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List of Slovak prose and drama authors

The following is a list of notable authors of Slovak prose and drama.

Baroque (1650–1780)

 * Matthias Bel (1684–1749)
 * Adam František Kollár (1718–1783)
 * Daniel Sinapius-Horčička (1640–1688)

Classicism (1780–1840)

 * Jozef Ignác Bajza (1755–1836)
 * Juraj Fándly (1750–1811)
 * Ján Chalupka (1791–1871)
 * Ján Kollár (1793–1852)
 * Pavol Jozef Šafárik (Pavel Josef Šafařík) (1795–1861)

Romanticism (1840–1850)

 * Pavol Dobšinský (1828–1885)
 * Michal Miloslav Hodža (1811–1870)
 * Jozef Miloslav Hurban (1817–1888)
 * Ľudovít Štúr (1815–1856)
 * Samo Tomášik (1813–1887)

Between Romanticism and Realism (1850–1875)

 * Jakub Grajchman (1822–1897)
 * Jonáš Záborský (1812–1876)

Realism (1875–1905)

 * Janko Alexy (1894–1970)
 * Pavol Országh Hviezdoslav (1849–1921)
 * Martin Kukučín (1860–1928)
 * Kristína Royová (1860–1936)
 * Jozef Gregor-Tajovský (1874–1940)
 * Timrava (Božena Slančíková) (1867–1951)
 * Svetozár Hurban-Vajanský (1847–1916)

Modernism (1905–1918)

 * Janko Jesenský (1874–1945)
 * Ivan Krasko (1876–1958)

Between the World Wars (1918–1948)

 * Vladimír Clementis (1902–1952)
 * Margita Figuli (1909–1995)
 * Jozef Cíger-Hronský (1896–1960)
 * Dobroslav Chrobák (1907–1951)
 * Štefan Krčméry (1892–1955)
 * Ladislav Nádaši-Jégé (1866–1940)
 * Ľudo Ondrejov (1901–1962)
 * Martin Rázus (1888–1937)
 * Ivan Stodola (1888–1977)
 * František Švantner (1912–1950)
 * Milo Urban (1904–1982)

Literature after World War II (1948–1964)

 * Jozef Dunajovec (1933–2007)
 * Andrej Brázda-Jankovský (1915–2008)
 * Katarína Lazarová (1914–1995)
 * Ladislav Mňačko (1919–1994)
 * Hana Zelinová (1914–2004)
 * Štefan Žáry (1918–2007)

Contemporary literature (1964–1995)

 * Emil Benčík (born 1933)
 * Ladislav Grosman (1921–1981)
 * Anton Hykisch (born 1932)
 * Peter Jaroš (born 1940)
 * Milan Lasica (born 1940)
 * Hana Ponická (1922–2007)
 * Miriam Roth (1910–2005)
 * Július Satinský (1941–2002)
 * Dušan Slobodník (1927–2001)
 * Ladislav Švihran (1931–2022)
 * Vojtech Zamarovský (1919–2006)
 * Zuzka Zguriška (1900–1984)

Contemporary literature (since 1995)

 * Radovan Brenkus (born 1974)
 * Juraj Červenák (born 1974)
 * Dušan Fabian (born 1975)
 * Michal Hvorecký (born 1976)
 * Jozef Karika (born 1978)
 * Ľuba Lesná (born 1954)
 * Vladimir Oravsky (born 1947)
 * Peter Pišťanek (1960–2015)
 * Radoslav Rochallyi (born 1980)
 * Miroslav Šustek (born 1947)

title: List of Slovak prose and drama authors


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Mammillary body

The mammillary bodies are a pair of small round bodies, located on the undersurface of the brain that, as part of the diencephalon, form part of the limbic system. They are located at the ends of the anterior arches of the fornix. They consist of two groups of nuclei, the medial mammillary nuclei and the lateral mammillary nuclei.

Neuroanatomists have often categorized the mammillary bodies as part of the posterior part of hypothalamus.

Connections
They are connected to other parts of the brain (as shown in the schematic, below left), and act as a relay for impulses coming from the amygdalae and hippocampi, via the mamillo-thalamic tract to the thalamus.

Function
Mammillary bodies, and their projections to the anterior thalamus via the mammillothalamic tract, are important for recollective memory. According to studies of rats with mammillary body lesions, damage to the medial mammillary nucleus lead to spatial memory deficits.

Clinical significance
Damage to the mammillary bodies due to thiamine deficiency is implied in pathogenesis of Wernicke–Korsakoff syndrome. Symptoms include impaired memory, also called anterograde amnesia, suggesting that the mammillary bodies may be important for memory. Lesions of the medial dorsal and anterior nuclei of the thalami and lesions of the mammillary bodies are commonly involved in amnesic syndromes in humans.

Mammillary body atrophy is present in several other conditions, such as colloid cysts in the third ventricle, Alzheimer's disease, schizophrenia, heart failure, and sleep apnea. In spite of this the exact function of the mammillary bodies is still not clear.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Mammillary body


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RG color models

An RG color model is a dichromatic color model represented by red and green primary colors. These can only reproduce a fraction of the colors possible with a trichromatic color space, such as for human color vision.

The name of the model comes from the initials of the two primary colors: red and green. The model may be either additive or subtractive. Despite its shortcomings in color reproduction, these models were used in early color processes for films.

Additive RG
The additive RG color model uses red and green primaries. It was used in several processes during the early innovations of color photography, including Kinemacolor, Prizma, Technicolor I,   and Raycol. The primaries are added together in varying proportions to reproduce a linear gamut of colors, which can reproduce only a fraction of the colors possible with a trichromatic color space.

The appearance of the color gamut changes depending on the primary colors chosen. When the primaries are complementary colors (e.g. red and cyan), then an equal mixture of the primaries will yield a neutral color (gray or white). However, since red and green are not complementary colors, an equal mixture of these primaries will yield yellow, and a neutral color cannot be reproduced by the color space.

Until recently, its primary use was in low-cost LED displays in which red and green LEDs were more common and cheaper than the still nascent blue LED technology. However, this preference no longer applies to modern devices. In modern applications, the red and green primaries are equal to the primaries used in typical RGB color spaces. In this case, the RG color model can be achieved by disabling the blue light source.

Subtractive RG
The subtractive RG color model uses red and green filters for film exposure, but complementary cyan-green (for red) and orange-red (for green) for the developed prints. This allows the generation of white, although the color model cannot achieve black, regardless of the primaries chosen. It was used in several processes during the early innovations of color photography, including on Brewster Color I,  Kodachrome I,   Prizma II, and Technicolor II.

Subtractive RGK
A similar color model, called RGK adds a black channel, which allows for the reproduction of black and other dark shades. However, it does not allow the reproduction of neutral colors (gray/white) because the primaries are not complementary.

Outside of a few low-cost high-volume applications, such as packaging and labelling, RG and RGK are no longer in use because devices providing larger gamuts such as CMYK are in widespread use.

Anaglyph 3D
In 1858, in France, delivered a report to l'Académie des sciences describing how to project three-dimensional magic lantern slide shows using red and green filters to an audience wearing red and green goggles. Subsequently he was chronicled as being responsible for the first realisation of 3D images using anaglyphs.

title: RG color models


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Do I Hear a Waltz?

Do I Hear a Waltz? is a musical with a book by Arthur Laurents, music by Richard Rodgers, and lyrics by Stephen Sondheim. It was adapted from Laurents' 1952 play The Time of the Cuckoo, which was the basis for the 1955 film Summertime starring Katharine Hepburn.

Background
Laurents originally conceived the production as a small chamber musical with music by Richard Rodgers, lyrics by Oscar Hammerstein, and Mary Martin in the lead role of spinster Leona Samish. By the time the project began to jell, however, Hammerstein had died, and Stephen Sondheim was asked by Laurents and Mary Rodgers, Richard Rodgers' daughter, to write the lyrics. Even so, Rodgers felt that the original play did not lend itself to musicalization; Sondheim agreed. According to Peter Filichia, "Sondheim didn't want to do the musical in the first place, but given that Laurents sought him – and had recommended him for 'West Side Story' when he was a novice — he accepted. Also a factor was that his now-deceased mentor Oscar Hammerstein had recommended that he succeed him as Rodgers' lyricist."

Rodgers, who was producing the Broadway production, rejected Martin as too old for Leona.

Franco Zeffirelli was the first choice for director, and he met with Laurents, Sondheim, and Rodgers, who fell asleep during their discussion. Laurents suspected Rodgers had been drinking, and when he discovered a bottle of vodka secreted in the toilet tank during a later visit to the Rodgers apartment, he realized he had been correct. The composer's chronic drinking proved to be a major problem throughout the rehearsal period and pre-Broadway run at the Colonial Theatre in Boston and the Shubert Theatre in New Haven.

Laurents suggested that John Dexter direct the show, but later regretted the choice. Dexter insisted on giving the lead role of Leona to Elizabeth Allen, who Laurents felt could manage the acting and singing but had a cold personality too contrary to that of the character. Rodgers' mistreatment of Sondheim left the lyricist feeling apathetic if not outright sour about the project, but he maintained his professionalism. The first run-through was disastrous, and Dexter immediately lost interest, leaving most of the work to his assistant-choreographer Wakefield Poole. Herbert Ross was called in to work on the dance routines and brought with him his wife Nora Kaye, who served as a mediator among the warring factions. She was faced with an arduous task, given Rodgers' open dismissal of Sondheim's lyrics as "shit," as well as his eventual ban of Laurents from rehearsals completely.

Synopsis
New York City secretary Leona Samish arrives in Venice ("Someone Woke Up"), where she is staying at the Pensione Fioria, where she is greeted by owner Fioria ("This Week Americans"). There she meets Americans Eddie and Jennifer Yaeger, who are living in Rome and have come to Venice for a vacation, and the McIlhennys, an older couple on a package tour ("What Do We Do? We Fly!").

While shopping, Leona sees a ruby glass goblet in a store window and goes inside to inspect it. The owner, Renato di Rossi, tells her it is an authentic 18th-century piece, not a reproduction. He offers not only to find her a matching glass to make up a pair, but to show her the sights of the city, as well. Leona refuses his offer and leaves, but returns the next day to buy the goblet. Later that day, a package with a second goblet is delivered to the hotel. Soon after, Renato arrives to invite Leona to join him for coffee in Piazza San Marco that evening. When the McIlhennys show her their purchase of a set of glasses exactly like hers, Leona believes Renato misrepresented their value, but Signora Fioria assures her they are antiques.

