documentary on Maharishi Mahesh Yogi consisting of interviews with people who knew him.

In 2010, Lynch began making guest appearances on the ''Family Guy'' spin-off, ''The Cleveland Show'' as Gus the Bartender. He had been convinced to appear in the show by its lead actor, Mike Henry, who is a fan of Lynch's and who felt that his whole life had changed after seeing ''Wild at Heart''.

''Lady Blue Shanghai'', written, directed and edited by Lynch, is a 16-minute promotional film made for Dior and released on the Internet in May 2010.

Lynch directed a concert by English New Wave band Duran Duran on March 23, 2011. The concert was streamed live on YouTube from the Mayan Theater in Los Angeles as the kickoff to the second season of ''Unstaged: An Original Series from American Express''. "The idea is to try and create on the fly, layers of images permeating Duran Duran on the stage," Lynch said. "A world of experimentation and hopefully some happy accidents.”

Cinematic influences and themes

Influences

Lynch admits that his work is more similar in many respects to those of European film makers than American ones, believing that most films that "get down and thrill your soul" were by European directors. Lynch has commented on his admiration for such film makers as Stanley Kubrick, Federico Fellini, Werner Herzog and Jacques Tati. He has also stated that Billy Wilder's ''Sunset Boulevard'' (1950) is one of his favourite films, as is Kubrick's ''Lolita'' (1962).

Recurring motifs

There are several recurring themes within Lynch's work, leading film critics Le Blanc and Odell to state that "his films are so packed with motifs, recurrent characters, images, compositions and techniques that you could view his entire output as one large jigsaw puzzle of ideas". One of the key themes that they noted was the usage of dreams and dreamlike imagery within his works, something they related to the "surrealist ethos" of relying "on the subconscious to provide visual drive". This can be seen in John Merrick's dream of his mother in ''The Elephant Man'', Agent Cooper's dreams of the red room in ''Twin Peaks'' and the "dreamlike logic" of the narrative found in ''Eraserhead'', ''Mulholland Drive'' and ''Inland Empire''. Discussing his attitude to dreams, Lynch has stated that "Waking dreams are the ones that are important, the ones that come when I'm quietly sitting in a chair, letting my mind wander. When you sleep, you don't control your dream. I like to dive into a dream world that I've made or discovered; a world I choose… [You can't really get others to experience it, but] right there is the power of cinema."

Another of Lynch's prominent themes include industry, with repeated imagery of "the clunk of machinery, the power of pistons, shadows of oil drills pumping, screaming woodmills and smoke billowing factories", as can be seen with the industrial wasteland in ''Eraserhead'', the factories in ''The Elephant Man'', the sawmill in ''Twin Peaks'' and the lawn mower in ''The Straight Story''. Describing his interest in such things, Lynch stated that "It makes me feel good to see giant machinery, you know, working: dealing with molten metal. And I like fire and smoke. And the sounds are so powerful. It's just big stuff. It means that things are being made, and I really like that."

Another theme is the idea of a "dark underbelly" of violent criminal activity within a society, such as with Frank's gang in ''Blue Velvet'' and the cocaine smugglers in ''Twin Peaks''. The idea of deformity is also found in several of Lynch's films, from the protagonist in ''The Elephant Man'', to the deformed baby in ''Eraserhead'', as is the idea of death from a head wound, found in most of Lynch's films. Other imagery commonly used within Lynch's works are flickering electrictity or lights, as well as fire and the idea of a stage upon which a singer performs, often surrounded by drapery.

With the exception of ''The Elephant Man'' and ''Dune'', which are set in Victorian London and a fictitious galaxy respectively, all of Lynch's films have been set in the United States, and he has stated that "I like certain things about America and it gives me ideas. When I go around and I see things, it sparks little stories, or little characters pop out, so it just feels right to me to, you know, make American films." A number of his works, including ''Blue Velvet'', ''Twin Peaks'' and ''Lost Highway'' are intentionally reminiscent of the 1950s American culture even though they were set in the later decades of the 20th century. Lynch later commented on his feelings for this decade, which was that in which he grew up as a child, by stating that "It was a fantastic decade in a lot of ways… there was something in the air that is not there any more at all. It was such a great feeling, and not just because I was a kid. It was a really hopeful time, and things were going up instead of going down. You got the feeling you could do anything. The future was bright. Little did we know we were laying the groundwork then for a disastrous future."

Lynch also tends to feature his leading female actors in multiple or "split" roles, so that many of his female characters have multiple, fractured identities. This practice began with his choice to cast Sheryl Lee as both Laura Palmer and her cousin Maddy Ferguson in ''Twin Peaks'' and continued in his later works. In ''Lost Highway'', Patricia Arquette plays the dual role of Renee Madison/Alice Wakefield, while in ''Mulholland Drive'', Naomi Watts plays Diane Selwyn/Betty Elms and Laura Harring plays Camilla Rhodes/Rita and in ''Inland Empire'', Laura Dern plays Nikki Grace/Susan Blue. By contrast, Lynch rarely creates multi-character roles for his male actors.

Recurring collaborators

Lynch is also widely noted for his collaborations with various production artists and composers on his films and multiple different productions. He frequently works with Angelo Badalamenti to compose music for his productions, former wife Mary Sweeney as a film editor, casting director Johanna Ray, and cast members Harry Dean Stanton, Jack Nance, Kyle MacLachlan, Naomi Watts, Isabella Rossellini, Grace Zabriskie, and Laura Dern.

Other art

Painting

Lynch first trained as a painter, and although he is now better known as a filmmaker, he has also produced much painting work. Lynch has stated that "all my paintings are organic, violent comedies. They have to be violently done and primitive and crude, and to achieve that I try to let nature paint more than I paint." Many of his works are very dark in colour, and Lynch has described this as being because "I wouldn't know what to do with [colour]. Colour to me is too real. It's limiting. It doesn't allow too much of a dream. The more you throw black into a colour, the more dreamy it gets… Black has depth. It's like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you're afraid of. You start seeing what you love, and it becomes like a dream."

Many of his works also contain letters and words added to the painting, something which he explains: "The words in the paintings are sometimes important to make you start thinking about what else is going on in there. And a lot of times, the words excite me as shapes, and something'll grow out of that. I used to cut these little letters out and glue them on. They just look good all lined up like teeth... sometimes they become the title of the painting."

Lynch considers the Anglo-Irish 20th century artist Francis Bacon to be his "number one kinda hero painter", stating that "Normally I only like a couple of years of a painter's work, but I like everything of Bacon's. The guy, you know, had the stuff."

Lynch was the subject of a major art retrospective at the Fondation Cartier, Paris from March May 3–27, 2007. The show was entitled ''The Air is on Fire'' and included numerous paintings, photographs, drawings, alternative films and sound work. New site-specific art installations were created specially for the exhibition. A series of events accompanied the exhibition including live performances and concerts. Some of Lynch's art include photographs of dissected chickens and other animals as a "Build your own Chicken" toy ad.

Between 1983 and 1992, Lynch wrote and drew a weekly comic strip called ''The Angriest Dog in the World'' for the ''L.A. Reader''. The drawings in the panels never change, just the captions.

