A platter with cheese and garnishes

Wheels of Gouda

Cheese is a generic term for a diverse group of milk-based food products. Cheese is produced in wide-ranging flavors, textures, and forms.

Cheese consists of proteins and fat from milk, usually the milk of cows, buffalo, goats, or sheep. It is produced by coagulation of the milk protein casein. Typically, the milk is acidified and addition of the enzyme rennet causes coagulation. The solids are separated and pressed into final form.^[1] Some cheeses have molds on the rind or throughout. Most cheeses melt at cooking temperature.

Hundreds of types of cheese are produced. Their styles, textures and flavors depend on the origin of the milk (including the animal's diet), whether they have been pasteurized, the butterfat content, the bacteria and mold, the processing, and aging. Herbs, spices, or wood smoke may be used as flavoring agents. The yellow to red color of many cheeses is from adding annatto.

For a few cheeses, the milk is curdled by adding acids such as vinegar or lemon juice. Most cheeses are acidified to a lesser degree by bacteria, which turn milk sugars into lactic acid, then the addition of rennet completes the curdling. Vegetarian alternatives to rennet are available; most are produced by fermentation of the fungus Mucor miehei, but others have been extracted from various species of the Cynara thistle family.

Cheese is valued for its portability, long life, and high content of fat, protein, calcium, and phosphorus. Cheese is more compact and has a longer shelf life than milk, although how long a cheese will keep may depend on the type of cheese; labels on packets of cheese often claim that a cheese should be consumed within three to five days of opening. Generally speaking, hard cheeses last longer than soft cheeses, such as Brie or goat's milk cheese [7]. Cheesemakers near a dairy region may benefit from fresher, lower-priced milk, and lower shipping costs. The long storage life of some cheese, especially if it is encased in a protective rind, allows selling when markets are favorable.

Etymology[link]

Cheese on market stand in Basel, Switzerland

The word cheese comes from Latin caseus,^[2] from which the modern word casein is closely derived. The earliest source is from the proto-Indo-European root *kwat-, which means "to ferment, become sour".

More recently, cheese comes from chese (in Middle English) and cīese or cēse (in Old English). Similar words are shared by other West Germanic languages — West Frisian tsiis, Dutch kaas, German Käse, Old High German chāsi — all from the reconstructed West-Germanic form *kasjus, which in turn is an early borrowing from Latin.

When the Romans began to make hard cheeses for their legionaries' supplies, a new word started to be used: formaticum, from caseus formatus, or "molded cheese" (as in "formed", not "moldy"). It is from this word that the French fromage, Italian formaggio, Catalan formatge, Breton fourmaj, and Provençal furmo are derived. Cheese itself is occasionally employed in a sense that means "molded" or "formed". Head cheese uses the word in this sense.

History[link]

Origins[link]

A piece of soft curd cheese, oven baked to increase longevity

Cheese is an ancient food whose origins predate recorded history. There is no conclusive evidence indicating where cheesemaking originated, either in Europe, Central Asia or the Middle East, but the practice had spread within Europe prior to Roman times and, according to Pliny the Elder, had become a sophisticated enterprise by the time the Roman Empire came into being.^[3]

Proposed dates for the origin of cheesemaking range from around 8000 BCE (when sheep were first domesticated) to around 3000 BCE. The first cheese may have been made by people in the Middle East or by nomadic Turkic tribes in Central Asia. Since animal skins and inflated internal organs have, since ancient times, provided storage vessels for a range of foodstuffs, it is probable that the process of cheese making was discovered accidentally by storing milk in a container made from the stomach of an animal, resulting in the milk being turned to curd and whey by the rennet from the stomach. There is a legend with variations about the discovery of cheese by an Arab trader who used this method of storing milk.^[4][5]

Cheesemaking may have begun independently of this by the pressing and salting of curdled milk to preserve it. Observation that the effect of making milk in an animal stomach gave more solid and better-textured curds may have led to the deliberate addition of rennet.

The earliest archeological evidence of cheesemaking has been found in Egyptian tomb murals, dating to about 2000 BCE.^[6] The earliest cheeses were likely to have been quite sour and salty, similar in texture to rustic cottage cheese or feta, a crumbly, flavorful Greek cheese.

Cheese produced in Europe, where climates are cooler than the Middle East, required less salt for preservation. With less salt and acidity, the cheese became a suitable environment for useful microbes and molds, giving aged cheeses their respective flavors.

Ancient Greece and Rome[link]

Cheese in a market in Italy

Ancient Greek mythology credited Aristaeus with the discovery of cheese. Homer's Odyssey (8th century BCE) describes the Cyclops making and storing sheep's and goats' milk cheese. From Samuel Butler's translation:

By Roman times, cheese was an everyday food and cheesemaking a mature art. Columella's De Re Rustica (circa 65 CE) details a cheesemaking process involving rennet coagulation, pressing of the curd, salting, and aging. Pliny's Natural History (77 CE) devotes a chapter (XI, 97) to describing the diversity of cheeses enjoyed by Romans of the early Empire. He stated that the best cheeses came from the villages near Nîmes, but did not keep long and had to be eaten fresh. Cheeses of the Alps and Apennines were as remarkable for their variety then as now. A Ligurian cheese was noted for being made mostly from sheep's milk, and some cheeses produced nearby were stated to weigh as much as a thousand pounds each. Goats' milk cheese was a recent taste in Rome, improved over the "medicinal taste" of Gaul's similar cheeses by smoking. Of cheeses from overseas, Pliny preferred those of Bithynia in Asia Minor.

Cheese, Tacuinum sanitatis Casanatensis (XIV century)

Post-Roman Europe[link]

As Romanized populations encountered unfamiliar newly-settled neighbors, bringing their own cheese-making traditions, their own flocks and their own unrelated words for cheese, cheeses in Europe diversified further, with various locales developing their own distinctive traditions and products. As long-distance trade collapsed, only travelers would encounter unfamiliar cheeses: Charlemagne's first encounter with a white cheese that had an edible rind forms one of the constructed anecdotes of Notker's Life of the Emperor.^[7] The British Cheese Board claims that Britain has approximately 700 distinct local cheeses;^[8] France and Italy have perhaps 400 each. (A French proverb holds there is a different French cheese for every day of the year, and Charles de Gaulle once asked "how can you govern a country in which there are 246 kinds of cheese?"^[9]) Still, the advancement of the cheese art in Europe was slow during the centuries after Rome's fall. Many cheeses today were first recorded in the late Middle Ages or after— cheeses like Cheddar around 1500 CE, Parmesan in 1597, Gouda in 1697, and Camembert in 1791.^[10]

In 1546, The Proverbs of John Heywood claimed "the moon is made of a greene cheese." (Greene may refer here not to the color, as many now think, but to being new or unaged.)^[11] Variations on this sentiment were long repeated and NASA exploited this myth for an April Fools' Day spoof announcement in 2006.^[12]

Modern era[link]

Local cheese at an open-air market in Peru.

Until its modern spread along with European culture, cheese was nearly unheard of in oriental cultures, in the pre-Columbian Americas, and only had limited use in sub-Mediterranean Africa, mainly being widespread and popular only in Europe and areas influenced strongly by its cultures. But with the spread, first of European imperialism, and later of Euro-American culture and food, cheese has gradually become known and increasingly popular worldwide, though still rarely considered a part of local ethnic cuisines outside Europe, the Middle East, and the Americas.^{[citation needed]}

The first factory for the industrial production of cheese opened in Switzerland in 1815, but it was in the United States where large-scale production first found real success. Credit usually goes to Jesse Williams, a dairy farmer from Rome, New York, who in 1851 started making cheese in an assembly-line fashion using the milk from neighboring farms. Within decades hundreds of such dairy associations existed.^{[citation needed]}

The 1860s saw the beginnings of mass-produced rennet, and by the turn of the century scientists were producing pure microbial cultures. Before then, bacteria in cheesemaking had come from the environment or from recycling an earlier batch's whey; the pure cultures meant a more standardized cheese could be produced.^[13]

Factory-made cheese overtook traditional cheesemaking in the World War II era, and factories have been the source of most cheese in America and Europe ever since. Today, Americans buy more processed cheese than "real", factory-made or not.^[14]

Artisan cheese[link]

Artisan cheese, made in small batches from local sources, is growing at a pace that exceeds even the growth rate of general cheese consumption in America. By 2011, the average American was consuming an average of 30 pounds of cheese per year, a 20% increase from 1990. Artisan cheeses accounted for 10% of all cheese consumed by Americans, and over the previous decade, artisan cheese consumption had grown over five times faster per capita. The American Cheese Society had 400 members in 2000, which jumped to 1200 members by 2009.^[15] Recipe books for homemade cheeses are another growing recent trend.

Production[link]

This unreferenced section requires citations to ensure verifiability.

Curdling[link]

Swiss cheesemaking (heating stage)

During industrial production of Emmental cheese, the as-yet-undrained curd is broken by rotating mixers.