Later in the day, Renato's son Vito comes to tell Leona that Renato will be late for their meeting because one of his children is ill and needs to see a doctor. Realizing Renato is married, she cancels their rendezvous. He comes to the pensione and explains he and his wife have not loved each other for years but divorce is not an option, not only because the country doesn't permit it, but because they have their children to consider as well. To Leona, his casual attitude about extramarital affairs is wrong, but she still finds herself attracted to him, and agrees to keep their date.

Meanwhile, the Yaegers are facing problems of their own. Eddie, finding himself enamoured with Signora Fioria, announces he wants to put distance between himself and the woman by returning to the United States.

Renato arrives with a garnet necklace for Leona, who is thrilled with his gift and agrees to extend her stay in Venice. She hosts a party in the garden of the pensione, and as the party is in progress, Renato's son Vito comes to tell his father that the jeweler wants his money; overhearing this, Leona happily gives him the money. However, when she discovers Renato has received a commission on the sale of the necklace, she accuses him of being interested only in her money, and he leaves.

Fioria and Jennifer attempt to comfort Leona, who drunkenly reveals Eddie and Fioria spent the previous evening together, only to immediately regret her words ("Everyone Loves Leona"). The following day both the Yaegers and the McIlhennys check out of the pensione as Fioria is happy that everyone is leaving and making way for the next group of guests ("Last Week Americans"). On hearing Renato had been there before she awoke, Leona goes to his store to make amends, but he tells her a relationship with her would be impossible because of her complicated outlook on life. His affection for her is gone, and they part as friends ("Thank You So Much").

Song list

 * Act I
 * Overture
 * "Someone Woke Up" – Leona Samish
 * "This Week Americans" – Signora Fioria
 * "What Do We Do? We Fly!" – Leona Samish, Mrs. McIlhenny, Mr. McIlhenny, Eddie Yaeger and Jennifer Yaeger
 * "Someone Like You" – Renato Di Rossi
 * "Bargaining" – Renato Di Rossi
 * "Here We Are Again" – Leona Samish, Vito and Ragazzi
 * "Thinking" – Renato Di Rossi and Leona Samish
 * "No Understand" – Signora Fioria, Eddie Yaeger and Giovanna
 * "Take the Moment" – Renato Di Rossi

 * Act II
 * "Moon in My Window" – Jennifer Yaeger, Signora Fioria and Leona Samish
 * "We're Gonna Be Alright" [revised] – Eddie Yaeger and Jennifer Yaeger
 * "Do I Hear a Waltz?" – Leona Samish and Company
 * "Stay" – Renato Di Rossi
 * "Perfectly Lovely Couple" – Leona Samish, Renato Di Rossi, Mr. McIlhenny, Mrs. McIlhenny, Jennifer Yaeger, Eddie Yaeger, Giovanna and Signora Fiora
 * "Thank You So Much" – Renato Di Rossi and Leona Samish
 * Finale

 * Cut songs
 * "Two by Two" - Leona, Vito, girl, Eddie, Jennifer, Fioria, male companion, Mr. McIlhenny, Mrs. McIlhenny
 * "We're Gonna Be Alright" [original] – Eddie Yaeger and Jennifer Yaeger
 * "Everybody Loves Leona" - Leona (restored in the George Street Playhouse production)
 * "Perhaps"
 * "Philadelphia"

Productions
The musical opened on Broadway on March 18, 1965, at the 46th Street Theatre and closed on September 25, 1965, after 220 performances. Choreography was by Herbert Ross, with scenery and costumes by Beni Montresor and lighting by Jules Fisher.

Laurents rued the casting - he felt Allen was too young and colorless and Franchi couldn't act - and ignored all the ongoing problems in favor of making his dream a reality, but most of all he regretted the break in his friendship with Sondheim after the show.

The musical received three nominations for the Tony Awards: Elizabeth Allen was nominated for the Tony Award for Best Performance by a Leading Actress in a Musical; nominated for Best Original Score; and nominated for Best Scenic Design, but lost in all three categories.

In May 1966, Do I Hear a Waltz? made its regional theatrical debut at the Pabst Theater in Milwaukee (Wisconsin): Dorothy Collins as Leona led a cast which also included Ron Holgate (Collins' husband) as Renato, Joel Fabiani as Eddie Yaeger. The production encored at the Paper Mill Playhouse in May–June 1966. Also in the summer of 1966 Do I Hear a Waltz made its West Coast premiere, with Anne Jeffreys as Leona leading the Valley Music Theater production in which Richard Torigi played Renato and Fleury D'Antonakis again played Giovanna.

Dorothy Collins would reprise her role of Leona in the summer of 1967 when Do I Hear a Waltz? was presented by the St. Louis Municipal Opera, with a cast also including Fleury D'Antonakis (reprising her Broadway role as Giovanna), Clifford David (Eddie Yaeger), Enzo Stuarti (Renato), Monique van Vooren (Fioria) and Karin Wolfe (Jennifer Yaeger). With Holgate encoring as Renato opposite Collins as Leona, the production was scheduled for two subsequent Boston-area engagements of Do I Hear a Waltz? that summer: however Collins' maternity leave mandated Julia Meade instead headlining those two engagements opposite Holgate. Also in the summer of 1967 Monique van Vooren encored as Fioria in the Kenley Players of Dayton (Ohio) production of Do I Hear a Waltz? which starred Anita Bryant as Leona and featured Don Amendolia as Vito (Carol Bruce had originally been announced as encoring her Broadway role of Fioria for Kenley Players).

In the summer of 1972 Ronald Holgate again encored as Renato in a tour of Do I Hear a Waltz? with Patrice Munsel headlining as Leona: also in the cast were Richard Kline (Eddie Yaeger) and Denise Lor (Fioria).

In March 1975 Rosalind Harris starred as Leona in a revival of Do I Hear a Waltz? by the Equity Library Theatre of the New York [City] Public Library whose cast also included Melanie Chartoff (Jennifer Yaeger) and Barbara Lea (Fioria).

In 1997, Sondheim was sent a recording of a concert version of Do I Hear a Waltz? that had been presented in London. It was then he realized the original play did lend itself to musical adaptation, but the score Rodgers composed wasn't very good. He enthusiastically contacted Laurents and the two discussed changes that could be made to improve the show.

A revised production was staged at the George Street Playhouse, New Brunswick, New Jersey from October 13, 1999, through November 14, 1999. For this production the dropped song "Everybody Loves Leona" was restored, lyrics were altered or added, and Laurents "revamped quite a bit of the book."

A 2001 revival of the musical was staged at the Pasadena Playhouse, Pasadena, California, where it ran from July 15 through August 19. The production was well received by the critics, and a cast recording was subsequently released on the Fynsworth Alley label.

In 2003, the Landor Theatre in London staged the musical and in March 2014, Charles Court Opera further revived the show at Park Theatre in Finsbury Park.

The musical was presented by Encores! at New York City Center in May 2016. It was directed by Evan Cabnet.

The 42nd Street Moon company of San Francisco has mounted two revivals of Do I Hear a Waltz?, the first in 1998 with Darren Criss as Mauro, the second in 2014 with Emily Skinner as Leona.

Critical response
The original production received mixed reviews. Howard Taubman of The New York Times observed,
 * "The authors ... have accomplished their conversion from the play with tact and grace. They have not attempted a complete transformation. On the other hand, they have not cheapened or falsified the play ... They were wise not to overload the musical with production numbers; their taste was unexceptionable when they chose not to turn their work into a brash, noisy affair, which would have been out of keeping with their theme. At the same time one cannot suppress a regret that they failed to be bolder: For there are times, particularly in the early stages, when the songs are merely a decoration. They give the impression that they are there because a musical requires music. They do not translate the story into the fresh and marvelous language that the rich resources of the musical stage make possible."

William Ruhlmann wrote:
 * "Despite the pedigrees of the creators, the show opened to negative reviews, which is explained only partly by the score as heard on this cast recording. Elizabeth Allen, in the lead role, was criticized with backhanded compliments for being too young and attractive for the part, flaws not apparent on the album. Sergio Franchi, as her romantic partner, also came in for criticism, but comes off much better here. And the small supporting cast, featuring Carol Bruce as the proprietor of a pension, is also impressive. But the songs, for the most part, are not memorable."

The production did not recoup its investment, but several songs, including the title song, received radio play. RCA released a single of two of the songs recorded by Sergio Franchi ("Someone Like You" and "Take the Moment"); and he sang them on several televised shows. Franchi generally received excellent reviews of his singing performance on this show, his Broadway debut.

Post mortem
With the passage of time, Sondheim, the longest surviving member of the original creative team, has reflected on what went wrong with Do I Hear a Waltz? To begin with, his reasons for collaborating with Rodgers were prompted out of obligations to others rather than a belief in the material. In his final meeting with Hammerstein, the dying lyricist recommended that Sondheim collaborate with Rodgers. Additionally, Mary Rodgers (the composer's daughter) was a good friend of Sondheim and forcefully urged him to consider a collaboration.

In getting to know Rodgers, Sondheim found a "funny, dour, difficult fellow" who was plagued with self-doubt, thinking that his musical abilities were failing him. This manifested itself in the composer's adamant unwillingness to consider rewriting anything. Sondheim considered "What Do We Do? We Fly" and "Bargaining" to be repetitive songs – victims of the lack of desire to rewrite, a type of song he named "mechanicals". Sondheim felt that Rodgers need not have been so self-doubting "as songs like 'Take the Moment' and the show's title tune attest." Eventually Rodgers' self-doubt grew into paranoia, with Rodgers thinking that Sondheim and Arthur Laurents were plotting against him.

Optimistic at a chance to do something unusual, Sondheim thought that Leona – the lonely and uptight American – should not sing until the end of the show. Rodgers refused to consider such an innovation, bringing Sondheim to recognize that in the Rodgers and Hammerstein collaboration, it was Hammerstein that was the path breaker, because Rodgers was an "archconservative", whose innovations were restricted to superficial gimmicks (for example, no string instruments in No Strings). Sondheim felt that Rodgers was not able to write a story in song so he ended up writing many of the lyrics first. Unlike his other partnerships in which composers responded with a collaborative give-and-take between lyrics and music, Sondheim felt that working with Rodgers was like "a set of assignments, either from me to Rodgers or Rodgers to me."

One particular incident involved an infamous lyric change referring to a married couple in the song "We're Gonna Be All-Right". Sondheim's lyrics for the song tended to lean toward a more cynical view of marriage and his suggestion that the husband and wife might find consolation by having separate affairs, even a homosexual one, was quite revolutionary for 1965. He recalls, "I wrote lyrics which had some bite to them, and Dick Rodgers thought the song was wonderful. Next day he called a lunch and kept slamming the lyrics against my forearm and saying, 'This will not do, this will not do', and I kept asking, 'Why?' The truth was, he'd shown the lyrics to his wife and she did not like it. He probably showed it to her out of enthusiasm. But you know, it's got stuff about sexuality in it."