Music

Lynch has also been involved in a number of music projects, many of them related to his films. Most notably he produced and wrote lyrics for Julee Cruise's first two albums, ''Floating into the Night'' (1989) and ''The Voice of Love'' (1993), in collaboration with Angelo Badalamenti who composed the music and also produced. Lynch has also worked on the 1998 Jocelyn Montgomery album ''Lux Vivens''. He has also composed bits of music for ''Wild at Heart'', ''Twin Peaks: Fire Walk with Me'', ''Mulholland Drive'', and ''Rabbits''. In 2001, he released ''BlueBob'', a rock album performed by Lynch and John Neff. The album is notable for Lynch's unusual guitar playing style: he plays "upside down and backwards, like a lap guitar", and relies heavily on effects pedals. Most recently Lynch has composed several pieces for ''Inland Empire'', including two songs, "Ghost of Love" and "Walkin' on the Sky", in which he makes his public debut as a singer. In 2009, his new book-CD set Dark Night of the Soul was released. In 2008, he started his own record label called David Lynch MC on which its first release ''Fox Bat Strategy: A Tribute to Dave Jaurequi'' was released in early 2009. In August 2009, it was announced that he was releasing Afghani/American singer Ariana Delawari's ''Lion of Panjshir'' album in conjunction with Manimal Vinyl Records in October 2009.

In November 2010, Lynch released two electro pop music singles, "Good Day Today" and "I Know", through the independent British label Sunday Best Recordings. Describing why he created them, he stated that "I was just sitting and these notes came and then I went down and started working with Dean [Hurley, his engineer] and then these few notes, 'I want to have a good day, today' came and the song was built around that". His forthcoming album of solo electro-pop will be called ''Crazy Clown Time'' and features guest vocals on one song by Karen O of the Yeah Yeah Yeahs.

In April 2011, Interpol performed live at the Coachella music festival with an animated short film collaboration with Lynch playing in the background, The video 'I Touch a red button' has the Interpol Song 'Lights' accompanying the clip throughout.

Personal life

Lynch has had several long-term relationships. In 1967, he married Peggy Lentz in Chicago, Illinois. They had one child, Jennifer Chambers Lynch, born in 1968, who is a film director. They filed for divorce in 1974. On June 21, 1977, Lynch married Mary Fisk, and the couple had one child, Austin Jack Lynch, born in 1982. They divorced in 1987, and Lynch began dating Isabella Rossellini after filming ''Blue Velvet''. Lynch and Rossellini broke up in 1991, and Lynch developed a relationship with Mary Sweeney, with whom he had one son, Riley Lynch, in 1992. Sweeney also worked as Lynch's longtime film editor/producer and co-wrote and produced ''The Straight Story''. The two married in May 2006, but divorced that July. Lynch married actress Emily Stofle, who appeared in his 2006 film ''Inland Empire'', in February, 2009.

Politically, Lynch has stated that he admired former president Ronald Reagan. He was drawn to Reagan for his "cowboy" image and belief in personal freedom. However, Lynch endorsed the Natural Law Party in the 2000 presidential election and has said that he's "not a political person".

Transcendental Meditation

Lynch advocates the use of meditation techniques in bringing peace to the world. He was first initiated into Transcendental Meditation in July 1973, and has practiced the technique consistently since then. Lynch says he met Maharishi Mahesh Yogi, the founder of the TM movement, for the first time in 1975 at the Spiritual Regeneration Movement center in Los Angeles, California. He reportedly became close with Maharishi during a month-long "Millionaire's Enlightenment Course" held in 2003, the fee for which was 1 million.

In July 2005, he launched the David Lynch Foundation For Consciousness-Based Education and Peace, established to help finance scholarships for students in middle and high schools who are interested in learning the Transcendental Meditation technique and to fund research on the technique and its effects on learning. He promotes his vision on college campuses with tours that began in September 2005.

Lynch is working for the building and establishment of seven buildings, in which 8,000 salaried people will practice advanced meditation techniques, "pumping peace for the world". He estimates the cost at $7 billion. As of December 2005, he had spent $400,000 of personal money, and raised $1 million in donations. In December 2006, the ''New York Times'' reported that he continued to have that goal.

Lynch's book, ''Catching the Big Fish'' (Tarcher/Penguin 2006), discusses the impact of the Transcendental Meditation technique on his creative process. He is donating all author's royalties to the David Lynch Foundation.

Lynch attended the funeral of the Maharishi in India in 2008. He told a reporter, "In life, he revolutionised the lives of millions of people. ... In 20, 50, 500 years there will be millions of people who will know and understand what the Maharishi has done." In 2009, he went to India to film interviews with people who knew the Maharishi as part of a biographical documentary.

In 2009, Lynch organized a benefit concert at Radio City Music Hall for the David Lynch Foundation. On April 4, 2009, the "Change Begins Within" concert featured Paul McCartney, Ringo Starr, Donovan, Sheryl Crow, Eddie Vedder, Moby, Bettye LaVette, Ben Harper, and Mike Love of the Beach Boys.

''David Wants to Fly'', released in May 2010, is a documentary by German filmmaker David Sieveking "that follows the path of his professional idol, David Lynch, into the world of Transcendental Meditation (TM)."

An independent project starring Lynch is called ''Beyond The Noise: My Transcendental Meditation Journey.'' It is directed by young film student Dana Farley, who has severe Dyslexia and Attention deficit disorder. Farley started Transcendental Meditation when she was 16 and it enabled her to overcome the stresses of getting through her last years of high school and into college. Filmmaker Kevin Sean Michaels is one of the producers and the film will be at film festivals in 2011.

Website

Lynch designed his personal website, a site exclusive to paying members, where he posts short videos and his absurdist series ''Dumbland'', plus interviews and other items. The site also featured a daily weather report, where Lynch gives a brief description of the weather in Los Angeles, where he resides. Until June 2010, this weather report (usually no longer than 30 seconds) was also being broadcast, on his personal YouTube-channel ''David Lynch – Daily Weather Report''. An absurd ringtone ("I like to kill deer") from the website was a common sound bite on ''The Howard Stern Show'' in early 2006.

Lynch is an avid coffee drinker and even has his own line of special organic blends available for purchase on his website. Called "David Lynch Signature Cup", the coffee has been advertised via flyers included with several recent Lynch-related DVD releases, including ''Inland Empire'' and the Gold Box edition of ''Twin Peaks''. The possibly self-mocking tag-line for the brand is "It's all in the beans ... and I'm just full of beans." This is also a quote of a line said by Justin Theroux's character in ''Inland Empire''.

Discography

Eraserhead (Original Soundtrack)

Twin Peaks: Season Two Music And More

The Air is on Fire (Exhibition Soundscape) (2007)

Polish Night Music (2007)

Ghost of Love - single (2007)

Good Day Today / I Know - single (2010)

Crazy Clown Time (2011)

Filmography

Features

''The Elephant Man (film) ''Dune (film) ''Blue Velvet (film) ''Wild at Heart (film) ''Twin Peaks: Fire Walk with Me'' ''Lost Highway (1997 film) ''The Straight Story'' ''Mulholland Drive (film) ''Inland Empire (film)

rowspan=2	Year	Film	! colspan=2	BAFTA		! colspan=2	Cannes Film Festival
Nominations	Wins		Nominations	Wins	Nominations	Wins	Nominations	Wins
1977	''Eraserhead''	|
1980	The Elephant Man'' ||	8		7	3	4
1984	Dune'' ||	1
1986	Blue Velvet'' ||	1				2
1990	Wild at Heart'' ||	1		1		1		Palme d'Or	Palme d'Or
1992	|							Palme d'Or
1997	Lost Highway'' ||
1999	|	1				2		Palme d'Or
2001	Mulholland Drive'' ||	1		2	1	4		Palme d'Or	Best Director
2006	Inland Empire'' ||