A required step in cheesemaking is separating the milk into solid curds and liquid whey. Usually this is done by acidifying (souring) the milk and adding rennet. The acidification can be accomplished directly by the addition of an acid like vinegar in a few cases (paneer, queso fresco), but usually starter bacteria are employed instead. These starter bacteria convert milk sugars into lactic acid. The same bacteria (and the enzymes they produce) also play a large role in the eventual flavor of aged cheeses. Most cheeses are made with starter bacteria from the Lactococci, Lactobacilli, or Streptococci families. Swiss starter cultures also include Propionibacter shermani, which produces carbon dioxide gas bubbles during aging, giving Swiss cheese or Emmental its holes (called "eyes").

Some fresh cheeses are curdled only by acidity, but most cheeses also use rennet. Rennet sets the cheese into a strong and rubbery gel compared to the fragile curds produced by acidic coagulation alone. It also allows curdling at a lower acidity—important because flavor-making bacteria are inhibited in high-acidity environments. In general, softer, smaller, fresher cheeses are curdled with a greater proportion of acid to rennet than harder, larger, longer-aged varieties.

Curd processing[link]

At this point, the cheese has set into a very moist gel. Some soft cheeses are now essentially complete: they are drained, salted, and packaged. For most of the rest, the curd is cut into small cubes. This allows water to drain from the individual pieces of curd.

Some hard cheeses are then heated to temperatures in the range of 35–55 °C (95–131 °F). This forces more whey from the cut curd. It also changes the taste of the finished cheese, affecting both the bacterial culture and the milk chemistry. Cheeses that are heated to the higher temperatures are usually made with thermophilic starter bacteria that survive this step—either Lactobacilli or Streptococci.

Salt has roles in cheese besides adding a salty flavor. It preserves cheese from spoiling, draws moisture from the curd, and firms cheese’s texture in an interaction with its proteins. Some cheeses are salted from the outside with dry salt or brine washes. Most cheeses have the salt mixed directly into the curds.

Cheese factory in Holland

Other techniques influence a cheese's texture and flavor. Some examples:

• Stretching: (Mozzarella, Provolone) The curd is stretched and kneaded in hot water, developing a stringy, fibrous body.
• Cheddaring: (Cheddar, other English cheeses) The cut curd is repeatedly piled up, pushing more moisture away. The curd is also mixed (or milled) for a long time, taking the sharp edges off the cut curd pieces and influencing the final product's texture.
• Washing: (Edam, Gouda, Colby) The curd is washed in warm water, lowering its acidity and making for a milder-tasting cheese.

Most cheeses achieve their final shape when the curds are pressed into a mold or form. The harder the cheese, the more pressure is applied. The pressure drives out moisture—the molds are designed to allow water to escape—and unifies the curds into a single solid body.

Parmigiano reggiano in a modern factory

Ripening[link]

A newborn cheese is usually salty yet bland in flavor and, for harder varieties, rubbery in texture. These qualities are sometimes enjoyed—cheese curds are eaten on their own—but normally cheeses are left to rest under controlled conditions. This aging period (also called ripening, or, from the French, affinage) lasts from a few days to several years. As a cheese ages, microbes and enzymes transform texture and intensify flavor. This transformation is largely a result of the breakdown of casein proteins and milkfat into a complex mix of amino acids, amines, and fatty acids.

Some cheeses have additional bacteria or molds intentionally introduced before or during aging. In traditional cheesemaking, these microbes might be already present in the aging room; they are simply allowed to settle and grow on the stored cheeses. More often today, prepared cultures are used, giving more consistent results and putting fewer constraints on the environment where the cheese ages. These cheeses include soft ripened cheeses such as Brie and Camembert, blue cheeses such as Roquefort, Stilton, Gorgonzola, and rind-washed cheeses such as Limburger.

Types[link]

Feta from Greece

There are many types of cheese, with around 500 different varieties recognised by the International Dairy Federation,^[16] over 400 identified by Walter and Hargrove, over 500 by Burkhalter, and over 1,000 by Sandine and Elliker.^[17] The varieties may be grouped or classified into types according to criteria such as length of ageing, texture, methods of making, fat content, animal milk, country or region of origin, etc. – with these criteria either being used singly or in combination,^[18] but with no single method being universally used.^[19] The method most commonly and traditionally used is based on moisture content, which is then further discriminated by fat content and curing or ripening methods.^[16][20] Some attempts have been made to rationalise the classification of cheese – a scheme was proposed by Pieter Walstra which uses the primary and secondary starter combined with moisture content, and Walter and Hargrove suggested classifying by production methods which produces 18 types, which are then further grouped by moisture content.^[16]

Moisture content (soft to hard)

Categorizing cheeses by firmness is a common but inexact practice. The lines between "soft", "semi-soft", "semi-hard", and "hard" are arbitrary, and many types of cheese are made in softer or firmer variations. The main factor that controls cheese hardness is moisture content, which depends largely on the pressure with which it is packed into molds, and on aging time.

Fresh, whey and stretched curd cheeses

The main factor in the categorization of these cheese is their age. Fresh cheeses without additional preservatives can spoil in a matter of days.

Content (double cream, goat, ewe and water buffalo)

Emmentaler

Some cheeses are categorized by the source of the milk used to produce them or by the added fat content of the milk from which they are produced. While most of the world's commercially available cheese is made from cows' milk, many parts of the world also produce cheese from goats and sheep. Double cream cheeses are soft cheeses of cows' milk enriched with cream so that their fat content is 60% or, in the case of triple creams, 75%.

Soft-ripened and blue-vein

There are at least three main categories of cheese in which the presence of mold is a significant feature: soft ripened cheeses, washed rind cheeses and blue cheeses.

Processed cheeses

Processed cheese is made from traditional cheese and emulsifying salts, often with the addition of milk, more salt, preservatives, and food coloring. It is inexpensive, consistent, and melts smoothly. It is sold packaged and either pre-sliced or unsliced, in a number of varieties. It is also available in aerosol cans in some countries.

Eating and cooking[link]

Zigerbrüt, cheese grated onto bread through a mill, from the Kanton Glarus in Switzerland.

At refrigerator temperatures, the fat in a piece of cheese is as hard as unsoftened butter, and its protein structure is stiff as well. Flavor and odor compounds are less easily liberated when cold. For improvements in flavor and texture, it is widely advised that cheeses be allowed to warm up to room temperature before eating. If the cheese is further warmed, to 26–32 °C (79–90 °F), the fats will begin to "sweat out" as they go beyond soft to fully liquid.^[21]

Above room temperatures, most hard cheeses melt. Rennet-curdled cheeses have a gel-like protein matrix that is broken down by heat. When enough protein bonds are broken, the cheese itself turns from a solid to a viscous liquid. Soft, high-moisture cheeses will melt at around 55 °C (131 °F), while hard, low-moisture cheeses such as Parmesan remain solid until they reach about 82 °C (180 °F).^[22] Acid-set cheeses, including halloumi, paneer, some whey cheeses and many varieties of fresh goat cheese, have a protein structure that remains intact at high temperatures. When cooked, these cheeses just get firmer as water evaporates.

Some cheeses, like raclette, melt smoothly; many tend to become stringy or suffer from a separation of their fats. Many of these can be coaxed into melting smoothly in the presence of acids or starch. Fondue, with wine providing the acidity, is a good example of a smoothly melted cheese dish.^[23] Elastic stringiness is a quality that is sometimes enjoyed, in dishes including pizza and Welsh rarebit. Even a melted cheese eventually turns solid again, after enough moisture is cooked off. The saying "you can't melt cheese twice" (meaning "some things can only be done once") refers to the fact that oils leach out during the first melting and are gone, leaving the non-meltable solids behind.

As its temperature continues to rise, cheese will brown and eventually burn. Browned, partially burned cheese has a particular distinct flavor of its own and is frequently used in cooking (e.g., sprinkling atop items before baking them).

Health and nutrition[link]

In general, cheese supplies a great deal of calcium, protein, phosphorus and fat. A 30-gram (1.1 oz) serving of Cheddar cheese contains about 7 grams (0.25 oz) of protein and 200 milligrams of calcium. Nutritionally, cheese is essentially concentrated milk: it takes about 200 grams (7.1 oz) of milk to provide that much protein, and 150 grams (5.3 oz) to equal the calcium.^[24]

Heart disease[link]

Cheese potentially shares other nutritional properties of milk. The Center for Science in the Public Interest describes cheese as America's number one source of saturated fat, adding that the average American ate 30 lb (14 kg) of cheese in the year 2000, up from 11 lb (5 kg) in 1970.^[25] Their recommendation is to limit full-fat cheese consumption to 2 oz (57 g) a week. Whether or not the high saturated fat content of cheese actually leads to an increased risk of heart disease is a subject of debate, as epidemiological studies have observed relatively low incidences of cardiovascular disease in populations such as France and Greece, which lead the world in cheese consumption (more than 14 oz/400 g a week per person, or over 45 lb/20 kg a year).^[26] This seeming discrepancy is called the French paradox; the higher rates of consumption of red wine in these countries is often invoked as at least a partial explanation.