Ultimately Sondheim understood the failure of Do I Hear a Waltz? in the context of Mary Rodgers's formulation of what she called a "why? musical". Such a musical is usually based on good source material but raises the question as to what the addition of music does to enhance the original. With rare exceptions (Sondheim cited My Fair Lady as such an exception, because its creators loved and respected the story) "why? musicals" gain nothing from having music added, usually resulting in a dilution of the original material. Sondheim accepted responsibility for being naive: Thinking that his participation in Do I Hear a Waltz? was a quick way to make money off of good source material – an effort that failed.

Recordings
The original cast recording was released by Columbia Records in 1965, and was chosen by Billboard as an Original Cast Spotlight Album. A remastered version was released on compact disc and cassette tape by Sony Broadway in 1992. A KeelanMusic review gives a very favorable review to the Original Cast recordings, irrespective of the Broadway criticisms.

The 13 March 1975 performance of the 1975 Equity Library production was recorded on audiocassette and is held in the Equity Library Theatre collection.

A recording of the Pasadena Playhouse production was released by Fynsworth Alley in 2001. Musical excerpts (not included on the original cast recording) include the overture, Lezione in Inglese, We're Going to the Lido, Everybody Loves Leona.

title: Do I Hear a Waltz?


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RFA Derwentdale

Two ships of the Royal Fleet Auxiliary have borne the name RFA Derwentdale:

 * RFA Derwentdale was a Dale-class oiler oiler and landing ship, gantry launched in 1941 and sold in 1960.
 * RFA Derwentdale was a Dale-class tanker mobile reserve tanker launched in 1964 as Halcyon Breeze. She was acquired in 1967 and returned to her owners in 1974.

title: RFA Derwentdale


text:
Talk:Legion Condor

This is my attempt to translate the nonsense from which i inferred German idioms, as far as i could:

 * In Germany, in contrast, LV propaganda and  magazines justified, as had  the Air Force magazine "The Eagle", aimed the "myth Legion CONDOR".

What i was working from was
 * In Germany however LV propaganda and magazines justified like the Air Force magazine "the eagle" aimed the "myth Legion CONDOR".

But i couldn't bear to leave it in the article.

I would guess "Italian federations" is supposed to mean "members of Italian labor unions", but i'm guessing. --Jerzy(t) 01:56, 2004 Mar 15 (UTC)

title: Talk:Legion Condor


text:
Talk:Vol. 4 (Black Sabbath album)

Name
Shouldn't this be Black Sabbath Vol. 4??????????????? Lee M 01:57, 15 Mar 2004 (UTC)

Yes, it should. Can someone change the header and alter the links to the page? I can only do the former. Al —Preceding unsigned comment added by 86.142.96.164 (talk) 03:46, 25 November 2007 (UTC)

It should remain Black Sabbath Vol 4. That's the title on the cover. Joe routt (talk) 23:24, 15 March 2008 (UTC)

The official name of the album is Vol 4 (as can be seen on the official website),the black sabbath on the cover is to state the name of the band as many albums do otherwise we'd be calling albums nirvana nevermind,beatles please please me etc could soemone please change the top title to Vol 4 —Preceding unsigned comment added by 90.197.65.188 (talk) 22:49, 4 August 2008 (UTC)
 * This is what I agree with. Just because the band's name is on the cover of an album, it doesn't make it a part of the title. Jthm guitarist (talk) 07:30, 3 November 2008 (UTC)

Been a while since anyone commented on the name of this album, but I'd like to stick my 2 cents in. Surely the name of the album is Vol 4 or even Volume 4. No way is it Black Sabbath Volume 4. I have no idea how to change it myself else I would. So could someone change it. If it doesn't get changed I will try and contact someone here who can change it. Roger and out. JSL595 (talk) 19:55, 22 March 2010 (UTC)
 * Allmusic and Rolling Stone both refer to it as Black Sabbath Vol. 4. I would be against moving to 'Volume 4'. J04n(talk page) 20:03, 22 March 2010 (UTC)

black-sabbath.com refers to it as "Volume 4" "" and I would imagine (here's me guessing) that the Sabs themselves would refer to it as Vol/Volume 4 as do the many Sabbath fans I've chatted with over these past 30 odd years. Never in all those discussions has anyone said something like "Ooh yeah I love the outro to Under the Sun on Black Sabbath Vol 4". I've just taken a wee look at Toto IV and Led Zeps II and III and they include the name of the band in the title of the album too (although whether or not they should I have no idea, not being a Toto or Led Zep fan)... We'll see if anyone else can offer some sage words on this. I'm not a big contributor or uberknowledgeable editor on here but it strikes me (ow!) that calling this album "Black Sabbath Vol 4" is incorrect and is done to satisfy people who don't like inconvenient names for things... Led Zep's 4th album being the perfect example of this, although the arguement there is that that album didn't have an official title so Led Zeppelin IV is OK and I can accept that. My arguement here is, like the guy above said a while back, that just because the name of the band is congruent with Vol 4 on the album cover, it doesn't mean that it is all part of the title of that album. Is there a naming conventions guide on here somewhere? There must be... I'll go have a wee look. Rock and roll JSL595 (talk) 20:51, 22 March 2010 (UTC)

There is one counter-arguement to this dilema though. If you bought the album and checked on the side of the album where it would name the album it reads "Black Sabbath/Black Sabbath Vol. 4" which means they mentioned the band name and then the album name. Websites usually disagree with the actual releases, but I trust the releases more than I trust the websites, because websites are usually controlled by a third party who understands the technology more than a band that's been around before CDs existed. — Preceding unsigned comment added by 67.174.213.7 (talk) 23:52, 24 August 2011 (UTC)
 * The label on the vinyl Vertigo LP also shows the title as "Black Sabbath Vol. 4" with the band name repeated under it. The label has the period at the end of Vol, which the cover art does not. I don't see any justification for writing "Volume" in full, since that isn't on the cover or the label.--Walor (talk) 20:07, 28 August 2011 (UTC)

The band itself refer to this album as Black Sabbath Vol. 4 (even on their website). Vinyl and CD editions also use this name. – Sabbatino (talk) 20:06, 11 May 2016 (UTC)

If i remember correctly the spine on the LP read "Black Sabbath/Black Sabbath Vol 4" — Preceding unsigned comment added by 24.119.192.245 (talk) 17:16, 28 March 2018 (UTC)

<^>v|This album is connected|v<^>

 * All song titles serve as redirects to this album or have been placed at the appropriate disambiguation pages.--Hraefen Talk 17:45, 11 July 2006 (UTC)

Merge and other changes
I merged stub articles for "St. Vitus Dance (song)", "Supernaut" and "Snowblind (song)" back into Black Sabbath, Vol 4 — articles aren't really needed for each song. Hopefully this doesn't enrage anyone.
 * Yes, it DOES enrages me, because these are some of THE BEST FREAKIN' SONGS IN THE HISTORY OF MUSIC. They DO deserve their own articles. Yeah, enragement is the best word, I guess... 85.89.184.212 (talk) 17:25, 31 January 2010 (UTC)

"Changes (Black Sabbath song)" still has its own page not because it's great or anything but because it was released on 2 (non-Sabbath) singles, one becoming a hit for Kelly Osbourne. / edg ☺ ☭ 05:14, 23 December 2007 (UTC)

 * I have no objection to the merge but anyone looking for Supernaut (band) may not have found it as a result of changing Supernaut to a redirect. I've switched it to a disambig page which should fulfil all requirements. —Moondyne 06:29, 23 December 2007 (UTC)

 * Thanks for catching this! / edg ☺ ☭ 06:43, 23 December 2007 (UTC)

recording information
in this article it's stated that vol 4 was "...recorded in California, the first time Sabbath had recorded a studio album outside the United Kingdom. [1]"

the article for Master of Reality states that it was recorded at the same place in california, which one is wrong? 74.216.44.229 (talk) 05:08, 20 March 2008 (UTC)

This is not sludge metal
Please, journalists are not the best source for metal subgenres. Where are the hardcore punk influences here?
 * Forgot to sign:Gothbag (talk) 05:38, 30 January 2010 (UTC)

Cover Art Variations
Does anyone have any info as to why there are so many variations of the color on the cover art? I've seen hard orange, yellow, and somewhere between the two. Which one is supposed to be the right one? zappafrank2112 (talk) 18:46, 24 January 2011 (UTC)

Depends. My original LP is more orangey, my CD (not the remastered one) is more yellowey — Preceding unsigned comment added by 5.44.248.3 (talk) 00:45, 4 February 2013 (UTC)

Genres
I don't know who put this album as stoner and doom metal, but you're totally wrong. Yes it has traces of stoner left from MOR, but it's not a stoner metal album, nor is it even close to doom metal, no sabbath album is doom. It is hard rock/heavy metal and keep it that way please. 74.183.34.16 (talk) 05:30, 19 February 2011 (UTC)

Citation format
Hi User:ChakaKong can you please explain what the objection is to the open text citation format. Thanks. In ictu oculi (talk) 02:14, 21 August 2013 (UTC)
 * You are citing books as sources and this is the preferred citation style. I've never seen anyone place entire paragraphs from a book into an inline citation like you're doing. Also, why are you adding a source to a song title? It's not necessary. ChakaKongLet's talk about it 02:33, 21 August 2013 (UTC)
 * We do it all the time in articles where it's needed to check the content. How does anyone know what the cite says and source say are the same? i.e. What harm is it doing to let readers see the original source? In ictu oculi (talk) 02:42, 21 August 2013 (UTC)
 * How does anyone know what the cite says and source say are the same? They read it! They actually verify it by reading the book you're citing, which is exactly what we are expected to do. No offense, but how do I know what you typed in is what the source actually says? I don't. ChakaKongLet's talk about it 03:03, 21 August 2013 (UTC)
 * Please do not deleted sourced content. I have changed copy to agree with your (correct) interpretation of the sourced ref. In ictu oculi (talk) 02:57, 21 August 2013 (UTC)
 * If it's wrong, I'll revert it. Sourced or not. You seem to be in agreement that your edit was inaccurate, so anyone can revert it at any time. ChakaKongLet's talk about it 03:03, 21 August 2013 (UTC)
 * And what exactly does your line The song "Under the Sun" is an experiment following the play with eclectic structures in "Wicked World" even mean? That sentence is going to confuse anyone who reads it and should be reverted. ChakaKongLet's talk about it 03:16, 21 August 2013 (UTC)
 * It means the same as it means in the book source which you deleted. In ictu oculi (talk) 06:15, 21 August 2013 (UTC)