Short films

Year	! Film	! Available
1966	''Six Men Getting Sick''	''The Short Films of David Lynch''
1967	''Absurd Encounter with Fear''
1967	''Fictitious Anacin Commercial''
1968	''The Alphabet''
1970	''The Grandmother''
1974	''The Amputee''
1988	''The Cowboy and the Frenchman''
1990	''Industrial Symphony No. 1: The Dream of the Broken Hearted''
1995	''Premonitions Following an Evil Deed''
2002	''Darkened Room''
2006
2007	Boat (2007 film)>Boat''
2007	''Bug Crawls''
2008	''Scissors''
2010	''Lady Blue Shanghai''

Television series

!Year	!Series	!Episodes
1990–1991	''Twin Peaks''	30
1992		7
1993	''Hotel Room''	3

Online series

!Year	!Series	!Episodes	!Available on DVD
2002		8	The Lime Green Set DVD
2002	''Dumbland''	8	The Lime Green Set DVD
	''Out Yonder''		The Lime Green Set DVD
2009	''Interview Project''

Music videos

!Year	!Song	!Musician
1982	''I Predict''
1990	''Wicked Game'' (film version)	Chris Isaak
1992		Michael Jackson
1995
1996		Rammstein
2009	''Shot in the Back of the Head''	Moby

Other

In October, 2008, at the OMMA Video Conference, Jen Gregono, chief content officer at On Networks, announced that her company signed Lynch to a webisode series based on his book, ''Catching the Big Fish: Meditation, Consciousness and Creativity''.

Awards and nominations

'''Academy Awards:

1980: Best Director and Best Adapted Screenplay (''The Elephant Man'', nominated)

1987: Best Director (''Blue Velvet'', nominated)

2002: Best Director (''Mulholland Dr.'', nominated)

'''BAFTA Awards:

1981: Best Direction (''The Elephant Man'', nominated)

1981: Best Screenplay (''The Elephant Man'', nominated)

'''Cannes Film Festival:

1990: Golden Palm (''Wild at Heart'', won)

1992: Golden Palm (''Twin Peaks: Fire Walk with Me'', nominated)

1999: Golden Palm (''The Straight Story'', nominated)

2001: Best Director (''Mulholland Dr.'', won Tied with Joel Coen for ''The Man Who Wasn't There)

2001: Golden Palm (''Mulholland Dr.'', nominated)

'''DGA Award:

1981: Outstanding Directorial Achievement in Motion Pictures (''The Elephant Man'', nominated)

'''Emmy Awards:

1990: Outstanding Achievement in Main Title Theme Music (''Twin Peaks'', nominated)

1990: Outstanding Achievement in Music and Lyrics (''Twin Peaks'' for the song "Into the Night", nominated)

1990: Outstanding Directing in a Drama Series (''Twin Peaks'' for the pilot episode, nominated)

1990: Outstanding Writing in a Drama Series (''Twin Peaks'' for the pilot episode, nominated)

1990: Outstanding Drama Series (''Twin Peaks'')

'''Golden Globes:

1980: Best Director (''The Elephant Man'', nominated)

1987: Best Screenplay (''Blue Velvet'', nominated)

2002: Best Director (''Mulholland Dr.'', nominated)

2002: Best Screenplay (''Mulholland Dr.'', nominated)

'''Independent Spirit Awards:

1987: Best Director (''Blue Velvet'', nominated)

1987: Best Screenplay (''Blue Velvet'', nominated)

2000: Best Director (''The Straight Story'', nominated)

2007: Special Distinction Award (Shared with Laura Dern for their collaborative work, won)

'''Saturn Awards:

1993: Best Writing (''Twin Peaks: Fire Walk with Me'', nominated)

1993: Life Career Award (won)

2002: Best Director (''Mulholland Dr.'', nominated)

'''Venice Film Festival:

2006: Future Film Festival Digital Award (''Inland Empire'' won)

2006: Career Golden Lion (won)

'''WGA Award:

1981: Best Drama Adapted from Another Medium (''The Elephant Man'', nominated)

1987: Best Original Screenplay (''Blue Velvet'', nominated)

Recurring cast

Lynch has cast certain actors in multiple films. ''The Elephant Man'' is not listed because it does not include any collaborated actors.

!	! ''Eraserhead''	Dune (film)>Dune''	Blue Velvet (film)>BlueVelvet''	Wild at Heart (film)>Wild atHeart''	Twin Peaks: Fire Walk with Me>Twin Peaks: FireWalk with Me''	Lost Highway (1997 film)>Lost Highway''	The Straight Story>The StraightStory''	Mulholland Drive (film)>MulhollandDrive''	Inland Empire (film)>InlandEmpire''
Jeanne Bates
Laura Dern
Jack Fisk
Laura Harring
Diane Ladd
Sheryl Lee
Kyle MacLachlan
Jack Nance
Isabella Rossellini
Harry Dean Stanton
Charlotte Stewart
Dean Stockwell
Justin Theroux
Naomi Watts

References

;Notes

;Footnotes

;Bibliography }}

''David Lynch: Interviews'', a collection of interviews with Lynch from 1977 to 2008, edited by Richard A. Barney for the series Conversations with Filmmakers (University Press of Mississippi, 2009, ISBN 978-1-60473-237-5 [paperback], ISBN 978–1604732369 [hardback]). This volume covers topics that include Lynch's filmmaking, furniture design, painting, and music career.

''Lynch on Lynch'', a book of interviews with Lynch, conducted, edited, and introduced by filmmaker Chris Rodley (Faber & Faber Ltd., 1997, ISBN 0–571–19548–2; revised edition published by Farrar Straus & Giroux, 2005, ISBN 0–571–22018–5).

''The Passion of David Lynch: Wild at Heart in Hollywood'' by Martha Nochimson (University of Texas Press, 1997, ISBN 0–292–75565–1).

''The Complete Lynch'' by David Hughes (Virgin Virgin, 2002, ISBN 0–7535–0598–3).

''Weirdsville U.S.A.: The Obsessive Universe of David Lynch'' by Paul A. Woods (Plexus Publishing. UK, Reprint edition, 2000, ISBN 0–85965–291–2).

''David Lynch'' (Twayne's Filmmakers Series) by Kenneth C. Kaleta (Twayne Publishers, 1992, ISBN 0–8057–9323–2).

''Pervert in the Pulpit: Morality in the Works of David Lynch'' by Jeff Johnson (McFarland & Company, 2004, ISBN 0–7864–1753–6).

''Catching the Big Fish: Meditation, Consciousness, and Creativity'' by David Lynch (Jeremy P. Tarcher, 2006, ISBN 978-1-58542-540-2 / 978–1585425402).

''Snowmen'' by David Lynch (Foundation Cartier pour l'art contemporain, Paris, 2008, ISBN 978–3–86521–467–6).

''David Lynch: Beautiful Dark'' by Greg Olson (Scarecrow Press, 2008, ISBN 0–8108–5917–3).

''The Film Paintings of David Lynch: Challenging Film Theory'' by Allister Mactaggart (Intellect, 2010, ISBN 978–1–84150–332–5).

''David Lynch – Un cinéma du maléfique'', by Enrique Seknadje, Editions Camion Noir, 2010. ISBN 978–2–35779–086–5

''David Lynch in Theory'', a collection of essays edited by Francois-Xavier Gleyzon (Charles University Press, 2010) ISBN 978–80–7308–317–5.