Dental health[link]

Some studies claim that cheddar, mozzarella, Swiss and American cheeses can help to prevent tooth decay.^[27][28] Several mechanisms for this protection have been proposed:

• The calcium, protein, and phosphorus in cheese may act to protect tooth enamel.
• Cheese increases saliva flow, washing away acids and sugars.

Effect on sleep[link]

A study by the British Cheese Board in 2005 to determine the effect of cheese upon sleep and dreaming discovered that, contrary to the idea that cheese commonly causes nightmares, the effect of cheese upon sleep was positive. The majority of the two hundred people tested over a fortnight claimed beneficial results from consuming cheeses before going to bed, the cheese promoting good sleep. Six cheeses were tested and the findings were that the dreams produced were specific to the type of cheese. Although the apparent effects were in some cases described as colorful and vivid, or cryptic, none of the cheeses tested were found to induce nightmares. However, the six cheeses were all British. The results might be entirely different if a wider range of cheeses were tested.^[29] Cheese contains tryptophan, an amino acid that has been found to relieve stress and induce sleep.^[30]

Casein[link]

Like other dairy products, cheese contains casein, a substance that when digested by humans breaks down into several chemicals, including casomorphine, an opioid peptide. In the early 1990s it was hypothesized that autism can be caused or aggravated by opioid peptides.^[31] Studies supporting these claims have shown significant flaws, so the data are inadequate to guide autism treatment recommendations.^[32]

Lactose[link]

Cheese is often avoided by those who are lactose intolerant, but ripened cheeses like Cheddar contain only about 5% of the lactose found in whole milk, and aged cheeses contain almost none.^[33] Nevertheless, people with severe lactose intolerance should avoid eating dairy cheese. As a natural product, the same kind of cheese may contain different amounts of lactose on different occasions, causing unexpected painful reactions.

Hypertensive effect[link]

Some people suffer reactions to amines found in cheese, particularly histamine and tyramine. Some aged cheeses contain significant concentrations of these amines, which can trigger symptoms mimicking an allergic reaction: headaches, rashes, and blood pressure elevations.

Pasteurization[link]

A number of food safety agencies around the world have warned of the risks of raw-milk cheeses. The U.S. Food and Drug Administration states that soft raw-milk cheeses can cause "serious infectious diseases including listeriosis, brucellosis, salmonellosis and tuberculosis".^[34] It is U.S. law since 1944 that all raw-milk cheeses (including imports since 1951) must be aged at least 60 days. Australia has a wide ban on raw-milk cheeses as well, though in recent years exceptions have been made for Swiss Gruyère, Emmental and Sbrinz, and for French Roquefort.^[35] There is a trend for cheeses to be pasteurized even when not required by law.

Compulsory pasteurization is controversial. Pasteurization does change the flavor of cheeses, and unpasteurized cheeses are often considered to have better flavor, so there are reasons not to pasteurize all cheeses. Some say that health concerns are overstated, or that milk pasteurization does not ensure cheese safety.^[36]

Pregnant women may face an additional risk from cheese; the U.S. Centers for Disease Control has warned pregnant women against eating soft-ripened cheeses and blue-veined cheeses, due to the listeria risk, which can cause miscarriage or harm to the fetus during birth.^[37]

Weight loss, blood pressure and blood sugar[link]

A 2009 study at the Curtin University of Technology compared individuals who consumed three servings per day to those who consumed five per day. The researchers concluded that increased consumption resulted in a reduction of abdominal fat, blood pressure and blood sugar.^[38]

World production and consumption[link]

This article is outdated. Please update this article to reflect recent events or newly available information. Please see the talk page for more information. (November 2010)

Worldwide, cheese is a major agricultural product. According to the Food and Agricultural Organization of the United Nations, over 18 million metric tons of cheese were produced worldwide in 2004. This is about three kilogrammes for each person on Earth. The largest producer of cheese is the United States, accounting for 30% of world production, followed by Germany and France.

Top cheese producers (1,000 metric tonnes)[39]
United States	4,275 (2006)
Germany	1,927 (2008)
France	1,884 (2008)
Italy	1,149 (2008)
Netherlands	732 (2008)
Poland	594 (2008)
Brazil	495 (2006)
Egypt	462 (2006)
Argentina	425 (2006)
Australia	395 (2006)

The biggest exporter of cheese, by monetary value, is France; the second, Germany (although it is first by quantity). Among the top ten exporters, only Ireland, New Zealand, the Netherlands and Australia have a cheese production that is mainly export oriented: respectively 95%, 90%, 72%, and 65% of their cheese production is exported.^[40] Only 30% of French production, the world's largest exporter, is exported. The United States, the biggest world producer of cheese, is a marginal exporter, as most of its production is for the domestic market.

Top cheese exporters (Whole Cow Milk only) – 2004 (value in '000 US $)[41]
France	2,658,441
Germany	2,416,973
Netherlands	2,099,353
Italy	1,253,580
Denmark	1,122,761
Australia	643,575
New Zealand	631,963
Belgium	567,590
Ireland	445,240
United Kingdom	374,156

Germany is the largest importer of cheese. The UK and Italy are the second- and third-largest importers.^[42]

Top cheese consumers – 2009[43]	Total cheese consumption (kg) per capita per year
Greece	31.1
France	26.1
Iceland	25.4
Germany	22.6
Switzerland	21.4[44]
Netherlands	21.0
Italy	20.9
Finland	20.7
Turkey	19.4
Sweden	18.9
Austria	17.4
Czech Republic	16.7
Israel	16.4
Norway	15.3
United States	14.8
Canada	12.3
Australia	12.0
Argentina	11.3
Hungary	11.0
United Kingdom	10.9
Poland	10.8

In Greece, feta accounts for three-quarters of this consumption. Emmental (used mainly as a cooking ingredient) and Camembert are the most common cheeses in France.^[45] Iceland is the third biggest consumer by person with 25.4 kg. In the U.S., the consumption of cheese is quickly increasing and has nearly tripled between 1970 and 2003. The consumption per person has reached, in 2003, 14.8 kg (33 lb). Mozzarella is America's favorite cheese and accounts for nearly a third of its consumption, mainly because it is one of the main ingredients of pizza.^[46]

Cultural attitudes[link]

A cheese merchant in a French market

A traditional Polish sheep's cheese market in Zakopane, Poland

Although cheese is a vital source of nutrition in many regions of the world, and is extensively consumed in others, its use is not universal. Cheese is rarely found in East Asian dishes, as lactose intolerance is relatively common in that part of the world and hence dairy products are rare. However, East Asian sentiment against cheese is not universal. In Nepal the Dairy Development Corporation commercially manufactures cheese made from yak milk and is very popular with the country's population and the visiting tourists, also a very hard cheese made from either cow or yak milk knows as chhurpi in the local language is equally popular among the population. The national dish of Bhutan, ema datsi, is made from homemade yak or mare milk cheese and hot peppers. In Yunnan, China, several ethnic minority groups produce Rushan and Rubing from cow's milk. Cheese consumption is increasing in China, with annual sales more than doubling from 1996 to 2003 (to a still small 30 million U.S. dollars a year).^[47] Certain kinds of Chinese preserved bean curd are sometimes misleadingly referred to in English as "Chinese cheese", because of their texture and strong flavor.

Strict followers of the dietary laws of Islam and Judaism must avoid cheeses made with rennet from animals not slaughtered in a manner adhering to halal or kosher laws.^[48] Both faiths allow cheese made with vegetable-based rennet or with rennet made from animals that were processed in a halal or kosher manner. Many less-orthodox Jews also believe that rennet undergoes enough processing to change its nature entirely, and do not consider it to ever violate kosher law. (See Cheese and kashrut.) As cheese is a dairy food under kosher rules it cannot be eaten in the same meal with any meat.

Rennet derived from animal slaughter, and thus cheese made with animal-derived rennet, is not vegetarian. Most widely available vegetarian cheeses are made using rennet produced by fermentation of the fungus Mucor miehei. Vegans and other dairy-avoiding vegetarians do not eat real cheese at all, but some vegetable-based cheese substitutes (usually soy-and almond-based) are available.

Even in cultures with long cheese traditions, it is not unusual to find people who perceive cheese – especially pungent-smelling or mold-bearing varieties such as Limburger or Roquefort – as unpalatable. Food-science writer Harold McGee proposes that cheese is such an acquired taste because it is produced through a process of controlled spoilage and many of the odor and flavor molecules in an aged cheese are the same found in rotten foods. He notes, "An aversion to the odor of decay has the obvious biological value of steering us away from possible food poisoning, so it is no wonder that an animal food that gives off whiffs of shoes and soil and the stable takes some getting used to."^[49]

Collecting^[50] cheese labels is called "tyrosemiophilia".^[51]

In the American movie High Society (1956 film), Bing Crosby compares true love to "old Camembert".