Singles
The statement by Tony Iommi that Black Sabbath did not release singles between Paranoid and Never say Die is clearly false and maybe due to the fact that those singles did not chart. As also reported in Black Sabbath discography, Black Sabbath released three singles through Vertigo Records, WWA and NEMS in the UK and Warner Bros. Records in the USA, between 1972 and 1976. They are Tomorrow's Dream / Laguna Sunrise (Vertigo 6059 061, September 1972), Sabbath Bloody Sabbath / Changes (WWA WWS 002, December 1973) , Am I Going Insane (Radio) / Hole in the Sky (NEMS 6165 300, December 1975). The count is limited to British and American editions, because more singles were produced in other European countries and Japan. A good list can be found here:. For printed sources on Black Sabbath discography I suggest the books The Great Rock Discography by M.C. Strong (ISBN 9780862415419) and Black Sabbath by Chris Welch (ISBN 0711917388), but other biographies of the band have a reference to the cited singles. Lewismaster (talk) 14:41, 8 October 2013 (UTC)
 * I suggest you source your edits reliably rather than edit warring on the subject, as you have been doing thus far. I'm not seeing any sources here which can trump Iommi's assertion that his band did not release these songs as singles. That is a reliable source. Your sources show that photos of potentially limited edition promotional records exist. That's all that I'm seeing; no proof that the songs were officially released as singles. I have my doubts that "metal-archives.com" will pass as a reliable source. I have the Chris Welch book in my hands right now... which page confirms that Tomorrow's Dream / Laguna Sunrise was released as a single? I can't find it. ChakaKongLet's talk about it 16:16, 8 October 2013 (UTC)
 * Discography, page 93. I own a couple of those singles and they are not promo copies. By the way, in this singles collection there are at least two of them: http://www.allmusic.com/album/singles-box-set-mw0000461824. How many sources do you need against only Iommi's word? here are a couple:   Lewismaster (talk) 16:41, 8 October 2013 (UTC)
 * The snowblind.no sources cannot be used because they don't meet the criteria for reliability. I would like to see some better sources because there is obviously contradictory information on this subject out there. Please don't re-ad the material until it can be proven reliably. ChakaKongLet's talk about it 17:34, 8 October 2013 (UTC)

Peace sign
I don't see a peace sign on File:Black Sabbath Vol. 4.png as you claim, you also "" first of all I don't see "two" hands at all and it's not even "obvious" that the image is even a person. Put all that aside I don't see the importance of mentioning the peace sign at all anyway. Cheers,  Mlpearc  ( open channel ) 22:23, 24 November 2015 (UTC)

Please explain to me what you do see on the cover then. If i add a reference proving he is throwing the peace sign in this photograph will you still keep reverting my information? You cannot delete Wikipedia information just because its "your opinion". Cheers. — Preceding unsigned comment added by Nigel C. Fortune (talk • contribs) 23:22, 24 November 2015 (UTC)

 * If an edit is not sourced, anyone can revert it based on their opinion or knowledge. Your claim will have to be sourced to stay but, it will probably be reverted anyway do to relevance or WP:NOBLE, it's not that important to even mention. Cheers,   Mlpearc  ( open channel ) 23:50, 24 November 2015 (UTC)

Progressive rock?
Why did someone put progressive rock there? There is no progressive rock in this. TheEarthboundFan2001 (talk) 02:55, 3 February 2016 (UTC)

Assessment comment
Substituted at 18:44, 17 July 2016 (UTC)

External links modified
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Move discussion in progress
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title: Talk:Vol. 4 (Black Sabbath album)


text:
RFA Oakol

Two ships of the Royal Fleet Auxiliary have borne the name RFA Oakol:

 * RFA Oakol was an Ol-class tanker (1916) tanker launched in 1917 and sold into civilian service in 1920 under the name Orthis.
 * RFA Oakol was an Ol-class tanker (1946) coastal tanker launched in 1946, decommissioned in 1965 and scrapped in 1969.

title: RFA Oakol


text:
Gweilo

Gweilo or  (, pronounced ) is a common Cantonese slang term for Westerners. In the absence of modifiers, it refers to white people and has a history of racially deprecatory and pejorative use. Cantonese speakers frequently use to refer to Westerners in general use, in a non-derogatory context, although whether this type of usage is offensive (i.e., an ethnic slur) is disputed by both Cantonese and Westerners.

Etymology and history
Gwái means "ghoul" or "devil", and lóu  means "man" or "guy". The word 鬼 gwai conveys a meaning of malevolence and evil. The common mistranslation of 鬼 gwai as “ghost” is wrong. Unlike a “ghost”, a 鬼 gwai can never be good. But a ghost can be a good spirit, even divine, an expression of God as in the Holy Ghost. The literal translation of gwáilóu would thus be "ghoul man" or "devil man". It is sometimes translated into English as "foreign devil". In many Sinitic languages, "鬼" gwai and its local equivalents can be a derogatory term used as a curse or an insult. The term 鬼 gwai has also been used to describe other ethnic groups, for example, a 17th-century writer from Canton, Qu Dajun, wrote that Africans "look like ghouls", and gwáinòuh was once used to describe African slaves.

Usage
The term gwái is an adjective that can be used to express hate and deprecation, an example being the locals' expression of their hatred towards the Japanese during their occupation of Hong Kong in World War II with the same gwái. It conveys a general bad and negative feeling but is a somewhat obsolete and archaic/old-fashioned term nowadays and other more modern terms have largely replaced gwái for similarly negative meanings. Cantonese people sometimes call each other sēui gwái, which means bad person, though more often than not it is applied affectionately, similar to "Hey, bitch!" in English when used affectionately. Nowadays, Cantonese speakers often refer to non-Chinese people by their ethnicity.

Gwáilóu is often considered to be an acceptable generic racial term for Westerners. Also, some members of the Hong Kong community with European ancestry (particularly those with limited or zero Cantonese fluency) are indifferent to the term, and those who believe that the best way to defang a word intended as a "slur" is to embrace it, and use gweilo to refer to non-Chinese in Hong Kong. Gwailóu has, in some instances, been recognised as simply referring to white foreigners in South East Asia and now appears on Oxford Dictionaries defined as such, although non-white foreigners are not gwáilóu. While gwáilóu is used by some Cantonese speakers in informal speech, the more polite alternative sāi yàhn is now used as well, particularly if the conversation involves a non-Chinese person in order to avoid offense.

CFMT-TV in Toronto, Canada had a cooking show named Gwai Lo Cooking (1999) hosted by a Cantonese-speaking European chef, who was also the show's producer and the person who named the show. According to CFMT-TV, "Gwei Lo" was used as "a self-deprecating term of endearment". In response to some complaints, the Canadian Broadcast Standards Council ruled that:

"While historically, 'gwai lo' may have been used by Chinese people as a derogatory remark concerning foreigners, particularly European Westerners, the persons consulted by the Council indicate that it has since lost much of its derogatory overtone. The Council finds that the expression has also lost most of its religious meaning, so that 'foreign devil' no longer carries the theological significance it once did. Based on its research, the Council understands that the expression has gone from being considered offensive to, at worst, merely 'impolite'."

Related terms
Gwai is one of a number of terms to referring to non-Chinese people that can be considered controversial and potentially offensive; a list of such terms is given below:

 * gwaijai for a white boy.
 * gwaimui for a white girl.
 * gwaipo for white woman.
 * baakgwai for white people.
 * haakgwai for Black people.
 * sai yan for Westerners.
 * yeung yan for Westerners.
 * ngoigwok yan for foreign nationals.
 * acha (from "acchā" meaning "good" in Hindi) for South Asians. This term is considered offensive to South Asians local to Hong Kong, e.g., Hong Kong locals of Indian and/or Pakistani descent, and is not widely used.
 * molocha (摩囉差; ) for South Asians.

Mandarin Chinese

Guizi is a Mandarin Chinese slang term for foreigners, and has a long history of being used as a racially deprecating insult.
 * Riben guizi or dongyang guizi  – used to refer to Japanese.
 * Er guizi – used to refer to the Korean soldiers who were a part of the Japanese army during the Sino-Japanese War in World War II.
 * Yang guizi or xiyang guizi  – used to refer to Westerners.

However, xiaogui is a common term in Mandarin Chinese for a child. Therefore, some argue that gui (鬼) in Mandarin is just a neutral word that describes something unexpected or hard to predict.

Laowai (老外; ) is the word most commonly used for foreigners and is a less pejorative term than guizi. Although laowai literally means "old foreigner", depending on context, "old" can be both a term of endearment and one of criticism.

title: Gweilo


text: User talk:68.44.80.204

title: User talk:68.44.80.204


text:
Workgroup

Workgroup may refer to:

 * Courtroom Workgroup, an informal arrangement between a criminal prosecutor, criminal defense attorney, and the judicial officer
 * Workgroup (computer networking), a peer-to-peer computer network
 * Working group, a group of people working together toward a common goal
 * Work Group, American record label

title: Workgroup


text:
Slovak literature

Slovak literature is the literature of Slovakia.

Middle Ages
The first monuments of literature from territory now included in present-day Slovakia are from the time of Great Moravia (from 863 to the early 10th century). Authors from this period are Saint Cyril, Saint Methodius and Clement of Ohrid. Works from this period, mostly written on Christian topics include: the poem Proglas as a foreword to the four Gospels, partial translations of the Bible into Old Church Slavonic, Zakon sudnyj ljudem, etc.

The medieval period covers the span from the 11th to the 15th century. Literature in this period was written in Latin, Czech and slovakized Czech. Lyric poetry (prayers, songs and formulas) was still under the influence of the Church, while epic poetry concentrated on legends. Authors from this period include Johannes de Thurocz, author of the Chronica Hungarorum, and Maurus. Secular literature also emerged and chronicles were written in this period.

1500–1650
Literature of a national character first emerged in the 16th century, much later than for other national literatures. Latin dominated as the written language in the 16th century. Besides Church topics, there was a development of antique topics, related to ancient Greece and Rome.

The first Slovak language book printed in territory of today Slovakia is Bardejov Catechism of 1581.

An early Slovak Renaissance love poem is the anonymous epic Siládi and Hadmázi (1560), set against a background of the Turkish incursions into Central Europe.

Juraj Tranovský was sometimes called the father of Slovak hymnody and issued several collections of hymns, the first being the Latin Odarum Sacrarum sive Hymnorum Libri III in 1629, but his most important and most famous word was Cithara Sanctorum (Lyre of the Saints), written in Czech, which appeared in 1636 in Levoča. This latter volume has formed the basis of Czech and Slovak Lutheran hymnody to the present day. Against the background of the scarcity of Slovak literature, Tranovský's Slovak hymns formed a source for raising national consciousness.