External links

David Lynch Foundation : Education : Transcendental Meditation

World of David Lynch

David Lynch at Allmovie

David Lynch at Moviefone

David Lynch at Rotten Tomatoes

Site about the Artwork of Lynch

Bibliography of books and articles about Lynch via UC Berkeley Media Resources Center

Interviews

* Film Threat interview

* Wired interview

* Guardian interview

* Interviews for Cinefantastique

Category:1946 births Category:American artists Category:American animators Category:American comic strip cartoonists Category:American composers Category:American experimental filmmakers Category:American film directors Category:American Film Institute Conservatory alumni Category:American musicians Category:American painters Category:American Presbyterians Category:César Award winners Category:Eagle Scouts Category:Surrealist filmmakers Category:American people of Finnish descent Category:Living people Category:People from Missoula, Montana Category:Transcendental Meditation practitioners Category:Pennsylvania Academy of the Fine Arts alumni Category:People from Los Angeles, California Category:Officiers of the Légion d'honneur

ar:ديفيد لينش bn:ডেভিড লিঞ্চ bs:David Lynch br:David Lynch bg:Дейвид Линч ca:David Lynch cs:David Lynch da:David Lynch de:David Lynch et:David Lynch es:David Lynch eo:David Lynch eu:David Lynch fa:دیوید لینچ fr:David Lynch gl:David Lynch ko:데이비드 린치 hy:Դեյվիդ Լինչ hr:David Lynch io:David Lynch id:David Lynch it:David Lynch he:דייוויד לינץ' la:David Lynch lv:Deivids Linčs lt:David Lynch li:David Lynch lmo:David Lynch hu:David Lynch mk:Дејвид Линч nl:David Lynch ja:デヴィッド・リンチ no:David Lynch nn:David Lynch pl:David Lynch pt:David Lynch ro:David Lynch ru:Линч, Дэвид sq:David Lynch simple:David Lynch sk:David Lynch sr:Дејвид Линч fi:David Lynch sv:David Lynch tr:David Lynch uk:Девід Лінч zh:大卫·林奇

name	János Szász
birth date	March 14, 1958
birth place	Budapest, Hungary
occupation	Film directorScreenwriter
yearsactive	1983 - present }}

János Szász (born 14 March 1958) is an Hungarian film director, screenwriter and theater director. He has directed eleven films since 1983. His film ''Witman fiúk'' was screened in the Un Certain Regard section at the 1997 Cannes Film Festival. Szász was the Director of the American Repertory Theater Institute and a faculty member from 2001–03. He has directed numerous theatrical productions including six stagings with the American Repertory Theater.

Filmography

''Tavaszi zápor'' (1983)

''Escorial'' (1984)

''A léderer-ügy'' (1985)

''Utóirat'' (1987)

''Szédülés'' (1990)

''Woyzeck'' (1994)

''Witman fiúk'' (1997)

''Temetés'' (1998)

''A Holocaust szemei'' (2000)

''Ópium: Egy elmebeteg nö naplója'' (2007)

''Le grand cahier'' (2011)

Stage Productions at the American Repertory Theater

Mother Courage and Her Children (2001)

Marat/Sade (2002)

Uncle Vanya (2002)

Desire Under the Elms (2005)

The Seagull (2009)

Alice vs. Wonderland (2010)

Nutcracker Turbo (2011)

References

External links

Category:1958 births Category:Living people Category:Hungarian film directors Category:Hungarian screenwriters Category:People from Budapest

hu:Szász János (rendező) ru:Сас, Янош

250px|rightPhilippe Jaroussky (born 13 February 1978 in Maisons-Laffitte, France) is a French sopranist countertenor. He began his musical career with the violin, winning an award at the Versailles conservatory and then took up the piano before turning to singing. He is noted for a virtuosic coloratura technique and for compelling and enlivened interpretations of baroque cantatas and operas.

Jaroussky was inspired to sing by the Martinique-born countertenor Fabrice di Falco. He received his diploma from the Early Music Faculty of the Conservatoire de Paris. Since 1996, he has studied singing with Nicole Fallien. He has formed his own ensemble called Artaserse, and also often performs with the Ensemble Matheus under Jean-Christophe Spinosi and with L'Arpeggiata under Christina Pluhar.

Reception and awards

According to La Terrasse, "this young singer with the tone of an angel and the virtuosity of the devil has come into the limelight in only a few years as the great new French vocal talent." He received the 2007 best French lyrical artist award. Jaroussky was awarded "The Best Singer of the Year" at the Echo Classic Awards, 2008.

Discography

Alessandro Scarlatti: ''Sedecia, Re di Gerusalemme''. Lesne, Pochon, Harvey, Padmore. Il Seminario Musicale, Gérard Lesne. Virgin Veritas (rec. November 1999, École Sainte-Geneviève, Versailles, France)

Claudio Monteverdi: ''L'incoronazione di Poppea''. Laurens, Oliver, Schofrin, Oro. Ensemble Elyma, Gabriel Garrido. K617 (rec. July/August 2000, Chiesa San Martino, Erice, Italy)

Pierre Menault: ''Vêpres pour le Pére la Chaize''. Greuillet, Janssens, Lombard, van Dyck. Ensemble La Fenice, Jean Tubéry. K617 (rec. April 2001, chiesa Saint-Lazare, Avallon, France)

Giovanni Battista Bassani: ''La morte delusa''. Galli, del Monaco, Piolino, Sarragosse. Ensemble La Fenice, Jean Tubéry. Opus 111 (rec. August 2001, Delft, Nederland)

Antonio Vivaldi: ''Catone in Utica''. Edwards, Laszczkowski, Cangemi, Faraon. La Grande Écurie, Jean-Claude Malgoire. Dynamic (rec. November 2001, Théâtre Municipal, Tourcoing, France)

Antonio Vivaldi: ''La Verità in cimento''. Rolfe-Johnson, Stutzmann, Laurens, Mingardo. Ensemble Matheus, Jean-Christophe Spinosi. Naïve – Opus 111 (rec. September 2002, Eglise de Daoulas, Bretagne, France)

Solo recital: Benedetto Ferrari: ''Musiche varie''. Ensemble Artaserse. Ambroisie (rec. October/December 2002, Chapelle Jésus-Enfant – Paroisse Ste. Clothilde, Paris, France)

George Frideric Handel: ''Agrippina''. Gens, Perruche, Smith, Grégoire, di Falco. La Grande Écurie, Jean-Claude Malgoire. Dynamic (rec. March 2003, Théâtre Municipal, Tourcoing, France)

Solo recital: ''Un concert pour Mazarin''. Ensemble La Fenice, Jean Tubéry. Virgin Classics, 2004 (rec. June 2003, Abbaye de Saint-Michel, Thiérache, France)

Claudio Monteverdi: ''Selva morale e spirituale''. Spiritualità e liturgia / I salmi vespertini / Vespro dei Martiri / L'eloquenza divina. Ensemble Elyma, Gabriel Garrido. Ambronay Edition (rec. 2003/2004, Festival d'Ambronay, France)

Antonio Vivaldi: ''Orlando furioso''. Larmore, Lemieux, Cangemi. Ensemble Matheus, Jean-Christophe Spinosi. Naïve – Opus 111 (rec. June 2004, Eglise de Daoulas, Bretagne, France)

Claudio Monteverdi: ''L'Orfeo''. van Rensburg, Gerstenhaber, Thébault, Gerstenhaber, Gillot, Kaïque. La Grande Écurie, Jean-Claude Malgoire. Dynamic (rec. October 2004, Théâtre Municipal, Tourcoing, France)

Solo recital: Antonio Vivaldi: ''Virtuoso cantatas''. Ensemble Artaserse. Virgin Veritas (rec. October 2004, Chapelle des sœurs auxiliaires, Versailles, France)