See also[link]

Food portal

• Dutch cheese markets
• List of microorganisms used in food and beverage preparation

Notes and references[link]

Notes

References

External links[link]

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More spoken articles

• Cheese Making Illustrated — The science behind homemade cheese.
• The Complete Book of Cheese at Project Gutenberg
• Cheese.com — includes an extensive database of different types of cheese.
• Cheese at the Open Directory Project
• Cheese Guide & Terminology — Different classifications of cheese with notes on varieties.
• Fresh Cheeses, — Different kinds of fresh cheeses and how to make them.
• Modelling cheese grading- modelling the grade value of cheddar cheese.
• Classification of cheese- why is one cheese type different than another?

v t e Cheese List of cheeses Types Acid-set Blue Cream cheese Goat Pasta filata Processed Smear-ripened Smoked Washed-rind Whey Animal milk Cow Goat Sheep Water buffalo Yak Regions United Kingdom France Ireland Italy Mexico Middle East Netherlands Romania Spain Switzerland United States Special designations Appellation d'Origine Contrôlée cheeses Greek Protected Designations of Origin cheeses Italian PDO cheeses Organizations American Cheese Society International Cheese Awards Lucerne Cheese Festival Mountain Cheese Olympics National Cheese Exchange The Great British Cheese Festival Cheese dishes Cheese soups Cheesemakers

Monty Python (sometimes known as The Pythons)^[2][3] was a British surreal comedy group who created Monty Python's Flying Circus, a British television comedy sketch show that first aired on the BBC on 5 October 1969. Forty-five episodes were made over four series. The Python phenomenon developed from the television series into something larger in scope and impact, spawning touring stage shows, films, numerous albums, several books and a stage musical as well as launching the members to individual stardom. The group's influence on comedy has been compared to The Beatles' influence on music.^[4][5]

The television series, broadcast by the BBC from 1969 to 1974, was conceived, written and performed by members Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Loosely structured as a sketch show, but with an innovative stream-of-consciousness approach (aided by Gilliam's animation), it pushed the boundaries of what was acceptable in style and content.^[6][7] A self-contained comedy team responsible for both writing and performing their work, the Pythons' creative control allowed them to experiment with form and content, discarding rules of television comedy. Their influence on British comedy has been apparent for years, while in North America it has coloured the work of cult performers from the early editions of Saturday Night Live through to more recent absurdist trends in television comedy. "Pythonesque" has entered the English lexicon as a result.

In a 2005 UK poll to find The Comedian's Comedian, three of the six Pythons members were voted by fellow comedians and comedy insiders to be among the top 50 greatest comedians ever: Cleese at #2, Idle at #21, and Palin at #30.^[8]

[edit] Before Flying Circus

Palin and Jones met at Oxford University, where they performed together with the Oxford Revue. Cleese and Chapman met at Cambridge. Idle was also at Cambridge, but started a year after Cleese and Chapman. Cleese met Gilliam in New York while on tour with the Cambridge University Footlights revue Cambridge Circus (originally entitled A Clump of Plinths). Chapman, Cleese and Idle were members of the Footlights, which at that time also included the future Goodies (Tim Brooke-Taylor, Bill Oddie and Graeme Garden), and Jonathan Lynn (co-writer of Yes Minister and Yes, Prime Minister). During Idle's presidency of the Club, feminist writer Germaine Greer and broadcaster Clive James were members. Recordings of Footlights revues (called "Smokers") at Pembroke College include sketches and performances by Idle and Cleese. They are kept in the archives of the Pembroke Players, along with tapes of Idle's performances in some of the college drama society's theatrical productions.

Python members appeared in and/or wrote the following shows before Monty Python's Flying Circus. The Frost Report is credited as first uniting the British Pythons and providing an environment in which they could develop their particular styles:

• I'm Sorry, I'll Read That Again (radio) (1964–1973) [Cleese: cast member & writer] – [Idle and Chapman: writers]
• The Frost Report (1966–1967) [Cleese: cast member and writer] – [Idle: writer of Frost's monologues] – [Chapman, Palin and Jones: writers]
• At Last the 1948 Show (1967) [Chapman and Cleese: writers and cast members] – [Idle: writer]
• Twice a Fortnight (1967) [Palin and Jones: cast members and writers]
• Do Not Adjust Your Set (1967–1969) [Idle, Jones, and Palin: cast members & writers] – [Gilliam: animation]
  — Bonzo Dog Band: musical interludes]
• We Have Ways of Making You Laugh (1968) [Idle: cast member & writer] – [Gilliam: animation]
• How to Irritate People (1968) [Cleese and Chapman: cast members & writers] – [Palin: cast member]
• The Complete and Utter History of Britain (1969) [Palin and Jones: cast members & writers]
• Doctor in the House (1969) [Cleese & Chapman: writers]

Several featured other important British comedy writers or performers of the future, including Marty Feldman, Jonathan Lynn, David Jason and David Frost, as well as members of other future comedy teams, Ronnie Corbett and Ronnie Barker (the Two Ronnies), and Tim Brooke-Taylor, Graeme Garden and Bill Oddie (the Goodies).

Following the success of Do Not Adjust Your Set, originally intended to be a children's programme, with adults, ITV offered Palin, Jones, Idle and Gilliam their own series together. At the same time Cleese and Chapman were offered a show by the BBC, which had been impressed by their work on The Frost Report and At Last The 1948 Show. Cleese was reluctant to do a two-man show for various reasons, including Chapman's supposedly difficult personality. Cleese had fond memories of working with Palin and invited him to join the team. With the ITV series still in pre-production, Palin agreed and suggested the involvement of his writing partner Jones and colleague Idle—who in turn suggested that Gilliam could provide animations for the projected series. Much has been made of the fact that the Monty Python troupe is the result of Cleese's desire to work with Palin and the chance circumstances that brought the other four members into the fold.^[9]

[edit] Monty Python's Flying Circus

Development of the series[link]

The Pythons had a definite idea about what they wanted to do with the series. They were admirers of the work of Peter Cook, Alan Bennett, Jonathan Miller and Dudley Moore on Beyond the Fringe, and had worked on Frost, which was similar in style. They enjoyed Cook and Moore's sketch show Not Only... But Also. One problem the Pythons perceived with these programmes was that though the body of the sketch would be strong, the writers would often struggle to then find a punchline funny enough to end on, and this would detract from the overall sketch quality. They decided that they would simply not bother to "cap" their sketches in the traditional manner, and early episodes of the Flying Circus series make great play of this abandonment of the punchline (one scene has Cleese turn to Idle, as the sketch descends into chaos, and remark that "This is the silliest sketch I've ever been in"—they all resolve not to carry on and simply walk off the set). However, as they began assembling material for the show, the Pythons watched one of their collective heroes, Spike Milligan, recording his groundbreaking series Q5 (1969). Not only was the programme more irreverent and anarchic than any previous television comedy, Milligan would often "give up" on sketches halfway through and wander off set (often muttering "Did I write this?"). It was clear that their new series would now seem less original, and Jones in particular became determined the Pythons should innovate.

After much debate, Jones remembered an animation Gilliam had created for Do Not Adjust Your Set called Beware of the Elephants, which had intrigued him with its stream-of-consciousness style. Jones felt it would be a good concept to apply to the series: allowing sketches to blend into one another. Palin had been equally fascinated by another of Gilliam's efforts, entitled Christmas Cards, and agreed that it represented "a way of doing things differently". Since Cleese, Chapman and Idle were less concerned with the overall flow of the programme, it was Jones, Palin and Gilliam who became largely responsible for the presentation style of the Flying Circus series, in which disparate sketches are linked to give each episode the appearance of a single stream-of-consciousness (often using a Gilliam animation to move from the closing image of one sketch to the opening scene of another).

Writing started at 9 am and finished at 5 pm. Typically, Cleese and Chapman worked as one pair isolated from the others, as did Jones and Palin, while Idle wrote alone. After a few days, they would join together with Gilliam, critique their scripts, and exchange ideas. Their approach to writing was democratic. If the majority found an idea humorous, it was included in the show. The casting of roles for the sketches was a similarly unselfish process, since each member viewed himself primarily as a 'writer', rather than an actor desperate for screen time. When the themes for sketches were chosen, Gilliam had carte blanche to decide how to bridge them with animations, using a camera, scissors, and airbrush.