1650–1780
With the distinction between religious and secular literature that had started to develop in the Renaissance period, the religious conflicts in Slovakia during the Baroque period led to a clear division between sacred and profane.

Daniel Sinapius-Horčička wrote Latin poems and school dramas, religious prose, proverbs and select Slovak spiritual poetry. His prose displays national consciousness, lauding Slovak and criticizing the lack of patriotism among his fellow Slovaks.

Hugolín Gavlovič authored religious, moral, and educational writings in the contemporary West Slovak vernacular, and was a prominent representative of baroque literature in Slovakia. His most famous piece of work is Valašská škola, mravúv stodola, a work of 17,862 verses, as well as numerous versified couplet-marginalia.

1780–1840
Slovak Classicism was part of the larger European neo-Classicist movement of the Enlightenment. The rise of nationalism in the aftermath of the French Revolution gave rise to a national revival in literature. Until the mid-nineteenth century, Slovak was generally written in the form of Czech, with various degrees of Slovakization. Anton Bernolák's Gramatica Slavika used a West Slovak dialect as the standard written form, a transitional step to modern literary Slovak, but ultimately a failure. Even so, significant works were published using Bernolák's standards, beginning with Juraj Fándly's 1879 Dúverná zmlúva medzi mňíchom a ďáblom (An intimate treaty between the monk and the Devil). Lutheran Slovaks like Augustin Dolezal, Juraj Palkovič and Pavel Jozef Šafárik tended to prefer a common Czech-Slovak identity and language.

The first Hungarian newspaper Magyar Hirmondó was published in Pressburg (Bratislava) in 1780, followed in 1783 by the first Slovak newspaper, a short-lived periodical, Prešpurské Noviny in 1783.

Jozef Ignác Bajza is best known for his novel René mláďenca príhodi a skúsenosťi (original, modern spelling René mládenca príhody a skúsenosti – 1784), which was the first novel written in Slovak.

Pan-Slavic unity served as the template for many poems of this period. Ján Kollár's collection of 150 poems, Slávy Dcera, glorifies pan-Slavic ideals in three cantos named after the Saale, Elbe and Danube. Jan Holly's epic poem Svätopluk, published in 1833, serves as the most significant text of the period.

1840–1871
Ľudovít Štúr was the leader of the Slovak national revival in the 19th century, the creator of standard Slovak, eventually leading to the modern standard Slovak. The central Slovak dialect was chosen as the basis of the standard language. Štúr's codification work was disapproved by Ján Kollár and the Czechs, who saw it as an act of Slovak withdrawal from the idea of a common Czecho-Slovak nation and a weakening of solidarity. But the majority of Slovak scholars, including the Catholics (using Bernolák's codification until then), welcomed the notion of codification. In 1844, he wrote Nárečja slovenskuo alebo potreba písaňja v tomto nárečí ("The Slovak dialect or the necessity to write in this dialect"). In 1853 the only compilation of his poetry, Spevy a piesne ("Singings and songs") was published in Pressburg.

Janko Kráľ was one of the first poets to start writing in modern Slovak standard freshly codified (in 1843) by Ľudovít Štúr and his companions.

Dramatist Ján Chalupka's first works were in Czech, but after 1848 he started writing in Slovak and translated Czech originals into Slovak.

1872–1917
Pavol Országh Hviezdoslav wrote his youthful poems only in Hungarian until the 1860s. In 1871 he participated in the preparation of the Almanach Napred ("Forward") which marks the beginning of a new literary generation in Slovak literature. He introduced the syllabic-tonic verse into Slovak poetry and became leading representative of Slovak literary realism. His style is characterized by extensive use of self-coined words and expressions making it difficult to translate his works into foreign languages.

Martin Kukučín was the most notable representative of Slovak literary realism, and is considered to be one of the founders of modern Slovak prose.

1918–1945
As a result of the breakup of the Austro-Hungarian Empire and subsequent establishment of Czechoslovakia, the sociolinguistic pressures of Magyarization disappeared. During the interwar period, the preeminence of poetry gave way to prose. Milo Urban's 1927 work Živý bič (The Living Whip) and Jozef Cíger-Hronský's 1933 novel Jozef Mak both focused on the village, and the nature of change.

During the turbulent years of the Slovak Republic and reestablishment of Czechoslovakia, two separate literary movements dominated, the lyrical prose of Hronský, František Švantner, Dobroslav Chrobák, Ľudo Ondrejov and Margita Figuli ( Three Chestnut Horses), and the Slovak surrealists (Štefan Žáry, Rudolf Fabry, Pavel Bunčák and others).

title: Slovak literature


text:
RFA Sir Geraint

RFA Sir Geraint (L3027) was a Landing Ship Logistic of the Round Table class. She saw service in the Falklands War and Sierra Leone.

Background
The ship was originally built for army service, and was taken over by the Royal Fleet Auxiliary in 1970. Round Table class ships were exclusively manned by Hong Kong Chinese sailors from their introduction in 1963 until 1989, when Sir Lancelot was the last RFA to be crewed in this way. Like all of her class, Sir Geraint was named after a Knight of the Round Table.

She was commissioned in 1967 and saw extensive service in many of Britain's naval operations since. Her home port was Marchwood.

Falklands War
Sir Geraint first saw combat in the Falklands War of 1982, when along with all of the Royal Navy's other amphibious ships, she was sent to recapture the Falkland Islands from an Argentine occupation force. At the start of the war, the ship was at Devonport and after the embarkation of 450 Royal Marines and 3 Gazelle helicopters, she left for Ascension Island. The ship anchored in San Carlos Water, Fitzroy Sound and Teal Inlet, discharging fuel and cargo.

1978-2003
In Operation Palliser, the ship was sent to Sierra Leone in 2000 when the U.K. intervened there. 11 September 1978 the Sir Geraint sailed from Alexandra dock, Liverpool en route to Belfast, carrying 13 platoon, Somme company, 1st Battalion Kings Own Royal Border Regiment; a detachment from the RAF and another detachment (unit not disclosed).

Decommissioning
Sir Geraint was listed for disposal in May 2003 and was reported broken up in India in December 2005.

title: RFA Sir Geraint


text:
Materials Science and Engineering

Materials Science and Engineering may refer to several journals in the field of materials science and engineering:

 * Materials Science and Engineering A
 * Materials Science and Engineering B
 * Materials Science and Engineering C
 * Materials Science and Engineering R, reviews

title: Materials Science and Engineering


text:
User:Dusty~enwiki

Jerry Alan Sayers (born 1979), also known as Dusty, is a history teacher and consultant in East Tennessee. He is the author of a thesis on the State of Franklin, an editor for College Roomies from Hell!!!, and an actor in The Wataugans, the official outdoor historic drama for the state of Tennessee, in which he has portrayed (among others) Rev. Samuel Doak, an early Presbyterian minister and educator in Tennessee.

Sayers is an active sponsor of the Destination ImagiNation creative problem solving programme in Tennessee, and has served as a 'Challenge DIveloper' for DI.

title: User:Dusty~enwiki


text:
Enigma (German band)

Enigma is a German musical project founded in 1990 by Romanian-German musician and producer Michael Cretu. Cretu had released several solo records, collaborated with various artists, and produced albums for his then-wife, German pop singer Sandra, before he conceived the idea of a new-age, worldbeat project. He recorded the first Enigma studio album, MCMXC a.D. (1990), with contributions from David Fairstein and Frank Peterson. The album remains Enigma's most successful, helped by the international hit single "Sadeness (Part I)", which sold twelve million units alone. According to Cretu, the inspiration for the creation of the project came from his desire to make a kind of music that did not obey "the old rules and habits" and presented a new form of artistic expression with mystic and experimental components.

Enigma followed MCMXC a.D. with a series of albums that involved several musicians and producers working with Cretu. The first was The Cross of Changes (1993), which incorporated tribal and ethnic influences and sold over eight million copies worldwide, followed by Le Roi Est Mort, Vive Le Roi! (1996), which blended the Gregorian chants reminiscent of the first album with the strong intercultural soundscapes present in the second. Enigma's fourth album The Screen Behind the Mirror (2000) started a slight departure from the previous world music themes towards a heavier electronic atmosphere. This evolution culminated with Voyageur (2003), its fifth and more pop-based album, and A Posteriori (2006), a work inspired by the future collision between the Milky Way and Andromeda galaxies, with distinct operatic tones and an electronic spectrum closer to Voyageur than the earlier releases. Seven Lives Many Faces (2008) followed and contained a mixture of classical and modern elements ranging from ethnic chants to rap and dubstep influences. Its eighth album, The Fall of a Rebel Angel, was released in November 2016.

Enigma has sold over 8.5 million RIAA-certified albums in the US and an estimated 70 million worldwide with over 100 gold and platinum certifications. The project has also received two Grammy Award nominations.

Formation
By the late 1980s, Romanian-born German musician and producer Michael Cretu had collaborated with several musicians, produced albums recorded by his then-wife, German pop singer Sandra, and released solo albums under his name for Polydor and Virgin Records, to varying levels of commercial success across Europe. In 1988, Cretu and Sandra married and relocated to the Spanish island of Ibiza. A home recording studio, A.R.T. Studios, was built, and Cretu began work on a new, worldbeat and new-age musical project named Enigma with David Fairstein and Frank Peterson. Cretu secured a deal with Munich-based Mambo Musik to handle Enigma's management and publishing.

1990s
The first Enigma album, MCMXC a.D., was recorded in eight months and incorporated Gregorian chants mixed with atmospheric music and dance beats. He had previously used a Gregorian-type chant on the opening seconds of Sandra's 1987 single "Everlasting Love". Cretu wished to exclude his name from the album's liner notes so the listener could conjure their own interpretations. He recalled management "fell off their chairs" when he requested it, "but it worked". Cretu credits himself as "Curly M.C." and Peterson is listed as "F. Gregorian". Upon its release in December 1990, MCMXC a.D. became an unexpected commercial success, helped by the international hit single "Sadeness (Part I)", released a month prior that reached number one in 24 countries. The album reached the top 10 in ten countries, including the United Kingdom, and number six on the Billboard 200 in the United States, where it sold over four million copies and charted for more than 150 weeks. The album earned over 50 platinum sales awards worldwide, and made Enigma the most successful act signed to Virgin at the time of release. Following the success of MCMXC a.D., Cretu received many offers for soundtrack work and writing film scores. He turned the majority of them down as he disliked the scripts presented to him except for the erotic thriller film Sliver (1993), for which he produced two songs for its soundtrack: "Carly's Song" and "Carly's Loneliness". The former was reworked into "Age of Loneliness" in 1993. Cretu was unable to contribute more to the soundtrack as he wished to spend his time working on the second Enigma album.