Antonio Vivaldi: ''Griselda''. Lemieux, Cangemi, Kermes, Ferrari, Davies. Ensemble Matheus, Jean-Christophe Spinosi. Naïve – Opus 111 (rec. November 2005, Salle Surcouf, Foyer du Marin, Brest, France)

Solo recital: ''Beata Vergine'', Motets à la Vierge entre Rome et Venise, Grandi, Legrenzi, Cavalli, Antonio Rigatti, Giovanni Paolo Caprioli, Frescobaldi, Sances, Ensemble Artaserse. Virgin Classics (rec. December 2005, Eglise Notre-Dame du Liban, Parigi, France)

Solo recital: ''Vivaldi Heroes''. Ensemble Matheus, Jean-Christophe Spinosi. Virgin Classics (rec. October 2006, Auditorium de l'Ecole Nationale de Musique, Brest, France)

Solo recital: ''Carestini, the story of a castrato''. Le Concert d'Astrée, Emmanuelle Haïm. Virgin Classics, 2007

J. S. Bach: ''Magnificat'' – G. F. Handel: ''Dixit Dominus''. Dessay, Deshayes, Spence, Naouri. Le Concert d'Astrée, Emmanuelle Haïm. Virgin Classics, 2007

Antonio Vivaldi: ''Nisi Dominus and Stabat Mater''. Philippe Jaroussky, Lemieux. Ensemble Matheus, Jean-Christophe Spinosi. Naïve (rec. July 2007, Salle Surcouf, Brest (France))

Solo recital: ''Opium – Mélodies françaises''. Philippe Jaroussky, Jerôme Ducros. Virgin Classics, 2009. – songs by Debussy, Hahn, Fauré, César Franck, Massenet, Ernest Chausson, André Caplet, Saint-Saëns, Paul Dukas, Guillaume Lekeu, Cécile Chaminade, Gabriel Dupont, Vincent d'Indy.

''Via Crucis''. Claudio Monteverdi, Benedetto Ferrari, Heinrich Ignaz Franz von Biber, Giovanni Legrenzi, Luigi Rossi, Tarquinio Merula, L'Arpeggiata, dir. Christina Pluhar, Philippe Jaroussky, Nuria Rial, Enzo Gragnaniello, Barbara Furtuna. Jean-Philippe Guissani, Giovanni Antonio, Pandolfi Mealli, Roccu Mambrini, Toni Casalonga, Nando Acquaviva, Lorenzo Allegri, Virgin Classics, 2010.

Solo recital: J. C. Bach Opera arias. Le Cercle de l'Harmonie, dir. Jérémie Rhorer Virgin. – awarded the Diapason d’Or de l’Année 2010 in France.

Solo recital: ''Caldara in Vienna'' (Forgotten Castrato Arias) Philippe Jaroussky / Concerto Köln, Emmanuelle Haïm

Vivaldi Ercole sul Termodonte Diana Damrau, Vivica Genaux, Romina Basso, Patrizia Ciofi, Joyce DiDonato, Rolando Villazon, Philippe Jaroussky, Topi Lehtipuu, dir. Fabio Biondi, Europa Galante, Virgin Classics. 2011

References

External links

Concerts Parisiens

Philippe Jaroussky International Forum

Performance of aria "Vedrò con mio diletto" (Vivaldi, "Il Giustino") on YouTube

Philippe Jaroussky recordings on Virgin Classics

Philippe Jaroussky videos on MaleSopranos.com

New York Times Sunday Magazine profile

Category:1978 births Category:Living people Category:French male singers Category:French opera singers Category:Operatic countertenors Category:French people of Russian descent

bg:Филип Жаруски cs:Philippe Jaroussky de:Philippe Jaroussky es:Philippe Jaroussky fr:Philippe Jaroussky gl:Philippe Jaroussky hy:Ֆիլիպ Ժարուսկի it:Philippe Jaroussky ja:フィリップ・ジャルスキー pl:Philippe Jaroussky pt:Philippe Jaroussky ru:Жаруски, Филипп sv:Philippe Jaroussky

name	Nick Cave
background	solo_singer
born	September 22, 1957Warracknabeal, Victoria, Australia
instrument	Guitar, piano, keyboards, vocals
genre	Post-punk, alternative rock, garage rock
occupation	Singer-songwriter, multi-instrumentalist, writer, actor
years active	1973–present
label	Mute
associated acts	Boys Next Door, Nick Cave and the Bad Seeds, Grinderman, The Birthday Party
notable instruments	}}

Nicholas Edward "Nick" Cave (born 22 September 1957) is an Australian musician, songwriter, author, screenwriter, and occasional film actor.

He is best known for his work as a frontman of the critically acclaimed rock band Nick Cave and the Bad Seeds, established in 1984, a group known for its eclectic influences and musical styles. Before that, he had fronted the group The Birthday Party in the early 1980s, a band renowned for its highly dark, challenging lyrics and violent sound influenced by free jazz, blues, and post-punk. In 2006, he formed the garage rock band Grinderman that released its debut the following year. Cave's music is generally characterised by emotional intensity, a wide variety of influences, and lyrical obsessions with "religion, death, love, America, and violence."

Upon Cave's induction into the ARIA Hall of Fame, ARIA Awards committee chairman Ed St John said, “Nick Cave has enjoyed—and continues to enjoy—one of the most extraordinary careers in the annals of popular music. He is an Australian artist like Sidney Nolan is an Australian artist—beyond comparison, beyond genre, beyond dispute."

Youth and education

Cave was born in the small town of Warracknabeal in the state of Victoria, Australia, to Dawn and Colin Cave. He has two brothers: Tim (b. 1952) and Peter (b. 1954), and a sister, Julie (b. 1959). As a child, he lived in Warracknabeal and then Wangaratta in rural Victoria. His father was an English teacher and administrator, with a love of literature, and his mother was a librarian. His grandfather, Frank J. Cave, was a prominent radio broadcaster and documentary film producer.

Raised as an Anglican, Cave sang in the boys choir at Wangaratta Cathedral. He grew to detest the attitudes of small-town Australia, and he was often in trouble with the local school authorities, so his parents sent him to boarding school at Melbourne's Caulfield Grammar School in 1970. Cave joined the school choir under choirmaster Norman Kaye, and also benefited from having a piano in his home. The following year he became a "day boy" when his family moved to Murrumbeena, a suburb of Melbourne. Cave was 19 when his father was killed in a car accident; at the moment he was informed of this, his mother Dawn Cave was bailing him out of a St Kilda police station for a charge of burglary. Cave would later recall that his father "died at a point in my life when I was most confused", and "the loss of my father created in my life a vacuum, a space in which my words began to float and collect and find their purpose".

After his secondary schooling, Cave studied painting (Fine Art) at the Caulfield Institute of Technology (now Monash University, Caulfield Campus) in 1976, but dropped out in 1977 to pursue music. He also began using heroin around this time. On 28 March 2008, he received an honorary Doctor of Laws from this university.

Music career

Early years and The Birthday Party (1973–84)

In 1973, Cave met Mick Harvey (guitar), Phill Calvert (drums), John Cochivera (guitar), Brett Purcell (bass), and Chris Coyne (saxophone); fellow students at Caulfield Grammar. They founded a band with Cave as singer. Their repertoire consisted of proto-punk cover versions of songs by Lou Reed, David Bowie, Alice Cooper, Roxy Music and Alex Harvey, among others. Later, the line-up slimmed down to four members including Cave's friend Tracy Pew on bass. In 1977, after leaving school, they adopted the name The Boys Next Door and began playing predominantly original material. Guitarist and songwriter Rowland S. Howard joined the band in 1978, expanding to five members.