While the show was a collaborative process, different factions within Python were responsible for elements of the team's humour. In general, the work of the Oxford-educated members (Jones and Palin) was more visual, and more fanciful conceptually (e.g., the arrival of the Spanish Inquisition in a suburban front room), while the Cambridge graduates' sketches tended to be more verbal and more aggressive (for example, Cleese and Chapman's many "confrontation" sketches, where one character intimidates or hurls abuse, or Idle's characters with bizarre verbal quirks, such as The Man Who Speaks In Anagrams). Cleese confirmed that "most of the sketches with heavy abuse were Graham's and mine, anything that started with a slow pan across countryside and impressive music was Mike and Terry's, and anything that got utterly involved with words and disappeared up any personal orifice was Eric's".^[10] Gilliam's animations, meanwhile, ranged from the whimsical to the savage (the cartoon format allowing him to create some astonishingly violent scenes without fear of censorship).

Several names for the show were considered before Monty Python's Flying Circus was settled upon. Some were Owl Stretching Time, Toad Elevating Moment, A Bucket, a Horse and a Spoon, Vaseline Review and Bun, Wackett, Buzzard, Stubble and Boot. Flying Circus stuck when the BBC explained it had printed that name in its schedules and was not prepared to amend it. Many variations on the name in front of this title then came and went (popular legend holds that the BBC considered Monty Python's Flying Circus to be a ridiculous name, at which point the group threatened to change their name every week until the BBC relented). "Gwen Dibley's Flying Circus" was named after a woman Palin had read about in the newspaper, thinking it would be amusing if she were to discover she had her own TV show. "Baron Von Took's Flying Circus" was considered as an affectionate tribute to Barry Took, the man who had brought them together. Arthur Megapode's Flying Circus was suggested, then discarded.

There are differing, somewhat confusing accounts of the origins of the Python name although the members agree that its only "significance" was that they thought it sounded funny. In the 1998 documentary Live At Aspen during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the group implied that "Monty" was selected (Eric Idle's idea) as a gently-mocking tribute to Field Marshal Lord Montgomery, a legendary British general of World War II; requiring a "slippery-sounding" surname, they settled on "Python". On other occasions Idle has claimed that the name "Monty" was that of a popular and rotund fellow who drank in his local pub; people would often walk in and ask the barman, "Has Monty been in yet?", forcing the name to become stuck in his mind. The name Monty Python was later described by the BBC as being "envisaged by the team as the perfect name for a sleazy entertainment agent".^[11]

Style of the show[link]

Flying Circus popularised innovative formal techniques, such as the cold open, in which an episode began without the traditional opening titles or announcements.^[12] An example of this is the "It's" man: Palin, outfitted in Robinson Crusoe garb, making a tortuous journey across various terrains, before finally approaching the camera to state, "It's...", only to be then cut off by the title sequence and theme music. On several occasions the cold open lasted until mid show, after which the regular opening titles ran. Occasionally the Pythons tricked viewers by rolling the closing credits halfway through the show, usually continuing the joke by fading to the familiar globe logo used for BBC continuity, over which Cleese would parody the clipped tones of a BBC announcer. On one occasion the credits ran directly after the opening titles. Because of their dislike of finishing with punchlines, they experimented with ending the sketches by cutting abruptly to another scene or animation, walking offstage, addressing the camera (breaking the fourth wall), or introducing a totally unrelated event or character. A classic example of this approach was the use of Chapman's "Colonel" character, who walked into several sketches and ordered them to be stopped because things were becoming "far too silly." Another favourite way of ending sketches was to drop a cartoonish "16-ton weight" prop on one of the characters when the sketch seemed to be losing momentum, or a knight in full armour (played by Terry Gilliam) would wander on-set and hit characters over the head with a rubber chicken,^[13] before cutting to the next scene. Yet another way of changing scenes was when John Cleese, usually outfitted in a dinner suit, would come in as a radio commentator and make the formal and determined announcement, "And now for something completely different."

The Python theme music is The Liberty Bell, a march by John Philip Sousa, which was chosen, among other reasons, because the recording was in the public domain.^[12]

The use of Gilliam's surreal, collage stop motion animations was another innovative intertextual element of the Python style. Many of the images Gilliam used were lifted from famous works of art, and from Victorian illustrations and engravings. The giant foot which crushes the show's title at the end of the opening credits is in fact the foot of Cupid, cut from a reproduction of the Renaissance masterpiece Venus, Cupid, Folly, and Time by Bronzino. This foot, and Gilliam's style in general, are visual trademarks of the series.

The Pythons used the British tradition of cross-dressing comedy by donning frocks and makeup and playing female roles themselves while speaking in falsetto. Generally speaking, female roles were played by a woman (usually Carol Cleveland) only when the scene specifically required that the character be sexually attractive (although sometimes they used Idle for this). In some episodes and later in Monty Python's Life of Brian they took the idea one step further by playing women who impersonated men (in the stoning scene).

Many sketches are well-known and widely quoted. "Dead Parrot", "The Lumberjack Song", "Spam", "Nudge Nudge", "The Spanish Inquisition", "Upper Class Twit of the Year", "Cheese Shop" and "The Ministry of Silly Walks" are just a few examples.

Introduction to North America[link]

The Canadian Broadcasting Corporation (CBC) added Monty Python’s Flying Circus to its national September 1970 fall lineup.^[14] They aired the 13 episodes of Series 1, which had first run on the BBC the previous fall (October 1969 to January 1970), as well as the first 6 episodes of Series 2 only a few weeks after they first appeared on the BBC (September to November 1970).^[14] The CBC dropped the show when it returned to regular programming after the Christmas 1970 break, choosing to not place the remaining 7 episodes of series 2 on the January 1971 CBC schedule.^[14] Within a week the CBC received hundreds of calls complaining of the cancellation, and more than 100 people staged a demonstration at the CBC’s Montreal studios.^[14]

Time-Life Films had the right to distribute all BBC-TV programs in the United States, however they had decided that British comedy simply would not work in America. Therefore, it was not worth the investment to convert the Python episodes from the European PAL standard to the American NTSC standard.

Sketches from Monty Python’s Flying Circus were introduced to American audiences in August 1972, with the release of the Python movie And Now for Something Completely Different, featuring sketches from series 1 and 2 of the television show. This 1972 release met limited box office success.

In the summer of 1974 Ron Devillier, the program director for non-profit PBS television station KERA in Dallas, Texas, started airing episodes of Monty Python’s Flying Circus. Ratings shot through the roof, providing an encouraging sign to the other 100 PBS stations that had signed up to begin airing the show in October 1974—exactly 5 years after their BBC debut. There was also cross-promotion from FM radio stations across the country, whose airing of tracks from the Python LPs had already introduced American audiences to this bizarre brand of comedy. The popularity on PBS resulted in the 1974 re-release of the 1972 "...Completely Different" movie, with much greater box office success.

The ability to show Monty Python’s Flying Circus under the American NTSC standard had been made possible by the commercial actions of American television producer Greg Garrison. Garrison produced the NBC series The Dean Martin Comedy World, which ran during the summer of 1974. The concept was to show clips from comedy shows produced in other countries, including tape of the Python sketches "Bicycle Repairman" and "The Dull Life of a Stockbroker". Payment for use of these two sketches was enough to allow Time-Life Films to convert the entire Python library to NTSC standard, allowing for the sale to the PBS network stations who then brought the entire show to US audiences.

With the popularity of Python throughout the rest of the 1970s and through most of the 1980s, PBS stations looked at other British comedies, leading to UK shows such as Are You Being Served? gaining a US audience, and leading, over time, to many PBS stations having a "British Comedy Night" which airs many popular UK comedies.^[15]

[edit] End of Flying Circus

Having considered the possibility at the end of the second series, Cleese left the Flying Circus at the end of the third. He later explained that he felt he no longer had anything fresh to offer the show, and claimed that only two Cleese-and-Chapman-penned sketches in the third series ("Dennis Moore" and the "Cheese Shop") were truly original, and that the others were bits and pieces from previous work cobbled together in slightly different contexts.^[9] He was also finding Chapman, who was at that point in the full throes of alcoholism, difficult to work with. According to an interview with Idle, "It was on an Air Canada flight on the way to Toronto, when John (Cleese) turned to all of us and said 'I want out.' Why? I don't know. He gets bored more easily than the rest of us. He's a difficult man, not easy to be friendly with. He's so funny because he never wanted to be liked. That gives him a certain fascinating, arrogant freedom."^[16]

The rest of the group carried on for one more "half" series before calling a halt to the programme in 1974. The name Monty Python's Flying Circus appears in the opening animation for series four, but in the end credits the show is listed as simply "Monty Python". Despite his official departure from the group, Cleese supposedly made a (non-speaking) cameo appearance in the fourth series, but never appeared in the credits as a performer. Several episodes credit him as a co-writer since some sketches were recycled from scenes cut from the Holy Grail script. While the first three series contained 13 episodes each, the fourth ended after six.