The Cross of Changes was recorded in 1993. The long period in between the first and second was partly down to Virgin and Cretu's manager forgetting to extend his contract with Virgin. This led to Cretu signing a new, five-album deal. Cretu retained many of the elements from the first album, but "wanted to have a completely different experience. I wanted to mix as much as possible rock elements and ethnic and classical". Numerous samples were used, including from songs by Genesis, Black Sabbath, Vangelis and U2. Cretu made a conscious effort to reduce the amount of Gregorian chants incorporated into the album. Cretu based much of its lyrics on the concepts behind numerology, and read books on the subject. The Cross of Changes was released in December 1993, and reached number one in the UK and number 9 in the US. Four singles were released in 1994: "Return to Innocence", "The Eyes of Truth", "Age of Loneliness" and "Out from the Deep". The former became an international top-10 hit in twelve countries and is certified gold in the US for selling half a million copies. The Cross of Changes sold an estimated 8 million copies worldwide.

In 1996, Le Roi Est Mort, Vive Le Roi! was released. Cretu's idea was that this third album was the child of the previous two albums, and therefore included familiar elements of Gregorian chants and Sanskrit chants in it. It did not achieve the same level of success that they enjoyed previously, and as a result, only two of the three singles originally slated were released. Le Roi Est Mort, Vive Le Roi! sold over one million units in the United States, achieved a Gold certificate in the United Kingdom and two Grammy nominations: one for its artwork design and the second as Best New Age Album. After the album's release, Cretu found that several fake Enigma albums were released onto the market that Cretu deemed as "awful messes".

2000s
The 2000 release of The Screen Behind the Mirror included samples from Carl Orff's Carmina Burana on four tracks on the album. This time the Gregorian chants were toned down tremendously, although Shakuhachi flutes and other traditional Enigma signatures remain. Only "Gravity of Love" and "Push the Limits" were released as singles from the album. Ruth-Ann Boyle (from the band Olive) and Andru Donalds mark their first appearances on the Enigma project.

In 2001, Cretu released a new single called "Turn Around" together with Love Sensuality Devotion: The Greatest Hits and Love Sensuality Devotion: The Remix Collection to end what he considers to be the first chapter of Enigma. A light show was held at the Munich Planetarium in conjunction with the release of the compilation albums.

2003's Voyageur saw a change of direction for the project, with most of the prominent Enigma signature elements (the ethnic and Gregorian chants, the Shakuhachi flutes) no longer employed.

To commemorate the fifteen years of Enigma, a limited-edition album called 15 Years After was launched, which was the size of an LP vinyl disk, with Leonardo da Vinci's art in the cover, a big booklet with extra art, and featured eight compact discs: all the previous albums, the DVD Remember the Future, and a special and exclusive bonus CD, The Dusted Variations, which included chill-out versions of several of the project's greatest hits. All of the songs are different from the originals and use minimal percussion. This disc also contained the single version of "Hello and Welcome", which was later released as a single. On 28 August 2005, Enigma's management Crocodile Music announced the release of "Hello and Welcome" as a single. It was released in Germany on 10 March 2006.

On 26 September 2006, Enigma's sixth album A Posteriori was released worldwide, containing a new version of "Hello and Welcome" and the new song "Goodbye, Milky Way". A DVD version of A Posteriori was released on 16 December 2006, which featured kaleidoscope images in synchronization with the multi-channel remastered music. A Posteriori received a Grammy nomination as Best New Age Album, its second in that category following 1996's Le Roi Est Mort, Vive Le Roi! nomination. In late March 2007, a Private Lounge remix album version of A Posteriori was released on the iTunes Music Store. This compilation includes twelve new remixed tracks from the album by artists such as Boca Junior, Tocadisco and more. Some of these tracks were available previously on the original A Posteriori iTunes version of the album and the previously mentioned DVD release.

On 19 September 2008, Enigma's seventh album Seven Lives Many Faces was released worldwide. The lead single, "Seven Lives", is a fusion of modern and classical elements.

The Platinum Collection, a three-disc compilation, was released on 27 November 2009 in Germany, and on 9 February 2010 worldwide. The first CD contains Enigma hits. The second CD contains remixes. The third CD is a collection of "lost tracks", musical experiments which never were finalized and released previously.

2010s–present
On 5 October 2010, to commemorate the 20th anniversary of the first album MCMXC a.D., the "Enigma's Social Song" project began. Enigma fans were asked to submit vocals for a new Enigma song. The public was then asked to vote, with the winning submission "Fei mea" being provided by Latvian singer Fox Lima (real name Alise Ketnere) for the chorus. The top three runners-up, Mark Joshua from Brazil, J. Spring from Spain, and Rasa Serra from Lithuania, provided other important parts of the vocals like the bridge, backing and verse of the final version of the single. Fans also influenced further stages of the song's creation by voting on elements such as a lead instrument, general mood, and style of the track. The final mix of the single named "MMX (The Social Song)" was released on 15 December 2010. It became the first song ever created for and by the fans via the internet.

In August 2016, Enigma's eighth studio album, The Fall of a Rebel Angel, was announced for a release on 11 November 2016. It features guest musicians Brazilian singer-songwriter Mark Josher, Indonesian singer Anggun, female voice Nanuk, and English electro-pop duo Aquilo. Two singles from the album have been released, "Sadeness (Part II)" featuring Anggun, and "Amen" featuring Aquilo.

In May 2018, limited-edition coloured vinyl editions of Enigma's entire catalogue were released in a new collection, The Colours of Enigma – The Vinyl Series. The set features new artwork and remastered stereo mixes made from the original master tapes.

Throughout 2019 and into 2020, three former vocalists for Enigma—Andru Donalds, Angel X and Fox Lima—embarked on a world tour under the name Original Enigma Voices. This marks the first time Enigma's music has been performed live.

Awards

 * World Music Award
 * Most Popular German Solo Artist, 2002
 * ECHO
 * Most Successful German Production Abroad, 1991
 * Best Marketing, 1992
 * Best National Artist, 1992
 * Most Successful German Production Abroad, 1995
 * "Beyond the Invisible", 1997
 * Over 100 platinum awards worldwide
 * 7 RIAA platinum awards
 * 2 RIAA gold awards
 * 5 BPI platinum awards
 * 2 BPI gold awards

Recording technologies
Cretu recorded the first five Enigma albums at A.R.T. Studios, a home recording studio located on the Spanish island of Ibiza. From 1988 until 2001, Cretu lived in Santa Eulària des Riu followed by, from 2001 to 2008, a villa near Sant Antoni where the studio was redesigned and built by Gunter Wagner and Bernd Steber. A Posteriori and Seven Lives Many Faces were recorded using an all-in-one mobile digital recording studio named Alchemist. In 2010, a reworked version of Alchemist was built and named Merlin. "MMX The Social Song" was the first Enigma release recorded with this model.

Sampling and lawsuits
In 1991, Cretu was sued by and later settled with Munich-based choir Capella Antiqua and its record label Polydor Germany for infringing its "right of personality" through distortion in the samples used in "Sadeness (Part I)" and "Mea Culpa (Part II)". The samples were taken from Capella Antiqua's 1976 LP Paschale Mysterium; while the musical compositions were in the public domain, Capella Antiqua's recording of them was copyrighted. European law also recognizes moral rights (droit moral) in works.

In 1998, Cretu was sued by Taiwanese musicians Difang and Igay Duana (also known as Kuo Ying-nan and Kuo Hsiu-chu), whose voices are used in "Return to Innocence", over the unauthorized usage of their song without credit. The case was settled out of court for an undisclosed amount of money and all further releases of the song were credited (including royalties) to the Kuos. Cretu has stated that he had been led to believe that the recording was in the public domain and that he did not intentionally violate the Kuos' copyright.

Musical style
Enigma generally produces worldbeat and New-age songs. The musical project is very experimental, often combining elements from other genres like ambience, pop, or rock. Michael Cretu has said in an Q&A that he is "always looking for the unknown and I am trying to find new ways to express my ideas." He later said: "Enigma is all about reaching the limit and even moving forward from the already known. Experiments are a big part of my work and with every record Enigma has released there is something new."

Enigma's first album, MCMXC a.D., combines Gregorian chants and religious overtones with atmospheric synths, a hypnotic music-set, and a dance-like beat, along with elements of pop and ambience all accompanied by French-like whispers and somewhat erotic gasps, provided by Sandra. The Cross of Changes, Enigma's second album, replaces the Gregorian chants from the MCMXC a.D. with ethnic and tribal chanting. The album is atmospheric and spiritual like MCMXC a.D., but is combined with more well-developed beats and lyrics about love and self-awareness.

Legacy
Enigma's international success with MCMXC a.D. was a precursor to the creation of several other musical projects that follow similar styles and marketing approaches, especially the use of the term "project" as opposed to the band to denominate themselves, and the label "enigmatic music", employed mainly by radios and listeners, to categorize their music inside the new-age umbrella. Cretu has cited the progressive rock band Yes as an influence.

Soon after working with Michael Cretu on the first Enigma album, German producer Frank Peterson left the project to focus on Gregorian, a band that performs mostly covers of modern pop and rock songs with Gregorian-like vocals and symphonic instruments. Likewise, French musical project Era features Gregorian chants mixed with pop-rock arrangements and is also frequently compared in scope to Enigma.

More electronic projects that often draw comparisons with Enigma are French act Deep Forest, Canadian duo Delerium, Danish project Achillea (created by Enigma's co-producer and guest guitarist Jens Gad) and German project Schiller.