From 1977 until their dissolution in 1984 (by which time they were known as The Birthday Party) the band explored various styles. They were a part of Melbourne's post-punk music scene in the late 1970s, playing hundreds of live shows in Australia before changing their name to the Birthday Party in 1980 and moving to London, then West Berlin. Cave's Australian girlfriend and muse Anita Lane accompanied them to London. The band were notorious for their provocative live performances which featured Cave shrieking, bellowing and throwing himself about the stage, backed up by harsh pounding rock music laced with guitar feedback. At that time, Cave became a regular member of a gothic club in London called The Batcave.

After establishing a cult following in Europe and Australia, The Birthday Party disbanded in 1984. Howard and Cave found it difficult to continue working together and both were rather worn down from alcohol and drug use.

Current career with The Bad Seeds (since 1984)

The band with Cave as their leader and frontman has released fourteen studio albums. Their most recent album, ''Dig, Lazarus, Dig!!!'' was released on 8 April 2008. Though their sound tends to change considerably from one album to another, the one constant of the band is an unpolished blending of disparate genres, and song structures which provide a vehicle for Cave's virtuosic, frequently histrionic theatrics.

Critics Stephen Thomas Erlewine and Steve Huey write, "With the Bad Seeds, Cave continued to explore his obsessions with religion, death, love, America, and violence with a bizarre, sometimes self-consciously eclectic hybrid of blues, gospel, rock, and arty post-punk, although in a more subdued fashion than his work with the Birthday Party". Pitchfork Media calls the group one of rock's "most enduring, redoubtable" bands, with an accomplished discography.

Cave and the band curated an edition of the famous All Tomorrow's Parties music festival, the first in Australia, throughout the country in January 2009.

Solo work and Grinderman

In addition to his performances with Nick Cave and the Bad Seeds, Cave has, since the 1990s, performed live 'solo' tours with himself on piano/vocals, Warren Ellis on violin/accordion and various others on bass and drums. The current trio are Bad Seeds' Martyn P. Casey, Jim Sclavunos and Ellis (nicknamed the ''Mini-Seeds''). In 2006, this line-up, now including Cave on electric guitar, continued his 'solo' tours performing Bad Seeds material.

In the same year three other Bad Seeds, Mick Harvey, Thomas Wydler and James Johnston, undertook Harvey's first 'solo' tours of Europe and Australia performing material from his own albums. Melbourne double bassist Rosie Westbrook completed the quartet.

An album of new material by Cave's 'solo' quartet, now named Grinderman, was released in March 2007.

Nick Cave 'solo' and Grinderman both played at the All Tomorrow's Parties music festival in April 2007. This was Grinderman's first public performance. Bobby Gillespie from Primal Scream accompanied Grinderman on backing vocals and percussion.

Soundtrack involvement

Many of Nick Cave's songs have found their way into movie soundtracks. One of the earliest to feature Cave's distinctive style by incorporating him as part of the movie's music scene—circa 1979—was ''Dogs in Space'', a film by Richard Lowenstein. Cave performed parts of the Boys Next Door song "Shivers" twice during the film, once on video and once live.

Another early fan of Cave's was German director Wim Wenders, who lists Cave, along with Lou Reed and Portishead, as among his favorites. Two of Cave's songs were featured in his 1987 film ''Wings of Desire''. Nick Cave and the Bad Seeds also make a cameo appearance in this film. Two more songs were included in Wenders' 1993 sequel ''Faraway, So Close!'', including the title track. The soundtrack for Wenders' 1991 film ''Until the End of the World'' features Cave's "(I'll Love You) Till the End of the World." His most recent production, ''Palermo Shooting'', also contains a Nick Cave song, as does his 2003 documentary ''The Soul of a Man''.

Cave's songs have also appeared in a number of Hollywood blockbusters and major TV shows. For instance, his "There is a Light" appears on the 1995 soundtrack for ''Batman Forever'', and "Red Right Hand" appeared in a number of films and TV shows, including ''The X-Files'', ''Dumb & Dumber''; ''Scream'', its sequels ''Scream 2'' and ''3'', and ''Hellboy'' (performed by Pete Yorn). In ''Scream 3'', the song was given a reworking with Cave writing new lyrics and adding an orchestra to the arrangement of the track. This version appears on The Bad Seeds B-Sides and Rarities album. The song "People Ain't No Good" was featured in the animated movie ''Shrek 2'', as well as in one of the episodes of the television series ''The L Word''. Cave also sang a cover of The Beatles' "Let It Be," for the 2001 film ''I Am Sam''.

Original material written for movie productions includes the song "To Be By Your Side," for the soundtrack of the 2001 French documentary ''Le Peuple Migrateur'' (called ''Winged Migration'' in the US). Cave composed the soundtrack for the 2005 film ''The Proposition'' with fellow Australian and Bad Seed Warren Ellis. Cave and Ellis once again collaborated on the music for the 2007 film ''The Assassination of Jesse James by the Coward Robert Ford''. Also in 2007, Cave and Ellis wrote the soundtrack for the feature documentary ''The English Surgeon''. The duo also provided original music for ''The Road'' in 2009 and the soundtrack for the audiobook of Cave's novel ''The Death of Bunny Munro''.

Most recently, his song "Up Jumped the Devil" was featured in the Remedy-developed 2010 video game Alan Wake.

Cave's song "O Children" was featured in the 2010 movie, though not in the official soundtrack, of ''Harry Potter and the Deathly Hallows - Part 1.''

Work with other artists

Nick Cave has also played with Shane MacGowan, in a cover version of Bob Dylan's "Death is Not the End", and Louis Armstrong's "What a Wonderful World". Cave has also performed "What a Wonderful World" live with The Flaming Lips. Cave recorded a cover version of the Pogues song "Rainy Night in Soho", written by MacGowan. MacGowan also sings a version of "Lucy", released on ''B-Sides and Rarities''. On 3 May 2008, during the ''Dig, Lazarus, Dig!!!'' tour Shane MacGowan joined Nick Cave and The Bad Seeds on stage to perform "Lucy" at Dublin Castle in Ireland. Pulp's single "Bad Cover Version" includes on its B-side a cover version by Cave of that band's song "Disco 2000". On the Deluxe Edition of Pulp's ''Different Class'' another take of this cover can be found.

In 2000, one of Cave's heroes, Johnny Cash, covered Cave's "The Mercy Seat" on the album ''American III: Solitary Man'', seemingly repaying Cave for the compliment he paid by covering Cash's "The Singer" (originally "The Folk Singer") on his ''Kicking Against the Pricks'' album. Cave was then invited to be one of many rock and country artists to contribute to the liner notes of the retrospective ''The Essential Johnny Cash'' CD, released to coincide with Cash's 70th birthday. Subsequently, Cave cut a duet with Cash on a version of Hank Williams' "I'm So Lonesome I Could Cry" for Cash's ''American IV: The Man Comes Around'' album (2002). A similar duet, the American folk song "Cindy", was released posthumously on the "Johnny Cash: Unearthed" boxset. Cave's song "Let the Bells Ring" is a posthumous tribute to Cash. Cave has also covered the song "Wanted Man" which is best known as performed by Johnny Cash but is a Bob Dylan composition.