[edit] Life after the Flying Circus

Filmography[link]

[edit] And Now for Something Completely Different (1971)

The Pythons' first feature film (directed by Ian MacNaughton, reprising his role from the television series). It was composed of sketches from the first two seasons of the Flying Circus, reshot on a low budget (and often slightly edited) for cinema release. Material selected for the film includes: "Dead Parrot", "The Lumberjack Song", "Upper Class Twit of the Year", "Hell's Grannies", "Self-Defence Class", "How Not To Be Seen" and "Nudge Nudge". Financed by Playboy's UK executive Victor Lownes, it was intended as a way of breaking Monty Python into America, and although it was ultimately unsuccessful in this, the film did good business in the UK (this still being in the era before home video would make it much more accessible to view the material again). The group did not consider the film a success.

[edit] Monty Python and the Holy Grail (1974)

In 1974, between production on the third and fourth seasons, the group decided to embark on their first "proper" feature film, containing entirely new material. Monty Python and the Holy Grail was based on Arthurian Legend and was directed by Jones and Gilliam. Again, the latter also contributed linking animations (and put together the opening credits). Along with the rest of the Pythons, Jones and Gilliam performed several roles in the film, but it was Chapman who took the lead as King Arthur. Cleese returned to the group for the film, feeling that the group were once again breaking new ground. Holy Grail was filmed on location, in picturesque rural areas of Scotland, with a budget of only £229,000; the money was raised in part with investments from rock groups such as Pink Floyd, Jethro Tull and Led Zeppelin—and UK music industry entrepreneur Tony Stratton-Smith (founder and owner of the Charisma Records label, for which the Pythons recorded their comedy albums).

The backers of the film wanted to cut the famous Black Knight scene (in which the Black Knight loses his limbs in a duel) but it was eventually kept in the movie.^[17]

[edit] Monty Python's Life of Brian (1979)

Following the success of Holy Grail, reporters asked for the title of the next Python film, despite the fact that the team had not even begun to consider a third one. Eventually, Idle flippantly replied "Jesus Christ – Lust for Glory", which became the group's stock answer once they realised that it shut reporters up. However, they soon began to seriously consider a film lampooning the New Testament era in the same way Holy Grail had lampooned Arthurian legend. Despite them all sharing a distrust of organised religion, they agreed not to mock Jesus nor his teachings directly. Instead, they decided to write a satire on credulity and hypocrisy among the followers of someone who had been mistaken for the "Messiah," but who had no desire to be followed as such. Chapman was cast in the lead role of Brian.

The focus therefore shifted to a separate individual born at the same time, in a neighbouring stable. When Jesus appears in the film (first, as a baby in the stable, and then later on the Mount, speaking the Beatitudes), he is played straight (by actor Kenneth Colley) and portrayed with respect. The comedy begins when members of the crowd mishear his statements of peace, love and tolerance. ("I think he said, 'Blessed are the cheesemakers.'")

Directing duties were handled solely by Jones, having amicably agreed with Gilliam that Jones' approach to film-making was better suited for Python's general performing style. Holy Grail's production had often been stilted by their differences behind the camera. Gilliam again contributed two animated sequences (one being the opening credits) and took charge of set design. The film was shot on location in Tunisia, the finances being provided this time by former Beatle George Harrison, who together with Denis O'Brien formed the production company Hand-Made Films for the movie. He had a cameo role as the 'owner of the Mount.'

Despite its subject matter attracting controversy, particularly upon its initial release, it has (together with its predecessor) been ranked among the greatest comedy films. A Channel 4 poll in 2005 ranked Holy Grail in sixth place, with Life of Brian at the top.^[18]

[edit] Monty Python Live at the Hollywood Bowl (1982)

Filmed at the Hollywood Bowl in Los Angeles during preparations for The Meaning of Life, this was a concert film (directed by Terry Hughes) in which the Pythons performed sketches from the television series in front of an audience. The released film also incorporated footage from the German television specials (the inclusion of which gives Ian MacNaughton his first on-screen credit for Python since the end of Flying Circus) and live performances of several songs from the troupe's then-current Monty Python's Contractual Obligation Album.

[edit] Monty Python's The Meaning of Life (1983)

Python's final film returned to something structurally closer to the style of Flying Circus. A series of sketches loosely follows the ages of man from birth to death. Directed again by Jones solo, The Meaning of Life is embellished with some of Python's most bizarre and disturbing moments, as well as various elaborate musical numbers. The film is by far their darkest work, containing a great deal of black humour, garnished by some spectacular violence (including an operation to remove a liver from a living patient without anaesthetic and the morbidly obese Mr. Creosote exploding over several restaurant patrons). At the time of its release, the Pythons confessed their aim was to offend "absolutely everyone."

Besides the opening credits and the fish sequence, Gilliam, by now an established live action director, no longer wanted to produce any linking cartoons, offering instead to direct one sketch—The Crimson Permanent Assurance. Under his helm, though, the segment grew so ambitious and tangential that it was cut from the movie and used as a supporting feature in its own right. (Television screenings also use it as a prologue.) Crucially, this was the last project that all six Pythons would collaborate on, except for the 1989 compilation Parrot Sketch Not Included, where they are all seen sitting in a closet for four seconds. This would be the last time Chapman appeared on-screen with the Pythons.

[edit] Secret Policeman's Ball benefit shows

Members of Python contributed their services to charitable endeavours and causes—sometimes as an ensemble, at other times as individuals. The cause that has been the most frequent and consistent beneficiary has been the human rights work of Amnesty International. Between 1976 and 1981, the troupe or its members appeared in four major fund-raisers for Amnesty—known collectively as the Secret Policeman's Ball shows—which were turned into multiple films, TV shows, videos, record albums and books. These benefit shows and their many spin-offs raised considerable sums of money for Amnesty, raised public and media awareness of the human rights cause and influenced many other members of the entertainment community (especially rock musicians) to become involved in political and social issues.^[19] Among the many musicians who have publicly attributed their activism—and the organisation of their own benefit events—to the inspiration of the work in this field of Monty Python are U2, Bob Geldof, Pete Townshend and Sting.^[19] The shows are credited by Amnesty with helping the organisation develop public awareness in the US where one of the spin-off films was a major success.

Cleese and Jones had an involvement (as performer, writer or director) in all four Amnesty benefit shows, Palin in three, Chapman in two and Gilliam in one. Idle did not participate in the Amnesty shows. Notwithstanding Idle's lack of participation, the other five members (together with "Associate Pythons" Carol Cleveland and Neil Innes) all appeared together in the first Secret Policeman's Ball benefit—the 1976 A Poke In The Eye (With A Sharp Stick)—where they performed several Python sketches. In this first show they were collectively billed as Monty Python. (Peter Cook deputised for the errant Idle in one major sketch The Courtroom.) In the next three shows, the participating Python members performed many Python sketches, but were billed under their individual names rather than under the collective Python banner. After a six-year break, Amnesty resumed producing Secret Policeman's Ball benefit shows in 1987 (sometimes with, and sometimes without variants of the iconic title) and by 2006 had presented a total of twelve such shows. The shows since 1987 have featured newer generations of British comedic performers, including many who have attributed their participation in the show to their desire to emulate the Python's pioneering work for Amnesty. (Cleese and Palin made a brief cameo appearance in the 1989 Amnesty show; apart from that the Pythons have not appeared in shows after the first four.)

Going solo[link]

Each member has pursued various film, television and stage projects since the break-up of the group, but often continued to work with one another. Many of these collaborations were very successful, most notably A Fish Called Wanda (1988), written by Cleese, in which he starred along with Palin. The pair also appeared in Time Bandits (1981), a film directed by Gilliam, who wrote it together with Palin. Gilliam directed Jabberwocky (1977), and also directed and co-wrote Brazil (1985) and The Adventures of Baron Munchausen (1988), which featured Palin and Idle respectively. Yellowbeard (1983) was co-written by Chapman and featured Chapman, Cleese and Palin alongside many of their English contemporaries, including Peter Cook, Spike Milligan and Marty Feldman.

Palin and Jones wrote the comedic TV series Ripping Yarns (1976–79), starring Palin. Jones also appeared in the pilot episode and Cleese appeared in a non-speaking part in the episode "Golden Gordon". Jones' film Erik the Viking, also has Cleese playing a small part.

In 1996, Terry Jones wrote and directed an adaption of Kenneth Grahame's novel The Wind in the Willows. It featured four members of Monty Python: Jones as Mr. Toad, Idle as Ratty, Cleese as Mr. Toad's lawyer, and Palin as the Sun. Gilliam was considered for the voice of the river.

In terms of numbers of productions, Cleese has the most prolific solo career, having appeared in 59 theatrical films, 22 TV shows or series (including Cheers, 3rd Rock from the Sun, Q's assistant in the James Bond movies, and Will & Grace), 23 direct-to-video productions, six video games, and a number of commercials.^[20] His BBC sitcom Fawlty Towers (written by and starring Cleese together with his then-wife Connie Booth), is considered the greatest solo work by a Python since the sketch show finished. It is the only comedy series to rank higher than the Flying Circus on the BFI TV 100's list, topping the whole poll.