Personnel
Current members
 * Michael Cretu – music, lyrics, vocals, production, arrangements, programming, engineering (1990–present)

Former members and guest artists

 * David Fairstein – lyrics (1990–2000)
 * Frank Peterson (F. Gregorian) – samples, production, engineering, co-writer (1990–1991)
 * Sandra Cretu – vocals, voices (1990–2003)
 * Louisa Stanley – voices (1990–1996; 2006)
 * Jens Gad – guitars (1993; 2000–2003), arrangements and co-writing (2000–2003)
 * Peter Cornelius – guitars (1993–1996)
 * Andreas Harde (Andy Jonas / Angel X) – vocals (1993)
 * Todd Peleg – backing vocals (1993–1994)
 * Andru Donalds – vocals (1999–2008), co-writer (2008)
 * Ruth-Ann Boyle – vocals (1999–2003; 2008)
 * Elizabeth Houghton – voices (1999–2000)

 * Sebastian C. – vocals (2008)
 * Nikita C. – vocals (2008)
 * Margarita Roig – vocals, co-writer (2008)
 * Nanuk – voices (2008, 2016)
 * Alise Ketnere (Fox Lima) – vocals, co-writer (2010)
 * Jérôme Pringault (J. Spring) – vocals, co-writer (2010)
 * Mark Josher (Marcelo Amaral Pontello) – vocals, co-writer (2010, 2016)
 * Rasa Veretenceviene (Rasa Serra) – vocals, co-writer (2010)
 * Anggun – vocals (2016)
 * Aquilo – vocals (2016)
 * Michael Kunze – story, co-writer (2016)

Discography
Studio albums
 * MCMXC a.D. (1990)
 * The Cross of Changes (1993)
 * Le Roi Est Mort, Vive Le Roi! (1996)
 * The Screen Behind the Mirror (2000)
 * Voyageur (2003)
 * A Posteriori (2006)
 * Seven Lives Many Faces (2008)
 * The Fall of a Rebel Angel (2016)

title: Enigma (German band)


text:
Mirtazapine

Mirtazapine, sold under the brand name Remeron among others, is an atypical tetracyclic antidepressant, and as such is used primarily to treat depression. Its effects may take up to four weeks but can also manifest as early as one to two weeks. It is often used in cases of depression complicated by anxiety or insomnia. The effectiveness of mirtazapine is comparable to other commonly prescribed antidepressants. It is taken by mouth.

Common side effects include sleepiness, dizziness, increased appetite and weight gain. Serious side effects may include mania, low white blood cell count, and increased suicide among children. Withdrawal symptoms may occur with stopping. It is not recommended together with a monoamine oxidase inhibitor, although evidence supporting the danger of this combination has been challenged. It is unclear if use during pregnancy is safe. How it works is not clear, but it may involve blocking certain adrenergic and serotonin receptors. Chemically, it is a tetracyclic antidepressant, and is closely related to mianserin. It also has strong antihistaminergic effects.

Mirtazapine came into medical use in the United States in 1996. The patent expired in 2004, and generic versions are available. In 2021, it was the 124th most commonly prescribed medication in the United States, with more than fourmillion prescriptions.

Medical uses
Mirtazapine is approved by the United States Food and Drug Administration for the treatment of major depressive disorder in adults.

Depression
Mirtazapine is primarily used for major depressive disorder and other mood disorders. Onset of action appears faster than some selective serotonin reuptake inhibitors and similar to tricyclic antidepressants.

In 2010, the National Institute for Health and Care Excellence recommended generic selective serotonin reuptake inhibitors as first line choices, as they are "equally effective as other antidepressants and have a favourable risk–benefit ratio." With respect to mirtazapine, it found: "There is no difference between mirtazapine and other antidepressants on any efficacy measure, although in terms of achieving remission mirtazapine appears to have a statistical though not clinical advantage. In addition, mirtazapine has a statistical advantage over selective serotonin reuptake inhibitors in terms of reducing symptoms of depression, but the difference is not clinically significant. However, there is strong evidence that patients taking mirtazapine are less likely to leave treatment early because of side effects, although this is not the case for patients reporting side effects or leaving treatment early for any reason."

A 2011 Cochrane review that compared mirtazapine to other antidepressants found that, while it appears to have a faster onset in people for whom it works (measured at two weeks), its efficacy is about the same as other antidepressants after six weeks' use.

A 2012 review focused on antidepressants and sleep found that in many people with sleep disorders caused by depression, mirtazapine reduces the time it takes to fall asleep and increases the quality of sleep, but that in some people it can disturb sleep, especially at higher doses, causing restless leg syndrome in 8 to 28% of people and in rare cases causes REM sleep behavior disorder. This seemingly paradoxical dose–response curve of mirtazapine with respect to somnolence is owed to the exceptionally high affinity of the drug for the histamine H1, 5-HT2A, and 5-HT2C receptors; exhibiting near exclusive occupation of these receptors at doses ≤15 mg. However, at higher doses, inverse agonism and constitutive activation of the α2A-, α2B-, and α2C-adrenergic receptors begins to offset activity at H1 receptors leading to decreased somnolence and even a subjective sensation of "activation" in treated patients.

A 2018 analysis of 21 antidepressants found them to be fairly similar overall. It found tentative evidence for mirtazapine being in the more effective group and middle in tolerability.

After one week of usage, mirtazapine was found to have an earlier onset of action compared to selective serotonin reuptake inhibitors.

Other
There is also some evidence supporting its use in treating the following conditions, for which it is sometimes prescribed off-label:

 * Generalized anxiety disorder
 * Social anxiety disorder
 * Obsessive–compulsive disorder
 * Panic disorder
 * Post-traumatic stress disorder
 * Low appetite/underweight
 * Insomnia
 * Nausea and vomiting
 * Itching
 * Headaches and migraine

Side effects
A 2011 Cochrane review found that, compared with other antidepressants, it is more likely to cause weight gain and sleepiness, but it is less likely to cause tremor than tricyclic antidepressants, and less likely to cause nausea and sexual dysfunction than selective serotonin reuptake inhibitors.

Very common (≥10% incidence) adverse effects include constipation, dry mouth, sleepiness, increased appetite (17%) and weight gain (>7% increase in <50% of children).

Common (1–10% incidence) adverse effects include weakness, confusion, dizziness, fasciculations (muscle twitches), peripheral edema (swelling, usually of the lower limbs), and negative lab results like elevated transaminases, elevated serum triglycerides, and elevated total cholesterol.

Mirtazapine is not considered to have a risk of many of the side effects often associated with other antidepressants like the selective serotonin reuptake inhibitors, and may actually improve certain ones when taken in conjunction with them. (Those adverse effects include decreased appetite, weight loss, insomnia, nausea and vomiting, diarrhea, urinary retention, increased body temperature, excessive sweating, pupil dilation and sexual dysfunction. )

In general, some antidepressants, especially selective serotonin reuptake inhibitors, can paradoxically exacerbate some peoples' depression or anxiety or cause suicidal ideation. Despite its sedating action, mirtazapine is also believed to be capable of this, so in the United States and certain other countries, it carries a black box label warning of these potential effects, especially for people under the age of 25.

Mirtazapine may induce arthralgia (non-inflammatory joint pain).

A case report published in 2000 noted an instance in which mirtazapine counteracted the action of clonidine, causing a dangerous rise in blood pressure.

In a study comparing 32 antidepressants of all pharmacological classes, mirtazapine was one of the antidepressants most likely to cause nightmare disorder, sleepwalking, restless legs syndrome, night terrors and sleep paralysis.

Mirtazapine has been associated with an increased risk of death compared to other antidepressants in several studies. However, it is more likely that the residual differences between people prescribed mirtazapine rather than a selective serotonin reuptake inhibitor account for the difference in risk of mortality.

Withdrawal
Mirtazapine and other antidepressants may cause withdrawal symptoms upon cessation. A gradual and slow reduction in dose is recommended to minimize withdrawal symptoms. Effects of sudden cessation of treatment with mirtazapine may include depression, anxiety, tinnitus, panic attacks, vertigo, restlessness, irritability, decreased appetite, insomnia, diarrhea, nausea, vomiting, flu-like symptoms, allergy-like symptoms such as pruritus, headaches, and sometimes mania or hypomania.

Overdose
Mirtazapine is considered to be relatively safe in the event of an overdose, although it is considered slightly more toxic in overdose than most of the selective serotonin reuptake inhibitors (except citalopram). Unlike the tricyclic antidepressants, mirtazapine showed no significant cardiovascular adverse effects at 7 to 22 times the maximum recommended dose.

Twelve reported fatalities have been attributed to mirtazapine overdose. The fatal toxicity index (deaths per million prescriptions) for mirtazapine is 3.1 (95% CI: 0.1 to 17.2). This is similar to that observed with selective serotonin reuptake inhibitors.

Interactions
Concurrent use with inhibitors or inducers of the cytochrome P450 isoenzymes CYP1A2, CYP2D6, and/or CYP3A4 can result in altered concentrations of mirtazapine, as these are the main enzymes responsible for its metabolism. As examples, fluoxetine and paroxetine, inhibitors of these enzymes, are known to modestly increase mirtazapine levels, while carbamazepine, an inducer, considerably decreases them. Liver impairment and moderate chronic kidney disease have been reported to decrease the oral clearance of mirtazapine by about 30%; severe kidney disease decreases it by 50%.

Mirtazapine in combination with a selective serotonin reuptake inhibitor, serotonin–norepinephrine reuptake inhibitor, or tricyclic antidepressant as an augmentation strategy is considered to be relatively safe and is often employed therapeutically but caution should be given when combined with fluvoxamine. There is a combination of venlafaxine and mirtazapine, sometimes referred to as "California rocket fuel". Several case reports document serotonin syndrome induced by the combination of mirtazapine with other agents (olanzapine, quetiapine, tramadol and venlafaxine ). Adding fluvoxamine to treatment with mirtazapine may cause a significant increase in mirtazapine concentration. This interaction may necessitate adjustment of the mirtazapine dosage.

According to information from the manufacturers, mirtazapine should not be started within two weeks of any monoamine oxidase inhibitor usage; likewise, monoamine oxidase inhibitors should not be administered within two weeks of discontinuing mirtazapine.

The addition of mirtazapine to a monoamine oxidase inhibitor, while potentially having typical or idiosyncratic (unique to the individual) reactions not herein described, does not appear to cause serotonin syndrome. This is in accordance with the fact that the 5-HT2A receptor is the predominant serotonin receptor thought to be involved in the pathophysiology of serotonin syndrome (with the 5-HT1A receptor seeming to be protective). Mirtazapine is a potent 5-HT2A receptor antagonist, and cyproheptadine, a medication that shares this property, mediates recovery from serotonin syndrome and is an antidote against it.

There is a possible interaction that results in a hypertensive crisis when mirtazapine is given to a patient that has already been on steady doses of clonidine. This involves a subtle consideration, when patients have been on chronic therapy with clonidine and suddenly stop the dosing, a rapid hypertensive rebound sometimes (20%) occurs from increased sympathetic outflow. Clonidine's blood pressure lowering effects are due to stimulation of presynaptic α2 autoreceptors in the CNS which suppress sympathetic outflow. Mirtazapine itself blocks these same α2 autoreceptors, so the effect of adding mirtazapine to a patient stabilized on clonidine may precipitate withdrawal symptoms.

Pharmacodynamics
Mirtazapine is sometimes described as a noradrenergic and specific serotonergic antidepressant (NaSSA), although the actual evidence in support of this label has been regarded as poor. It is a tetracyclic piperazine-azepine.