In 2004, Cave gave a hand to Marianne Faithfull on the album, ''Before the Poison''. He co-wrote and produced three songs ("Crazy Love", "There is a Ghost" and "Desperanto"), and the Bad Seeds are featured on all of them. He is also featured on "The Crane Wife" (originally by The Decemberists), on Faithfull's 2008 album, ''Easy Come, Easy Go''.

Cave collaborated with the band Current 93 on their album ''All the Pretty Little Horses'', where he sings the title track, a lullaby. For his 1996 album ''Murder Ballads'', Cave recorded "Where The Wild Roses Grow" with Kylie Minogue, and "Henry Lee" with P.J. Harvey.

Cave also took part in the "X-Files" compilation CD with some other artists, where he reads parts from the Bible combined with own texts, like "Time Jesum...", he outed himself as a fan of the series some years ago, but since he does not watch much TV, it was one of the only things he watched. He collaborated on the 2003 single "Bring It On", with Chris Bailey, formerly of the Australian punk group, The Saints. Cave contributed vocals to the song "Sweet Rosyanne", on the 2006 album ''Catch That Train!'' from Dan Zanes & Friends, a children's music group.

Literary career

Cave released his first book, ''King Ink'', in 1988. It is a collection of lyrics and plays, including collaborations with American ''enfant terrible'' Lydia Lunch. In 1997, he followed up with ''King Ink II'', containing lyrics, poems, and the transcript of a radio essay he did for the BBC in July 1996, "The Flesh Made Word," discussing in biographical format his relationship with Christianity. While he was based in West Berlin, Cave started working on what was to become his debut novel, ''And the Ass Saw the Angel'' (1989). Significant crossover is evident between the themes in the book and the lyrics Cave wrote in the late stages of the Birthday Party and the early stage of his solo career. "Swampland", from ''Mutiny'', in particular, uses the same linguistic stylings ('mah' for 'my', for instance) and some of the same themes (the narrator being haunted by the memory of a girl called Lucy, being hunted like an animal, approaching death and execution). On 21 January 2008, a special edition of Cave's novel ''And the Ass Saw the Angel'' was released. Cave's second novel, ''The Death of Bunny Munro'' was published on 8 September 2009 by Harper Collins books. ''The Death of Bunny Munro'', which tells the story of a sex-addicted salesman, was also released as a binaural audio-book produced by British Artists Forsyth and Jane Pollard and an iPhone app. The book originally started as a screenplay Cave was going to write for John Hillcoat.

As proof of his interest in scripture, so evident in his lyrics and his prose writing, Cave wrote the foreword to a Canongate publication of the ''Gospel according to Mark'', published in the UK in 1998. The American edition of the same book (published by Grove Press) contains a foreword by the noted American writer Barry Hannah.

Cave and Ellis composed scores for a production by the Icelandic theatre company Vesturport of ''Woyzeck'' by Georg Büchner, performed at the Barbican Theatre in the Barbican Arts Centre in London in 2005, and a stage adaptation of Franz Kafka's ''The Metamorphosis'' at the Lyric Hammersmith in London in 2006.

Cave is a contributor to the 2009 rock biography on The Triffids ''Vagabond Holes: David McComb and the Triffids'', edited by Australian academics Niall Lucy and Chris Coughran.

Acting and screenwriting

Cave has made occasional appearances as an actor, most prominently in the 1989 film ''Ghosts ... of the Civil Dead'', written and directed by John Hillcoat, and in the 1991 film ''Johnny Suede'', with Brad Pitt.

Cave appeared in the 2005 homage to Leonard Cohen, ''Leonard Cohen: I'm Your Man'', in which he performed "I'm Your Man" solo, and "Suzanne" with Julie Christensen and Perla Batalla. He also appeared in the 2007 film adaptation of Ron Hansen's novel ''The Assassination of Jesse James by the Coward Robert Ford'', where he sings a song about Jesse James. Cave and Warren Ellis are credited for the film's soundtrack.

Nick Cave and the Bad Seeds are also featured in Wim Wenders' 1987 film ''Wings of Desire''.

Displaying a keen interest in other aspects of film, Cave wrote the screenplay for ''The Proposition'', a film set in the colonial Australian Outback. Directed by John Hillcoat and filmed in Queensland in 2004, it premiered in October 2005 and has since been released worldwide to critical acclaim. The movie reviewer for British newspaper ''The Independent'' called it "peerless," "a star-studded and uncompromisingly violent outlaw film." It even features on a website promoting tourism to the area. The generally ambient soundtrack was recorded by Cave and Warren Ellis.

At the request of friend Russell Crowe, Cave wrote a script for a proposed sequel to ''Gladiator'' which was rejected by the studio.

His interest in the work of Edward Gorey led to his participation in the BBC Radio 3 programme, guest+host=ghost, featuring Peter Blegvad and the radiophonic sound of the Langham Research Centre.

Cave has also lent his voice in narrating an award winning animated film called ''The Cat Piano''. It was directed by Eddie White and Ari Gibson (of The People's Republic Of Animation), produced by Jessica Brentnall and has music by Benjamin Speed.

Cave wrote the screenplay for ''The Wettest County in the World''. He has also completed the script for a new film titled ''Death of a Ladies' Man'' and will rewrite the script of ''The Crow'' remake.

Personal life

Cave dated Anita Lane from the late 1970s to mid 1980s. She had an undeniably strong influence upon Cave and his work, often cited as his "muse". Despite this, Cave and Lane recorded together on only a few occasions. Their most notable collaborations include Lane's 'cameo' verse on Cave's Bob Dylan cover "Death Is Not The End" from the album ''Murder Ballads'', and a cover of the Serge Gainsbourg/Jane Birkin song "Je t'aime/ I love you nor do I". Lane co-wrote the lyrics to the title track for Cave's 1984 LP, ''From Her to Eternity'', as well as the lyrics of the song "Stranger Than Kindness" from ''Your Funeral, My Trial''. Cave, Lydia Lunch and Lane wrote a comic book together, entitled AS-FIX-E-8, in the style of the old "Pussy Galore"/Russ Meyer movies.

After completing his debut novel ''And the Ass Saw the Angel'', Cave left West Berlin shortly before the fall of the Berlin Wall and moved to São Paulo, Brazil, where he met Brazilian journalist Viviane Carneiro. The two have a son, Luke (b. 10 May 1991), but never married. Cave's son Jethro (born in 1991) lives with his mother, Beau Lazenby, in Australia and has a career in modelling.

Cave briefly dated PJ Harvey during the mid 1990s. The love affair and their break-up inspired him to write the album ''The Boatman's Call''.

He met British model Susie Bick in 1997. A cover star of the Damned's 1985 album ''Phantasmagoria'' and a Vivienne Westwood model, she gave up her job when they married in summer 1999. They have twin sons, Arthur and Earl (born in 2000). Cave and Bick lived for some time on a houseboat near Hove. They currently live in Brighton and Hove, England.

Cave performed "Into My Arms" at the televised funeral of Michael Hutchence, but refused to play in front of the cameras. Cave is godfather of Hutchence's only child, Heavenly Hiraani Tiger Lily.

In the past, Cave identified as a Christian. In his recorded lectures on music and songwriting, he has claimed that any true love song is a song for God and has ascribed the mellowing of his music to a shift in focus from the Old to the New Testaments. He does not belong to a particular denomination and has distanced himself from "religion as being an American thing, in which the name of God has been hijacked". In an interview in ''The Guardian'' in 2009, he said: "Do I personally believe in a personal God? No." He elaborated in a recent ''Los Angeles Times'' article: "I'm not religious, and I'm not a Christian, but I do reserve the right to believe in the possibility of a god. It's kind of defending the indefensible, though; I'm critical of what religions are becoming, the more destructive they're becoming. But I think as an artist, particularly, it's a necessary part of what I do, that there is some divine element going on within my songs.".