Idle enjoyed critical success with Rutland Weekend Television in the mid-1970s, out of which came the Beatles parody The Rutles (responsible for the cult mockumentary All You Need Is Cash), and as an actor in Nuns on the Run (1990) with Robbie Coltrane. Idle has had success with Python songs: "Always Look on the Bright Side of Life" went to no. 3 in the UK singles chart in 1991. The song had been revived by Simon Mayo on BBC Radio 1, and was consequently released as a single that year. The theatrical phenomenon of the Python musical Spamalot has made Idle the most financially successful of the troupe post-Python. Written by Idle, it has proved an enormous hit on Broadway, London's West End and also Las Vegas.^[21] This was followed by Not the Messiah (He's a Very Naughty Boy), which repurposes The Life of Brian as an oratorio. For the work's 2007 premiere at the Luminato festival in Toronto (which commissioned the work), Idle himself sang the "baritone-ish" part.

Post-Python reunions[link]

Since The Meaning of Life, their last project as a team, the Pythons have often been the subject of reunion rumours.^[21] The final reunion of all six members occurred during the Parrot Sketch Not Included – 20 Years of Monty Python special. The death of Chapman in 1989 (on the eve of their 20th anniversary) put an end to the speculation of any further reunions. There have been several occasions since 1989 when the surviving five members have gathered together for appearances—albeit not formal reunions.

In 1996, Jones, Idle, Cleese and Palin were featured in a film adaptation of The Wind in the Willows, which was later renamed Mr. Toad's Wild Ride.

In 1998 during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the five remaining members along with what was purported to be Chapman's ashes, were reunited on stage for the first time in 18 years.^[22] The occasion was in the form of an interview called Monty Python Live At Aspen, (hosted by Robert Klein, with an appearance by Eddie Izzard) in which the team looked back at some of their work and performed a few new sketches.

On 9 October 1999, to commemorate 30 years since the first Flying Circus television broadcast, BBC2 devoted an evening to Python programmes, including a documentary charting the history of the team, interspersed with new sketches by the Monty Python team filmed especially for the event. The program appears, though omitting a few things, on the DVD The Life of Python. Though Idle's involvement in the special is limited, the final sketch marks the only time since 1989 that all surviving members of the troupe appear in one sketch, albeit not in the same room.

In 2002, four of the surviving members, bar Cleese, performed "The Lumberjack Song" and "Sit on My Face" for George Harrison's memorial concert. The reunion also included regular supporting contributors Neil Innes and Carol Cleveland, with a special appearance from Tom Hanks.

In an interview to publicise the DVD release of The Meaning of Life, Cleese said a further reunion was unlikely. "It is absolutely impossible to get even a majority of us together in a room, and I'm not joking," Cleese said. He said that the problem was one of business rather than one of bad feelings.^[23] A sketch appears on the same DVD spoofing the impossibility of a full reunion, bringing the members “together” in a deliberately unconvincing fashion with modern bluescreen/greenscreen techniques.

Idle has responded to queries about a Python reunion by adapting a line used by George Harrison in response to queries about a possible Beatles reunion. When asked in November 1989 about such a possibility, Harrison responded: "As far as I'm concerned, there won't be a Beatles reunion as long as John Lennon remains dead." Idle's version of this was that he expected to see a proper Python reunion, "just as soon as Graham Chapman comes back from the dead", but added, "we're talking to his agent about terms."^[24]

2003's The Pythons Autobiography By The Pythons, compiled from interviews with the surviving members, reveals that a series of disputes in 1998, over a possible sequel to Holy Grail that had been conceived by Idle, may have resulted in the group's permanent fission. Cleese's feeling was that The Meaning of Life had been personally difficult and ultimately mediocre, and did not wish to be involved in another Python project for a variety of reasons (not least amongst them was the absence of Chapman, whose straight man-like central roles in the original Grail and Brian films had been considered to be essential performance anchorage). Apparently Idle was angry with Cleese for refusing to do the film, which most of the remaining Pythons thought reasonably promising (the basic plot would have taken on a self-referential tone, featuring them in their main 'knight' guises from Holy Grail, mulling over the possibilities of reforming their posse). The book also reveals that a secondary option around this point was the possibility of revitalising the Python brand with a new stage tour, perhaps with the promise of new material. This idea had also hit the buffers at Cleese's refusal, this time with the backing of other members.

March 2005 saw a full, if non-performing, reunion of the surviving cast members at the premiere of Idle's musical Spamalot, based on Monty Python and the Holy Grail. It opened in Chicago and has since played in New York on Broadway, London and numerous other major cities across the world. In 2004, it was nominated for 14 Tony Awards and won three: Best Musical, Best Direction of a Musical for Mike Nichols and Best Performance by a Featured Actress in a Musical for Sara Ramirez, who played the Lady of the Lake, a character specially added for the musical. Cleese played the voice of God, played in the film by Chapman.

Owing in part to the success of Spamalot, PBS announced on 13 July 2005, that it would begin to re-air the entire run of Monty Python's Flying Circus and new one-hour specials focusing on each member of the group, called Monty Python's Personal Best.^[25] Each episode was written and produced by the individual being honoured, with the five remaining Pythons collaborating on Chapman's programme, the only one of the editions to take on a serious tone with its new material.

Eric Idle and John Cleese appeared on stage together singing "Always Look on the Bright Side of Life" with the rest of the performers for the climax of Prince Charles 60th Birthday Show.

In 2009, to commemorate the fortieth anniversary of the first episode of Monty Python's Flying Circus, a six part documentary entitled Monty Python: Almost the Truth (The Lawyer's Cut) was released, featuring interviews with the surviving members of the team as well as archive interviews with Graham Chapman and numerous excerpts from the television series and films.

Also in commemoration of the 40th anniversary Idle, Palin, Jones and Gilliam appeared in a production of Not the Messiah (He's a Very Naughty Boy) at the Royal Albert Hall. The European premiere was held on 23 October 2009.^[26] An official 40th anniversary Monty Python reunion event took place in New York City on 15 October 2009 where the Team received a Special Award from the British Academy of Film and Television Arts.^[27]

In June 2011, it was announced that Monty Python have begun production on their first film project since the Meaning of Life in 1983. Their next film, A Liar's Autobiography, is an animated 3D movie based on the memoir of the late Python member, Graham Chapman, who died in 1989 at the age of 48. A Liar’s Autobiography was published in 1980 and details Chapman's journey through medical school, alcoholism, acknowledgement of his gay identity and the toils of surreal comedy.

Asked what was true in a deliberately fanciful account by Chapman of his life, Terry Jones joked: "Nothing . . . it’s all a downright, absolute, blackguardly lie."

The film will use Chapman's own voice - from a reading of his autobiography shortly before he died of cancer - and entertainment channel EPIX announced that the film will be released in early 2012 in both 2D and 3D formats. Produced and directed by London-based Bill Jones, Ben Timlett and Jeff Simpson, the new film has 15 animation companies working on chapters that will range from three to 12 minutes in length, each in a different style.

John Cleese has recorded new dialogue which will be matched with Chapman’s voice and Michael Palin will voice Chapman’s mother and father. Terry Gilliam plays various roles. Among the original Python group, only Eric Idle has not become involved, though Timlett said the filmmakers are “working on” him.^[28]

Python members[link]

Graham Chapman was originally a medical student, joining the Footlights at Cambridge. He completed his medical training and was legally entitled to practice as a doctor. Chapman is best remembered for the lead roles in Holy Grail, as King Arthur, and Life of Brian, as Brian Cohen. He died of spinal and throat cancer on 4 October 1989. At Chapman's memorial service, Cleese delivered an irreverent eulogy that included all the euphemisms for being dead from the Dead Parrot sketch, which they had written.

John Cleese is the oldest Python. He met his future Python writing partner, Graham Chapman, in Cambridge.

Terry Gilliam, an American, was the only member of the troupe of non-British origin.^[29] He started off as an animator and strip cartoonist for Harvey Kurtzman's Help! magazine, one issue of which featured Cleese. Moving from the USA to England, he animated features for Do Not Adjust Your Set and was then asked by its makers to join them on their next project: Monty Python's Flying Circus. He co-directed Monty Python and the Holy Grail and directed short segments of other Python films (for instance "The Crimson Permanent Assurance", the short film that appears before The Meaning of Life).

When Monty Python was first formed, two writing partnerships were already in place: Cleese and Chapman, Jones and Palin. That left two in their own corners: Gilliam, operating solo due to the nature of his work, and Eric Idle. Regular themes in his contributions were elaborate wordplay and musical numbers. After Flying Circus, he hosted Saturday Night Live four times in the first five seasons. Idle's initially successful solo career faltered in the 1990s with the failures of his 1993 film Splitting Heirs (written, produced by and starring him) and 1998's An Alan Smithee Film: Burn Hollywood Burn (in which he starred), which was awarded five Razzies, including 'Worst Picture of the Year'. He revived his career by returning to the source of his worldwide fame, adapting Monty Python material for other media. He also wrote the Broadway musical Spamalot, based on the Holy Grail movie. He also wrote Not the Messiah (He's a Very Naughty Boy), an oratorio derived from the Life of Brian.