Mirtazapine has antihistamine, α2-blocker, and antiserotonergic activity. It is specifically a potent antagonist or inverse agonist of the α2A-, α2B-, and α2C-adrenergic receptors, the serotonin 5-HT2A, 5-HT2C, and the histamine H1 receptor. Unlike many other antidepressants, it does not inhibit the reuptake of serotonin, norepinephrine, or dopamine, nor does it inhibit monoamine oxidase. Similarly, mirtazapine has weak or no activity as an anticholinergic or blocker of sodium or calcium channels, in contrast to most tricyclic antidepressants. In accordance, it has better tolerability and low toxicity in overdose. As an H1 receptor antagonist, mirtazapine is extremely potent, and is in fact one of the most potent H1 receptor inverse agonists among tricyclic and tetracyclic antidepressants and most antihistamines in general. Antagonism of the H1 receptor is by far the strongest activity of mirtazapine, with the drug acting as a selective H1 receptor antagonist at low concentrations.

The (S)-(+) enantiomer of mirtazapine is responsible for antagonism of the serotonin 5-HT2A and 5-HT2C receptors, while the (R)-(–) enantiomer is responsible for antagonism of the 5-HT3 receptor. Both enantiomers are involved in antagonism of the H1 and α2-adrenergic receptors, although the (S)-(+) enantiomer is the stronger antihistamine.

Although not clinically relevant, mirtazapine has been found to act as a partial agonist of the κ-opioid receptor at high concentrations (EC50 = 7.2 μM).

α2-Adrenergic receptor
Antagonism of the α2-adrenergic receptors, which function largely as inhibitory autoreceptors and heteroreceptors, enhances adrenergic and serotonergic neurotransmission, notably central 5-HT1A receptor mediated transmission in the dorsal raphe nucleus and hippocampus; hence, mirtazapine's classification as a NaSSA. Indirect α1 adrenoceptor-mediated enhancement of serotonin cell firing and direct blockade of inhibitory α2 heteroreceptors located on serotonin terminals are held responsible for the increase in extracellular serotonin. Because of this, mirtazapine has been said to be a functional "indirect agonist" of the 5-HT1A receptor. Increased activation of the central 5-HT1A receptor is thought to be a major mediator of efficacy of most antidepressant drugs.

5-HT2 receptor
Antagonism of the 5-HT2 subfamily of receptors and inverse agonism of the 5-HT2C receptor appears to be in part responsible for mirtazapine's efficacy in the treatment of depressive states. Mirtazapine increases dopamine release in the prefrontal cortex. Accordingly, it was shown that by blocking the α2-adrenergic receptors and 5-HT2C receptors mirtazapine disinhibited dopamine and norepinephrine activity in these areas in rats. In addition, mirtazapine's antagonism of 5-HT2A receptors has beneficial effects on anxiety, sleep and appetite, as well as sexual function regarding the latter receptor. Mirtazapine has been shown to lower drug seeking behaviour (more specifically to methamphetamine) in various human and animal studies. It is also being investigated in substance abuse disorders to reduce withdrawal effects and improve remission rates.

Mirtazapine significantly improves pre-existing symptoms of nausea, vomiting, diarrhea, and irritable bowel syndrome in affected individuals. Mirtazapine may be used as an inexpensive antiemetic alternative to Ondansetron. In conjunction with substance abuse counseling, mirtazapine has been investigated for the purpose of reducing methamphetamine use in dependent individuals with success. In contrast to mirtazapine, the selective serotonin reuptake inhibitors, serotonin–norepinephrine reuptake inhibitors, monoamine oxidase inhibitors, and some tricyclic antidepressants increase the general activity of the 5-HT2A, 5-HT2C, and 5-HT3 receptors leading to a number of negative changes and side effects, the most prominent of which including anorexia, insomnia, nausea, and diarrhea, among others. Its reduced incidence of sexual dysfunction (such as loss of libido and anorgasmia) could be a product of negligible binding to the serotonin transporter (as is generally the cause of sexual dysfunction with most selective serotonin reuptake inhibitors) and antagonism of the 5-HT2A receptors; however, Mirtazapine's high affinity towards and inverse agonism of the 5-HT2C receptors may greatly attenuate those pro-sexual factors (as evidenced by the pro-sexual effects of drugs like m-CPP and lorcaserin which agonize 5-HT2C receptors in a reasonably selective manner). As a result, it is often combined with these drugs to reduce their side-effect profile and to produce a stronger antidepressant effect.

Mirtazapine does not have pro-serotonergic activity and thus does not cause serotonin syndrome. This is in accordance with the fact that it is not a serotonin reuptake inhibitor or monoamine oxidase inhibitor, nor a serotonin receptor agonist. There are no reports of serotonin syndrome in association with mirtazapine alone, and mirtazapine has not been found to cause serotonin syndrome in overdose. However, there are a handful of case reports of serotonin syndrome occurring with mirtazapine in combination with serotonergic drugs like selective serotonin reuptake inhibitors, although such reports are very rare, and do not necessarily implicate mirtazapine as causative.

5-HT3 receptor
It is a potent 5-HT3 blocker. It may relieve chemotherapy-related and advanced cancer-related nausea.

H1 receptor
Mirtazapine is a very strong H1 receptor antagonist and, as a result, it can cause powerful sedative and hypnotic effects. A single 15 mg dose of mirtazapine to healthy volunteers has been found to result in over 80% occupancy of the H1 receptor and to induce intense sleepiness. After a short period of chronic treatment, however, the H1 receptor tends to sensitize and the antihistamine effects become more tolerable. Many patients may also dose at night to avoid the effects, and this appears to be an effective strategy for combating them. Blockade of the H1 receptor may improve pre-existing allergies, pruritus, nausea, and insomnia in affected individuals. It may also contribute to weight gain, however. In contrast to the H1 receptor, mirtazapine has only low affinity for the muscarinic acetylcholine receptors, although anticholinergic side effects like dry mouth, constipation, and mydriasis are still sometimes seen in clinical practice.

Pharmacokinetics
The oral bioavailability of mirtazapine is about 50%. It is found mostly bound to plasma proteins, about 85%. It is metabolized primarily in the liver by N-demethylation and hydroxylation via cytochrome P450 enzymes, CYP1A2, CYP2D6, CYP3A4. The overall elimination half-life is 20–40 hours, and this is independent of dosage. It is conjugated in the kidney for excretion in the urine, where 75% of the drug is excreted, and about 15% is eliminated in feces. Desmethylmirtazapine is an active metabolite of mirtazapine which is believed to contribute about 3-10% to the drugs overall effects and has a half-life of about 25 hours.

Chemistry
Mirtazapine is a tetracyclic piperazinoazepine; mianserin was developed by the same team of organic chemists and mirtazapine differs from it via addition of a nitrogen atom in one of the rings. It is a racemic mixture of enantiomers. The (S)-(+)-enantiomer is known as esmirtazapine.

Analogues of mirtazapine include mianserin, setiptiline, and aptazapine.

Synthesis
A chemical synthesis of mirtazapine has been published. The first step of synthesis is a condensation reaction between the molecule 2-chloro 3-cyanopyridine and the molecule 1-methyl-3-phenylpiperazine.

History
Mirtazapine was first synthesized at Organon and published in 1989, was first approved for use in major depressive disorder in the Netherlands in 1994, and was introduced in the United States in 1996 under the brand name Remeron.

Generic names
Mirtazapine is the English and French generic name of the drug and its INN, USAN, USP, BAN, DCF, and JAN. Its generic name in Spanish, Italian, and Portuguese is mirtazapina and in German and Swedish is mirtazapin.

Brand names
Mirtazapine is marketed under many brand names worldwide, including Adco-Mirteron, Afloyan, Amirel, Arintapin Smelt, Avanza, Axit, Azapin, Beron, Bilanz, Blumirtax, Calixta, Ciblex, Combar, Comenter, Depreram, Divaril, Esprital, Maz, Menelat, Mepirzapine, Merdaten, Meronin, Mi Er Ning, Milivin, Minelza, Minivane, Mirastad, Mirazep, Miro, Miron, Mirrador, Mirt, Mirta, Mirtabene, Mirtadepi, Mirtagamma, Mirtagen, Mirtalan, Mirtamor, Mirtamylan, Mirtan, Mirtaneo, Mirtanza, Mirtapax, Mirtapil, Mirtapine, Mirtaron, Mirtastad, Mirtax, Mirtaz, Mirtazap, Mirtazapin, Mirtazapina, Mirtazapine, Mirtazapinum, Mirtazelon, Mirtazon, Mirtazonal, Mirtel, Mirtimash, Mirtin, Mirtine, Mirtor, Mirzapine, Mirzaten, Mirzest, Mitaprex, Mitaxind, Mitocent, Mitrazin, Mizapin, Motofen, Mytra, Norset, Noxibel, Pharmataz, Promyrtil, Rapizapine, Ramure, Razapina, Redepra, Reflex, Remergil, Remergon, Remeron, Remirta, Rexer, Saxib, Sinmaron, Smilon, Tazepin, Tazimed, Tetrazic, Tifona, U-Mirtaron, U-zepine, Valdren, Vastat, Velorin, Yarocen, Zania, Zapex, Zestat, Zismirt, Zispin, Zuleptan, and Zulin.

Research
The use of mirtazapine has been explored in several additional conditions:
 * Sleep apnea/hypopnea
 * Secondary symptoms of autistic spectrum conditions and other pervasive developmental disorders
 * Antipsychotic-induced akathisia.
 * Drug withdrawal, dependence and detoxification
 * Negative, depressive and cognitive symptoms of schizophrenia (as an adjunct)
 * A case report has been published in which mirtazapine reduced visual hallucinations in a patient with Parkinson's disease psychosis (PDP). This is in alignment with recent findings that inverse agonists at the 5-HT2A receptors are efficacious in attenuating the symptoms of Parkinson's disease psychosis. As is supported by the common practice of prescribing low-dose quetiapine and clozapine for PDP at doses too low to antagonize the D2 receptor, but sufficiently high doses to inversely agonize the 5-HT2A receptors.
 * Eight case reports have been reported in five papers on the use of mirtazapine in the treatment of hives as of 2017.

Veterinary use
Mirtazapine also has some veterinary use in cats and dogs. Mirtazapine is sometimes prescribed as an appetite stimulant for cats or dogs experiencing loss of appetite due to medical conditions such as chronic kidney disease. It is especially useful for treating combined poor appetite and nausea in cats and dogs.

Mirtazapine is indicated for bodyweight gain in cats experiencing poor appetite and weight loss resulting from chronic medical conditions.

There are two options for administration: tablets given orally, and an ointment applied topically to the inner surface of the ear.

The most common side effects include signs of local irritation or inflammation at the site where the ointment is applied and behavioural changes (increased meowing, hyperactivity, disoriented state or inability to co-ordinate muscle movements, lack of energy/weakness, attention-seeking, and aggression).

title: Mirtazapine