Discography

Soundtracks/scores

''Ghosts... of the Civil Dead'', soundtrack (1988) – composed with Mick Harvey & Blixa Bargeld

''And the Ass Saw the Angel'', readings of the novel (1988), plus theatre score (1993) – text by Cave, music composed by Harvey and Ed Clayton-Jones

''To Have and to Hold'', soundtrack (1996) – composed with Harvey & Bargeld

''Woyzeck'', theatre score (2005) – composed with Warren Ellis

''The Proposition'', soundtrack (2005) – composed with Ellis

''Metamorphosis'', theatre score (2006) – composed with Ellis

''The Assassination of Jesse James by the Coward Robert Ford'', soundtrack (2007) – composed with Ellis

''The English Surgeon'', soundtrack (2007) – composed with Ellis ''The Death of Bunny Munro'', soundtrack (2009) – composed with Ellis ''The Road'', soundtrack (2009) – composed with Ellis ''The Wettest County in the World'' (2012)

Contributions/appearances

Die Haut and Nick Cave: ''Burnin' the Ice'' (1982), features Nick Cave's vocals on 4 songs.

''September Songs: The Music of Kurt Weill'' produced by Hal Willner. Cave contributes a cover version of "Mack the Knife".

''Nick Cave i Przyjaciele'' (''Nick Cave and Friends'') (2001). A tribute album by Polish musicians. Cave appears on tracks 1 & 10.

''I Am Sam'' (2002). Cave contributes a cover version of The Beatles' "Let It Be", which was later issued as a single with a cover version of "Here Comes the Sun" as the B-side.

"Kiss of Love" (duet with Sam Brown) from Jools Holland's 2003 album ''Small World Big Band Friends 3 – Jack O The Green''.

''Rogue's Gallery: Pirate Ballads, Sea Songs, and Chanteys'' (2006). Cave contributes the tracks "Fire Down Below" and "Pinery Boy".

"Bad Cover Version" single by Pulp. Cave contributes a cover version of Pulp's "Disco 2000".

"Helpless" single by Neil Young. He did this in 1989 for the Neil Young tribute album ''The Bridge''.

''American IV: The Man Comes Around'' (2003) Duet with Johnny Cash on "I'm So Lonesome I Could Cry".

''Batman Forever'' soundtrack — contributes the track "There is a Light"

Ute Lemper's ''Punishing Kiss''. Cave co-wrote (with Bruno Pisek) "Little Water Song".

"''To Be By Your Side''" – from the OST for French documentary film ''Le Peuple Migrateur'' (2001).

Cave performs "I'm Your Man" and "Suzanne" in the documentary/concert film ''Leonard Cohen: I'm Your Man'' (2005).

Seasick Steve's song "Just Like A King" includes Cave's vocals

Nick Cave and the Bad Seeds appear on the Martin Scorsese series ''The Blues'' singing J. B. Lenoir's "I Feel So Good"

Nick Cave and the Bad Seeds song "Up Jumped The Devil" was featured in the video game ''Alan Wake''. (2010)

''Harry Potter and the Deathly Hallows - Part 1'' (2010). Cave contributed the song "O Children".

Nick Cave joins Neko Case to cover the The Zombies song ''She's Not There'' for HBO show True Blood. (2011)

Spoken-word lectures

''The Secret Life Of The Love Song & The Flesh Made Word: Two Lectures'' (2000).

Books by Nick Cave

''King Ink''. Los Angeles: 13 February 1961, 1988. ISBN 1-880985-08-X.

''And the Ass Saw the Angel'' Los Angeles: 13 February 1961, 1989. ISBN 1-880985-72-1.

''King Ink II''. Los Angeles: 13 February 1961, 1997. ISBN 2-84261-053-9.

Introduction to ''The Pocket Canons Bible Series: Authorised King James Version: The Gospel According to Mark''. Edinburgh: Canongate, 1998. ISBN 0-86241-796-1.

''Complete Lyrics''. London: Penguin, 2001. ISBN 0-14-100515-7.

* ''The Complete Lyrics'' (revised and updated). London: Penguin, 2007. ISBN 978-0-141-02714-2.

''The Death of Bunny Munro''. 2009

Awards and honours

2011 MOJO Awards: Song of the Year for "Heathen Child" by Grinderman

2010 made an honorary Doctor of Laws, by University of Dundee. 2008 ARIA Awards Male Artist of the Year (''Dig, Lazarus, Dig!!!'').

2008 MOJO Awards: Best Album of 2008 (''Dig, Lazarus Dig!!!'').

2008 Awarded an Honorary degree as Doctor of Laws, by Monash University. 2007 ARIA Awards ARIA Hall of Fame inductee.

2006 Venice Film Festival: Gucci Award (for the script to ''The Proposition'').

2005 Q magazine: Q Classic Songwriter Award.

2005 AFI Awards: Best Original Music Score with Warren Ellis (''The Proposition'').

2005 Inside Film Awards: Best Music (''The Proposition'').

2005 Film Critics Circle of Australia Awards: Best Musical Score (''The Proposition'').

2004 MOJO Awards: Best Album of 2004 (''Abattoir Blues/The Lyre of Orpheus'').

2001 ARIA Awards: Best Male Artist (''No More Shall We Part''). 2001 APRA Music Awards: "The Ship Song" voted in the Top 30 Best Australian Songs of the previous 75 years.

1997 APRA Music Awards: Songwriter of the year.

1997 ARIA Awards: Best Original Soundtrack (''To Have and to Hold''). 1996 ARIA Awards: Song of the Year & Single of the Year & Best Pop Release ("Where the Wild Roses Grow").

1996 MTV Europe Music Awards: Nick Cave formally requested that his nomination for "Best Male Artist" be withdrawn as he was not comfortable with the "competitive nature" of such awards.

1990 ''Time Out'' Magazine: Book Of The Year (''And the Ass Saw the Angel'').

Further reading

''Bad Seed: A Biography of Nick Cave'', Ian Johnston (1997) ISBN 0-316-90833-9

''The Life and Music of Nick Cave: An Illustrated Biography'', Maximilian Dax & Johannes Beck (1999) ISBN 3-931126-27-7

Liner notes to the CDs ''Original Seeds: Songs that inspired Nick Cave and the Bad Seeds'', Kim Beissel (1998 & 2004), Rubber Records

''Kicking Against the Pricks: An Armchair Guide to Nick Cave'', Amy Hanson (2005), ISBN 1-900924-96-X

''Nick Cave Stories'', Janine Barrand (2007)

''Cultural Seeds: Essays on the Work of Nick Cave'', eds. Karen Welberry and Tanya Dalziell (2009) ISBN 0754663957

''Nick Cave Sinner Saint: The True Confessions'', ed. Mat Snow (2011) ISBN 978-0-85965-448-7

References

External links

Nick Cave and the Bad Seeds official website

Nick Cave and the Bad Seeds official merchandise

Category:1957 births Category:Alternative rock musicians Category:ARIA Award winners Category:ARIA Hall of Fame inductees Category:Australian male singers Category:Australian novelists Category:Australian songwriters Category:People educated at Caulfield Grammar School Category:Gothic rock musicians Category:Living people Category:People from Wangaratta Category:Australian expatriates in the United Kingdom Category:Nick Cave and the Bad Seeds members Category:People from Brighton and Hove (district) Category:Post-punk musicians

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