Terry Jones has been described by other members of the team as the “heart” of the operation. Jones had a lead role in maintaining the group's unity and creative independence. Python biographer George Perry has commented that should you "speak to him on subjects as diverse as fossil fuels, or Rupert Bear, or mercenaries in the Middle Ages or Modern China... in a moment you will find yourself hopelessly out of your depth, floored by his knowledge." Many others agree that Jones is characterised by his irrepressible, good-natured enthusiasm. However, Jones' passion often led to prolonged arguments with other group members—in particular Cleese—with Jones often unwilling to back down. Since his major contributions were largely behind the scenes (direction, writing), and he often deferred to the other members of the group as an actor, Jones' importance to Python was often underrated. However, he does have the legacy of delivering possibly the most famous line in all of Python, as Brian's mother Mandy in Life of Brian, "He's not the Messiah, he's a very naughty boy!", a line voted the funniest in film history on two occasions.^[30][31]

Michael Palin attended Oxford, where he met his Python writing partner Jones. The two also wrote the series Ripping Yarns together. Palin and Jones originally wrote face-to-face, but soon found it was more productive to write apart and then come together to review what the other had written. Therefore, Jones and Palin's sketches tended to be more focused than that of the others, taking one bizarre situation, sticking to it, and building on it. After Flying Circus, he hosted Saturday Night Live four times in the first ten seasons. His comedy output began to decrease in amount following the increasing success of his travel documentaries for the BBC. Palin released a book of diaries from the Python years entitled Michael Palin Diaries 1969–1979, published in 2007.

Associate Pythons[link]

Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 7th Python, in a style reminiscent of George Martin (or other associates of The Beatles) being dubbed "the Fifth Beatle." The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th anniversary celebrations held in Los Angeles in July 1994.

Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for the Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they re-created sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the "Seventh Python," it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that he and Innes go back "too far. And no further." Innes has remained silent on the dispute.

Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as the "Python Girl." Originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus, she went on to appear in approximately two-thirds of the episodes as well as in all of the Python films, and in most of their stage shows as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way.

Other contributors[link]

Cleese's first wife Connie Booth appeared in, amongst others "The Lumberjack Song" and as the "witch" in Monty Python and the Holy Grail. Cleese and Booth later co-wrote and co-starred in Fawlty Towers.

Douglas Adams was "discovered" by Chapman when a version of the Footlights Revue (a 1974 BBC2 television show featuring some of Adams' early work) was performed live in London's West End. In Cleese's absence from the final TV series, the two formed a brief writing partnership, with Adams earning a writing credit in one episode for a sketch called "Patient Abuse". In the sketch, a man who had been stabbed by a nurse arrives at his doctor's office bleeding profusely from the stomach, when the doctor makes him fill out numerous senseless forms before he can administer treatment. He also had two cameo appearances in this season. Firstly, in the episode The Light Entertainment War, Adams shows up in a surgeon's mask (as Dr. Emile Koning, according to the on-screen captions), pulling on gloves, while Palin narrates a sketch that introduces one person after another, and never actually gets started. Secondly, at the beginning of Mr. Neutron, Adams is dressed in a "pepperpot" outfit and loads a missile onto a cart being driven by Terry Jones, who is calling out for scrap metal ("Any old iron..."). Adams and Chapman also subsequently attempted a few non-Python projects, including Out of the Trees. He also contributed to a sketch on the soundtrack album for Monty Python and the Holy Grail.

Stand-up comedian Eddie Izzard, a devoted fan of the group, has occasionally stood in for absent members. When the BBC held a "Python Night" in 1999 to celebrate 30 years of the first broadcast of Flying Circus, the Pythons recorded some new material with Izzard standing in for Idle, who had declined to partake in person (he taped a solo contribution from the US). Izzard hosted a history of the group entitled The Life of Python (1999) that was part of the Python Night and appeared with them at a festival/tribute in Aspen, Colorado, in 1998 (released on DVD as Live at Aspen).

Cultural influence[link]

By the time of the twenty-fifth anniversary of Monty Python in 1994, the point was already being made that "the five surviving members had with the passing years begun to occupy an institutional position in the edifice of British social culture that they had once had so much fun trying to demolish".^[32] A similar point is made in a 2006 book on the relationship between Monty and philosophy: "It is remarkable, after all, not only that the utterly bizarre Monty Python's Flying Circus was sponsored by the BBC in the first place, but that Monty Python itself grew into an institution of enormous cultural influence"^[33] Matt Groening, creator and co-developer of the animated sitcom The Simpsons, names Monty Python as an influence and pays tribute through a couch gag used in seasons five and six.^[34]

Space[link]

In 2010 the commercial space company SpaceX, launched a wheel of cheese into low earth orbit and returned it safely to the earth. Elon Musk, CEO and CTO of SpaceX, claimed this was done as a tribute to Monty Python.

World records[link]

On St George's Day, 23 April 2007, the cast and creators of Spamalot gathered in Trafalgar Square under the tutelage of the two Terrys (Jones and Gilliam) to set a new record for the world's largest coconut orchestra. They led 5,567 people "clip-clopping" in time to the Python classic "Always Look On The Bright Side of Life" for the Guinness World Records attempt.^[35]

'Pythonesque'[link]

Amongst the more visible cultural influences of Monty Python is the inclusion of terms either directly from, or derived from, Monty Python, into the lexicon of the English language. The most obvious of these is the term 'pythonesque', which has become a byword in surreal humour, and is included in standard dictionaries.^[36] Terry Jones commented on his disappointment at the existence of such a term, claiming the initial aim of Monty Python was to create something new and impossible to categorize and that "the fact that Pythonesque is now a word in the Oxford English Dictionary shows the extent to which we failed".^[37]

The term has been applied to animations similar to those constructed by Gilliam (e.g. the cut-out style of South Park, whose creators have often acknowledged a debt to Python, including contributing material to the aforementioned 30th anniversary theme night).^[38]

Good Eats creator Alton Brown cited Python as one of the influences that shaped how he created the series, as well as how he authors the script for each episode.^[39] Recent episodes even include Gilliam-style animations to illustrate key points.

Things named after Monty Python[link]

Beyond a dictionary definition, Python terms have entered the lexicon in other ways.

• The Python programming language by Guido van Rossum is named after the troupe, and Monty Python references are often found in sample code created for that language. Additionally, a 2001 April Fool's Day joke by van Rossum and Larry Wall involving the merger of Python with Perl was dubbed "Parrot" after the Dead Parrot Sketch. The name "Parrot" was later used for a project to develop a virtual machine for running bytecode for interpreted languages such as Perl and Python. Also, the Jet Propulsion Laboratory wrote some spacecraft navigation software in Python, which they dubbed "Monty". There is also a python refactoring tool called bicyclerepair ( [1] ), named after Bicycle Repair Man sketch.
• In 1985, a fossil of a previously unknown species of gigantic prehistoric snake from the Miocene was discovered in Riversleigh, Queensland, Australia. The Australian palaeontologist who discovered the fossil snake was a Monty Python fan, and he gave the snake the taxonomic name of Montypythonoides riversleighensis in honour of the Monty Python team.^[40] (Transliterated from Greek Μοντυπυθωνοειδής back to English, Montypythonoides means "like Monty Python".)
• In 2006, Ben & Jerry's, known for their "celebrity flavours", introduced to the lineup "Vermonty Python", a coffee liqueur ice cream with a chocolate cookie crumb swirl and fudge cows. The name "Minty Python" had been suggested before in 1996 in a contest to select the quintessential British ice cream flavor.^[41][42]
• In 1999, Black Sheep Brewery released an ale named "Monty Python's Holy Grail Ale."^[43]
• The band Toad the Wet Sprocket drew its name from the Eric Idle monologue "Rock Notes" on Monty Python's Contractual Obligation Album from 1980.
• The band Boxhamsters, which is the German translation of Brook-Hamster, the winner of the Upper Class Twit of the Year.^[44]
• A philosophy lecture series entitled Themes in Contemporary Analytic Philosophy as Reflected in the Work of Monty Python.^[45][46]
• The term "spam" in reference to bulk, unsolicited email is derived from the programme's 1970 "Spam" sketch.^[47]
• In the book The Reptile Room by "Lemony Snicket", the character Uncle Monty was named after Monty Python, in a joke referring to his obsession with snakes.
• Seven asteroids are named after Monty Python: 9617 Grahamchapman, 9618 Johncleese, 9619 Terrygilliam, 9620 Ericidle, 9621 Michaelpalin, 9622 Terryjones, and 13681 Monty Python .
• The endangered Bemaraha woolly lemur (Avahi cleesei) is named after John Cleese.